Leonardo | Page 367 | Leonardo/ISASTwith Arizona State University

Leonardo

LEON 37.3 - Divisions of the Plane by Computer: Another Way of Looking at Mondrian's Nonfigurative Compositions

The article discusses a novel way of looking at Mondrian's nonfigurative paintings. Different periods of Mondrian's life correspond to distinct types of nonfigurative compositions, but can the distinction be formalized? How many bits or numbers are needed to characterize a typical composition? Can the rules of a composition type be expressed in the language of the computer? If distinct composition types require different computer programs, can these be based on a common frame-work, a mechanism, perhaps?

LEON 37.3 - Orai, or How the Text Got Pleated: A Genealogy of La Plissure du Texte: A Planetary Fairytale

This paper is an attempt to make sense of the Japanese word orai and to consider in what way the author's own “comings and goings” across artistic, literary and esoteric pathways led to the formulation of his practice, later to be theorized as telematic art and to be understood as a form of associative connectivism. The paper focuses on La Plissure du Texte, his first project involving distributed authorship.

LEON 37.3 - A Unique Art Form: The Friezes of Pirgí

In the village of Pirgí, on the Greek island of Chios, the façades of hundreds of buildings are completely covered with gray and white friezes. Circles, squares, triangles and rhomboids are used to create a lively geometry, ranging from the straightforward to the complex, to give each house its distinctive identity, its own unique face to display to the world. While analyzing the frieze designs, the authors discovered that the frieze artists intuitively obey a unique set of color-reversing rules.

LEON 37.3 - From Perception to Consciousness: An Epistemic Vision of Evolutionary Processes

The concept of plasticity provides a unifying hypothesis to account for the natural properties of living systems as well as the different levels of perception and information associated with these systems. Are the metadynamics of evolutionary processes able to describe the nature of consciousness as a whole? The close study of the link between the coherence of emerging objects and the way we think they appear allows us to use the metaphor of a discontinuous bridge linking primitive perceptions to consciousness just as brain plasticity is linked to art.