ABSTRACT As an unfolding of time-based events, gesture is intrinsically integrated with the aesthetic experience and function of the human form. In historical and contemporary visual culture, various approaches have been used to communicate the substance of human movement, including use of science and technology. This paper links the understanding of human gesture with technologies influencing its representation. Three-dimensional motion capture permits the accurate recording of movement in 3D computer space and provides a new means of analyzing movement qualities and characteristics. Movement signatures can be related to the human form by virtue of trajectory qualities and experientially and/or culturally dependent interactions.

ABSTRACT A recent revisionist theory claims that as early as 1430 European artists secretly invented optical projectors and used them as aids during the execution of their paintings. Key artworks adduced in support of this theory are a pair of portraits of Cardinal NiccolÒ Albergati by Jan van Eyck: a silverpoint study (1431) and a formal oil work (1432). We tested whether the use of known contemporaneous mechanical methods might explain this image evidence as well as the use of optical methods, also explaining additional physical evidence. We used traditional image processing techniques, as well as “re-enacted copies” by professional artists using mechanical methods. We found that the fidelities of these modern “re-enactments” were equal or superior to those of the van Eyck works.

ABSTRACT This article describes experiments in live telematic performance linking U.S. East and West Coast dancers via Internet2. Alternating between a first-person account of one particular stage performance and a theoretical exploration of the same, the authors come to terms with the audiences' newly constituted relationship as technological ruptures alter the immersive pull of live performance.

ABSTRACT ATT's Bell Laboratories produced a prolific number of innovative digital art and experimental color systems between 1965 and 1984. However, due to repressive regulation, this work was hidden from the public. Almost two decades later, when Bell lifted its restrictions on creative work not related to telephone technologies, the atmosphere had changed so dramatically that despite a relaxation of regulation, cutting-edge projects were abandoned. This paper discusses the struggles encountered in interdisciplinary collaborations and the challenge to use new media computing technology to make experimental art at Bell Labs during this unique time period, now largely lost to the history of the media arts.