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Journal Articles
Publisher: Journals Gateway
Leonardo (2008) 41 (5): 510–518.
Published: 01 October 2008
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Otto Piene discusses his projects with new media as well as the history and tradition of techological art. Topics range from archaic megalithic structures to large-scale, outdoor contemporary works articulated and enhanced by electronic forms of expression. Piene discusses his concept of ‘sky art’ and examines his attempts to expand the physical proportions of art and to communicate publicly with a large audience. Other issues raised include the beneficial effects of integrating art and science, the need to reevaluate and update art education and the importance of developing new forms of technological art that will improve communication and more effectively express human concerns.
Journal Articles
Publisher: Journals Gateway
Leonardo (2008) 41 (4): 390–400.
Published: 01 August 2008
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The interdisciplinary research environment coupled with supercomputer graphics is affording new opportunities for collaborations between artists and scientists. The author has collaborated with specialists in such fields as agricultural entomology, topology and astrophysics to render visual representations of multidimensional computations. One collaboration has resulted in a single, aesthetic form encompassing both a new art form and the discovery of a suggested mathematical theorem. These team efforts provide interesting examples of research dynamics between artist and scientist as they work toward a common goal: visualization of the invisible. Such interaction serves as a prototype of the ‘Renaissance team’ where specialists provide a broad spectrum of skills in the quest for discovery. Artists can and will make important contributions to this research.
Journal Articles
Publisher: Journals Gateway
Leonardo (2008) 41 (3): 279–286.
Published: 01 June 2008
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Physician-scientist Jonas Salk comments on the concerns about humanity's future and the values he shared with Jacob Bronowski. The author outlines his own view of evolution and acknowledges Bronowski's contributions to our further understanding of this process in which humans are participants as well as products. Like Bronowski, the author believes the human race has the power to influence its future, whether by creating disaster or by saving itself through conscious choice. He envisions as the next evolutionary step the creative interaction and convergence of the various cultures, including the ‘two cultures’ of science and humanism examined by Bronowski. The author suggest that our ‘evolutionary instinct’ will guide us in this direction, and he challenges us to prepare for a future without catastrophe.
Journal Articles
Publisher: Journals Gateway
Leonardo (2008) 41 (2): 154–158.
Published: 01 April 2008
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The author describes his sound sculptures which explore how various instances of sound possess musical form. He explains the sculptural qualities of sound and the aesthetic act of arranging sound into art. Detailed descriptions of three recent works illustrate how relocating sounds from one environment to another redefines them, giving them new acoustic meanings.
Journal Articles
Publisher: Journals Gateway
Leonardo (2008) 41 (1): 65–74.
Published: 01 February 2008
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This examination of three works by Johanna Drucker, 26 '76 (1976), from A to Z (1977) and Against Fiction (1983), all printed letterpress, focuses on the formal properties of typography and its capacity to extend the meaning of a written text. Handsetting metal type necessarily focuses one's attention on the specificity of written language as a sequence of discrete letters. Each has properties of size, weight and shape; and placement and type styles can be widely varied. The technical constraints of letterpress tend to conserve the norm in the representation of language: line after straight line of a single typeface. The author's intention in deviating from these norms has been to extend, rather than negate or deny, the possibilities of meaning by encouraging plural readings at the levels of the word, the line and the page. Other issues such as the relation of language to experience, to literary tradition or to the social context in which it is produced are investigated.
Journal Articles
Publisher: Journals Gateway
Leonardo (2007) 40 (5): 493.
Published: 01 October 2007
Journal Articles
Publisher: Journals Gateway
Leonardo (2007) 40 (5): 494–496.
Published: 01 October 2007
Journal Articles
Publisher: Journals Gateway
Leonardo (2007) 40 (4): 392–400.
Published: 01 August 2007
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The author has researched and developed a theory of computation for caricature and has implemented this theory as an interactive computer graphics program. The Caricature Generator program is used to create caricatures by amplifying the differences between the face to be caricatured and a comparison face. This continuous, parallel amplification of facial features on the computer screen simulates the visualization process in the imagination of the caricaturist. The result is a recognizable, animated caricature, generated by computer and mediated by an individual who may or may not have facility for drawing, but who, like most human beings, is expert at visualizing and recognizing faces.
Journal Articles
Publisher: Journals Gateway
Leonardo (2007) 40 (4): 390–391.
Published: 01 August 2007
Journal Articles
Publisher: Journals Gateway
Leonardo (2007) 40 (3): 289–300.
Published: 01 June 2007
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The author describes his change from being a student of mathematics to that of being a painter, after studying with George Grosz. Through Grosz, the author was led to study Brueghel, and the Dutch masters and their art, together with Byzantine mosaics and African sculpture, have remained a major influence in his work. A study of the paintings of De Hooch and Vermeer was also helpful from the point of view of the way those artists were able to control their large shapes, even when disparate elements were included within these shapes. Also, the author describes the influence upon him of examples of Chinese paintings and his method of working with mounted layers of torn papers. Both the similarities as well as the differences to Cubism in his style are described in detail, with the hope that the structural content of his work will be understood and even more valued than its social message.
Journal Articles
Publisher: Journals Gateway
Leonardo (2007) 40 (2): 189–197.
Published: 01 April 2007
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ABSTRACT There is apparently a paradox in that, as artists, some of us become progressively process-oriented , but continue to produce art objects . For me this is necessary since I work on two levels from a common set of attitudes: on the social level, elaborating plans for a Cybernetic Art Matrix; on the intimate level making individual art works. Both processes are concerned with creating triggers —initiating creative behaviour in the observer/participant. Modern art is characterized by a behaviourist tendency in which process and system are cardinal factors. As distinctions between music, painting, poetry, etc. become blurred and media are mixed, a bahaviourist synthesis is seen to evolve, in which dialogue and feedback within a social culture indicate the emergence of a Cybernetic vision in art as in science. My artifacts come out of a process of random behaviour interacting with pre-established conditions. The Cybernetic Art Matrix is seen as a process in which anarchic group behaviour interacts with pre-established systems of communications, hardware and learning nets. In both cases the processes are self-generating and self-critical. Basically they are initiated by creative behaviour, and in turn give rise to its extension in other people.
Journal Articles
Publisher: Journals Gateway
Leonardo (2007) 40 (1): 81–90.
Published: 01 February 2007
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The paper discusses briefly kinetic painting systems that have been devised for producing a pictorial composition on a transluscent flat surface that changes with time without resorting to the projection of light through film in a darkened room. The Lumidyne system developed by the author in 1956 is described in detail. Basic principles of its design, together with variations of the system, are given as well as the method of painting used by the author. Examples of several works are shown. The picture produced by the system is considered from the point of view of real motion and of change of transparent colour with time. The need for aesthetic guide lines for the kinetic painter is stressed. The author concludes that the Lumidyne system, after ten years of experience with it, as a practical, controllable and economical artistic medium.