1995 Index: Leonardo Volume 28 and Leonardo Music Journal Volume 5

LeonardoVolume 28 ARTISTS’ARTICLESAND NOTES BURGMER, BRIGITTE. “Chromatic Notation of Music: Transforming Bach and Webern into Color and Light,” Leonardo MusicJournal 5 (1995). FEINGOLD, KEN. “OU: Interactivity as Divination as Vending Machine,” in Special Issue “The Third Annual New York Digital Salon,”28, No. 5 (1995). JAFFE, DAVID A. “Orchestratingthe Chimera: Musical Hybrids, Technology and the Development of a ‘Maximalist’ Musical Style,” Leonardo MusicJournal 5 (1995). LAFARGE,ANTOINETTE. “AWorld Exhilarating and Wrong: Theatrical Improvisation on the Internet,” in Special Issue “TheThird Annual New York Digital Salon,”28, No. 5 (1995). and Other Electroacoustic Clothes,” 28, No. 2 (1995). OLIVEROS, PAULINE. “Acoustic and Virtual Space as a Dynamic Element of Music,” Leonardo MusicJournal 5 (1995). PLATZ, ROBERT HP. “More ThanJust Notes: Psychoacousticsand Composition ,” Leonardo MusicJournal 5 (1995). Face: An Artist’s Discovery of the Metaphors of Child Abuse,” 28, No. 1 (1995). TAMBLYN, CHRISTINE. “SheLoves Zt, She Loves It Not: Womenand Technology , an Interactive CD-ROM,” 28, No. 2 (1995). THOME, DIANE. “Reflections on Collaborative Process and Compositional Revolution,” Leonardo Music Journal 5 (1995). VASULKA, STEINA. “My Love Affair with Art: Video and Installation Work,” 28, No. 1 (1995). ess: Photography and Digital Metamorphosis ,” 28, No. 4 (1995). MAUBREY, BENOiT. “AudioJackets SEABERG,STEVENS. “The Demon’s WALIGORE, MARILYN. “Artist-SorcerGENERAL , TECHNICAL, HISTORICAL AND THEORETICALARTICLES AND NOTES ABRAMYAN, ABRAM ALEXANDROVICH.“Color-Music and Leonardo MusicJournaZVolume 5 Fountains and Installations of the Erebuni Group,” 28, No. 4 (1995). AHUJA, MANGHO AND LOEB, A.L. “Tessellations in Islamic Calligraphy ,” 28, No. 1 (1995). AMES, CHARLES. “Thresholds of Confidence : An Analysis of Statistical Methods for Composition, Part 1: Theory,” Leonardo MusicJournal 5 (1995). BINKLEY, TIMOTHY. “Transparent Technology: The Swan Song of Electronics ,’’ in Special Issue “The Third Annual New York Digital Salon,” 28, No. 5 (1995). Mercurial Tendencies: Resisting and Embracing the Possibilities for Digital Architecture,” in Special Issue “TheThird Annual New York Digital Salon,” 28, No. 5 (1995). COOK, KEVIN. “Semiotic Variety in Digital Imagery: The Case of Maxwell’sDemon,” 28, No. 2 (1995). DAVIS, DOUGLAS. “The Work of Art in the Age of Digital Reproduction (An Evolving Thesis: 1991-1995) ,” in Special Issue “TheThird Annual New York Digital Salon,” 28, No. 5 (1995). DELANDA, MANUEL. “Virtual Environments and the Concept of Synergy ,” in Special Issue “The Third Annual New York Digital Salon,” 28, No. 5 (1995). DiAZ, LILY. “A Simultaneous View OfHistory : The Creation of a Hypermedia Database,” 28, No. 4 (1995). FEDOTOV, VLADIMIR M. “Polyphony in the Paintings of M.K. ~iurlionis,”28, No. 1 (1995). GIOMI, FRANCESCO. “The Work of Italian Artist Pietro Grossi: From Early Electronic Music to Computer Art,” 28, No. 1 (1995). GRIGORYAN, LEVON A. “Color-Therma1Associations in Music,” 28, No. 1 (1995). IVANOV, PAVEL B. “A Hierarchical Theory of Aesthetic Perception: Scales in the Visual Arts,” Leonardo MusicJournal 5 (1995). KING, MIKE. “Programmed Graphics in Computer Art and Animation,” 28, No. 2 (1995). CHAPLIN, SARAH. “Desire Lines and KREICHI, STANISLAV. “The ANS Synthesizer : Composing on a Photoelectric Instrument,”28, No. 1 (1995). dium,” in Special Issue “The Third Annual New York Digital Salon,” 28, No. 5 (1995). McCARTNEY,ANDRA. “Inventing Images : Constructing and Contesting Gender in Thinking about Electroacoustic Music,” Leonardo MusicJournal 5 (1995). MARCHESE, SUZANNE M. “Digital Media and Ephemeralness: Art, Artist , and Viewer,” in Special Issue “The Third Annual New York Digital Salon,’’ 28, No. 5 (1995). MARGOLIN, VICTOR. “The Politics of the Artificial,” in Special Issue “The Third Annual New York Digital Salon ,’’ 28, No. 5 (1995). OOSTERHUIS, KAS. “Intuitive ThreeDimensional Sketching in Digital Space: The Synthesis of the Genetic Code for Buildings/Organisms,” 28, No. 2 (1995). ing Hyperfictions: The Psychodrama of Interactivity,” 28, No. 4 (1995). POPPER, FRANK. “The Artist and Advanced Technology,” 28, No. 1 (1995). PUNT, MICHAEL. “CD-ROM: Radical Nostalgia?:Cinema History, Cinema Theory, and New Technology,” in Special Issue “The Third Annual New York Digital Salon,” 28, No. 5 (1995). SHANNON, SONYA. “The Chrome Age: Dawn of Virtual Reality,” in Special Issue “The Third Annual NewYork Digital Salon,” 28, No. 5 (1995). SPIERINGS, WALTER, with BARRETO, ANA. “Dutch Holographic Laboratory ,” 28, No. 4 (1995). FORMUS: Sonoric Space-Time and the Artistic Synthesis of Sound,” 28, No. 1 (1995). “Mastery: Computer Games, Intuitive Interfaces, and Interactive Multimedia ,” in Special...