In lieu of an abstract, here is a brief excerpt of the content:

  • Color Plates
Color Plate A. REFRACTIVE FINGERPRINTS OF LENSES: EXPLORATIONS IN LIGHT TRANSFORMATIONS Scan of Leitz Wetzlar Noctilux 50mm, left view F 16, right view F 1.2, 2013. This was Leica's first extremely low-light lens, designed in 1966. (© Sheila Pinkel) (See article in this issue by Sheila Pinkel.)
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Color Plate A.

REFRACTIVE FINGERPRINTS OF LENSES: EXPLORATIONS IN LIGHT TRANSFORMATIONS

Scan of Leitz Wetzlar Noctilux 50mm, left view F 16, right view F 1.2, 2013. This was Leica's first extremely low-light lens, designed in 1966. (© Sheila Pinkel) (See article in this issue by Sheila Pinkel.)

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Color Plate B. THE VIRTUAL REALITY INSTALLATION ENDOCYTOSIS: EVOLVING FROM A FLAT LAND INTO A THREE-DIMENSIONAL WORLD Detail of Endocytosis: circles lying on the 2D surface and becoming spheres when entering the virtual third dimension. Photographs taken off the RW projection screen. (© Águeda Simó) (See article in this issue by Águeda Simó.)
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Color Plate B.

THE VIRTUAL REALITY INSTALLATION ENDOCYTOSIS: EVOLVING FROM A FLAT LAND INTO A THREE-DIMENSIONAL WORLD

Detail of Endocytosis: circles lying on the 2D surface and becoming spheres when entering the virtual third dimension. Photographs taken off the RW projection screen. (© Águeda Simó) (See article in this issue by Águeda Simó.)

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Color Plate C. CONCRETE PHOTOGRAPHY: (IN-BETWEEN) LIGHT IMAGE AND DATA IMAGE Karl Martin Holzhäuser, Montage 43.2008, digital montage, Digigraphie™, 120 × 120 cm, 2008, courtesy Epson Kunstbetrieb Düsseldorf. (© 2015 VG Bild-Kunst Bonn) (See article in this issue by Gottfried Jäger.)
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Color Plate C.

CONCRETE PHOTOGRAPHY: (IN-BETWEEN) LIGHT IMAGE AND DATA IMAGE

Karl Martin Holzhäuser, Montage 43.2008, digital montage, Digigraphie™, 120 × 120 cm, 2008, courtesy Epson Kunstbetrieb Düsseldorf. (© 2015 VG Bild-Kunst Bonn) (See article in this issue by Gottfried Jäger.)

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Color Plate D. THE CONTRIBUTION OF DESMOND PAUL HENRY (1921–2004) TO TWENTIETH-CENTURY COMPUTER ART D.P. Henry, Untitled, no. 500, Drawing Machine Two, 38 × 25.2 cm, black, blue and red biro on smooth white drawing paper; hand embellishments: black highlighting, single lines and background shading in ink; 1963. (© Elaine O'Hanrahan.) This image appears on page 50 of the exhibition catalogue for Cybernetic Serendipity (1968). (See article in this issue by Elaine O'Hanrahan.)
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Color Plate D.

THE CONTRIBUTION OF DESMOND PAUL HENRY (1921–2004) TO TWENTIETH-CENTURY COMPUTER ART

D.P. Henry, Untitled, no. 500, Drawing Machine Two, 38 × 25.2 cm, black, blue and red biro on smooth white drawing paper; hand embellishments: black highlighting, single lines and background shading in ink; 1963. (© Elaine O'Hanrahan.) This image appears on page 50 of the exhibition catalogue for Cybernetic Serendipity (1968). (See article in this issue by Elaine O'Hanrahan.)

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Additional Information

ISSN
1530-9282
Print ISSN
0024-094X
Pages
pp. 129-132
Launched on MUSE
2018-04-17
Open Access
N
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