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Technology”. The issue is a joint project with the Australian Network for Art and Technology (ANAT). Imaginatively funded by the South Australian Ministry of Technology and the Australian Council, the project set a number of aims to foster the interaction of artists and new technologies within a critical context. This special issue of Artlink is one result. Adopting a desktop publishing production for the first time forArtlink (with equipment donatedby Apple Computers, Inc.), the issue is lively and presents a diverse number of viewpoints, both Australian and international, in a style that refrains from overselling. In a strategic article on the critical status of video art, John Hanhardt, Curator of Film and Video at the Whitney Museum, zeroes in on a basic conflict in the work of artists using new technologies. These artists “remain caught between the romantic idea of creating whatever they wish and then seeking its acceptance (i.e. exhibited, written about and marketed) and the Renaissance paradigm ... of producing art to meet the needs and specificationsof a particular client or market”. This analysiscould be used almost verbatim in a discussion of the conflict between basic science versus applied science and technology. Will new technologies empower the artist of the future as a researcher of new ideas and conceptual discoveries or as a producer of objects and inventions for aesthetic satisfaction? The answer given by the editors of the special issue of Artlink is that both these creative outlets can be empowered by the new technologies. The ‘applied’research artists represented in the issue include those using computer-assisted design and manufacturing in tapestry, weaving and knitting; Rob Knottenbelt of the Mattpro company and his computer-assisted highpressure water cutting of glass; aod artists working with holography, video art, computer art and electronic and experimental musical instruments. As for the more ‘basic’ research artists, Jeanelle Hurst describes work in interactive databases, while Eric Gidney and Jan Birmingham discuss artforms exploiting telecommunications. This section of the issue is sponsored by Telecom Australia. Otherauthors includeLeonard0 Honorary Editor Donald Brook, Allan Vizents, Director of the South Australian Ministry of Technology, Peter Ellyard and Francesca da Rimini of ANAT. A directory of resources and a glossary close out the issue. The issue reflects the multivoiced collaboration among artists, commercial concerns and government agencies. Artlink has indicated it will continue its involvement with a regular art and technology column. ANAT hopes to lay the groundwork for a long-term national program of support and development for the art and technology field. If this successful collaboration is any evidence, Australia will become a hotbed of both ideas and objectsof the art of the future. SCIENTIFIC DISCOVERY-COMPUTATIONAL EXPLORATIONS OF THE CREATIVE PROCESS by Pat Langley, Herbert A. Simon, Gary L. Bradshaw and Jan M. Zytkow. MIT Press, Cambridge, MA, U.S.A., 1987. Reviewed by George Rzevski, Kingston Polytechnic, Knights Park, Kingston Upon Thames, Surrey, KTI 245, U.K. This book reports on research aimed to show that the process of the discovery of scientific laws is a special case of human problem solving and as such can be explained in terms of informationprocessing psychology. To this end, the researchers developed a set of computer programs capable of rediscovering some of the well-known quantitative and qualitative scientific laws. The authors, according to their own preface, “address some of the central issues in the philosophy and history of science. Do data lead and theories follow or is the theory the driving force? What is the evidence for ‘paradigms’ and ‘paradigm shifts’ in the Kuhnian sense? Can there be such a thing as a theory of scientific discovery (as distinguished from a theory of verification)? Can the magic and mystery be removed from such terms as ‘creativity’ and ‘insight’, and can an empirical account be given of the processes to which those terms are applied?” The book consists of four parts. The first part contains a short introduction to the theory of scientific discovery, the second part describes computer programs based on the theory which are capable of discovering quantitative laws, the third part is devoted to programs capable of discovering qualitative laws and the final part, under the appropriate title of “Putting the Picture...


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pp. 212-213
Launched on MUSE
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