1. Can Ideas and Words Be Useful?
  2. Michele Emmer
  3. pp. 1-3
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  1. SHIFT-CTRL
  2. Antoinette LaFarge, Robert Nideffer
  3. pp. 5-6
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  1. The Intruder
  2. Natalie Bookchin
  3. p. 7
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  1. The Freud-Lissitzky Navigator
  2. Lev Manovich, Norman M. Klein
  3. p. 8
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  1. Summons to Surrender--Keyboard Castle
  2. Eddo Stern
  3. p. 9
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  1. ® TMark
  2. ® TMark
  3. p. 10
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  1. Squant
  2. Negativland (Musical group)
  3. p. 11
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  1. SOD
  2. Jodi
  3. p. 12
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  1. BlackLash
  2. Mongrel (Organization)
  3. p. 13
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  1. The Community Is Watching, and Replying: Art in Public Places and Spaces
  2. Anne Bray
  3. pp. 15-21
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  1. Analytical Photography: Portraiture, from the Index to the Epidermis
  2. Ken Gonzales-Day
  3. pp. 23-30
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  1. Dance-Making on the Internet: Can On-Line Choreographic Projects Foster Creativity in the User-Participant?
  2. Sita Popat, Jacqueline M. Smith-Autard
  3. pp. 31-36
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  1. Is One Eye Better Than Two When Viewing Pictorial Art?
  2. Kenneth J. Ciuffreda, Kimberly Engber
  3. pp. 37-40
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  1. Ancient Images and New Technologies: The Semiotics of the Web
  2. Philippe Codognet
  3. pp. 41-49
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  1. Color Plates
  2. pp. 51-52
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  1. A Self-Defining Game for One Player: On the Nature of Creativity and the Possibility of Creative Computer Programs
  2. Harold Cohen
  3. pp. 59-64
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  1. Structure in Art Practice: Technology as an Agent for Concept Development
  2. Ernest A. Edmonds
  3. pp. 65-71
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  1. Drawing as a Gateway to Computer-Human Integration
  2. Michael Quantrill
  3. pp. 73-78
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  1. A Collaborative and Interdisciplinary Computer Animation Course
  2. David S. Ebert, Dan Bailey
  3. pp. 83-86
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  1. New Media Dictionary: Part V: Copy Art
  2. Louise Poissant, Philippe Boissonnet, Lou Nelson
  3. pp. 91-98
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  1. Marcel Duchamp (review)
  2. Sean Cubitt
  3. pp. 99-100
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  1. Global Interests: Renaissance Art Between East and West (review)
  2. Robert Pepperell
  3. p. 100
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  1. Why Art Cannot Be Taught: A Handbook for Art Students (review)
  2. Roy R. Behrens
  3. pp. 100-101
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  1. Multimedia, From Wagner to Virtual Reality (review)
  2. Annick Bureaud
  3. p. 101
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  1. Robosapiens: Evolution of a New Species (review)
  2. Robert Pepperell
  3. p. 101
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  1. The Eye's Mind: Literary Modernism and Visual Culture (review)
  2. Wilfred Niels Arnold
  3. p. 102
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  1. Vermeer's Camera: Uncovering the Truth Behind the Masterpieces (review)
  2. Wilfred Niels Arnold
  3. pp. 102-103
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  1. Stargazing: Astronomy Without a Telescope (review)
  2. David Topper
  3. p. 103
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  1. New Wombs: Electronic Bodies and Architectural Disorders (review)
  2. Robert Pepperell
  3. pp. 103-104
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  1. Art and Technology in the Nineteenth and Twentieth Centuries (review)
  2. Sean Cubitt
  3. pp. 104-105
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  1. Structure in Science and Art (review)
  2. David Topper
  3. p. 105
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  1. The Life of a Style: Beginnings and Endings in the Narrative History of Art (review)
  2. Robert Pepperell
  3. pp. 105-106
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  1. 1000 Extra/Ordinary Objects (review)
  2. Roy R. Behrens
  3. pp. 106-107
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  1. Sullivan's City: The Meaning of Ornament for Louis Sullivan (review)
  2. Roy R. Behrens
  3. p. 107
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  1. The Universe Unveiled: Instruments and Images Through History (review)
  2. David Topper
  3. p. 107
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  1. Whole Earth Review (review)
  2. Michael R. Mosher
  3. p. 108
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  1. Introducing the LDR Panelists
  2. pp. 111-112
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  1. Leonardo/ISAST News
  2. pp. 113-114
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  1. A Response to William Mitchell on "The Death of Drawing"
  2. Helen Levin
  3. pp. 117-118
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  1. William Mitchell Responds
  2. William J. Mitchell
  3. p. 118
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  1. Creativity and Cognition 1999: Part I: Perspectives from the Third Symposium: Introduction
  2. Linda Candy
  3. pp. 55-57
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  1. Introduction: SIGGRAPH 2000 Educators Program
  2. Valerie Miller
  3. p. 81
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  1. Observer/Observed and Other Works of Video Semiology (review)
  2. Mike Leggett
  3. pp. 107-108
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  1. Materials Received
  2. pp. 109-111
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