1. Color Plates
  2. restricted access
  1. Leonardo: Looking to the Future
  2. Roger F. Malina
  3. p. 1
  4. restricted access
  1. Intellectual Versus Real Property Rights
  2. Ox Jack
  3. pp. 3-4
  4. restricted access
  1. Gate Way
  2. pp. 5-10
  3. restricted access
  1. Nature Is Leaving Us: A Video Theatre Work
  2. Miroslaw Rogala, Darrell Moore
  3. pp. 11-18
  4. restricted access
  1. Mathematics for the Garden of the Mind
  2. Anna Campbell Bliss
  3. pp. 19-22
  4. restricted access
  1. Ghost Machine: A Filmmaker’s Optical Image Processor
  2. Aldo d’Angelo, Lilias Green
  3. pp. 23-27
  4. restricted access
  1. Planks, Programs and Art: Computer Graphics as a Sculptural Tool
  2. Anna Ursyn
  3. pp. 29-32
  4. restricted access
  1. The ARSAT Saga: The Adventures of an Art-Science Space Concept
  2. Pierre Comte
  3. pp. 33-35
  4. restricted access
  1. Flowers of Human Presence: Effects of Esthetic Values on the Evolution of Ornamental Plants
  2. George Gessert
  3. pp. 37-44
  4. restricted access
  1. The Perception of the Fleeting Moment in Dance
  2. Don Herbison-Evans
  3. pp. 45-49
  4. restricted access
  1. Etching and Tone Creation Using Low-Voltage Anodic Electrolysis
  2. Omri M. Behr, Marion R. Behr
  3. pp. 51-55
  4. restricted access
  1. Transitions in the Topology of Polyhedra
  2. Yasushi Kajikawa, C. Stanley Smith
  3. pp. 57-64
  4. restricted access
  1. The Place of High-Technology Art in the Contemporary Art Scene
  2. Frank Popper
  3. pp. 65-69
  4. restricted access
  1. Les Artistes et la Lumière—Artists and Light
  2. Marc Piemontese, Roger F. Malina, Victoria Bridges Mourasson
  3. pp. 70-72
  4. restricted access
  1. Experimenting with Computer Graphics: In Search of Aesthetic Objectivity
  2. Prabhakar Barwe
  3. p. 73
  4. restricted access
  1. Computer Users’ Report: Art is Still Art
  2. Lynne Roberts-Goodwin, Phillip George
  3. pp. 73-75
  4. restricted access
  1. Painting with Dongba Pictographs
  2. Xu Zheng Qiang, Lan Bi Ying
  3. pp. 75-76
  4. restricted access
  1. Synesthesia and Musical Space: On Yavorskv’s Forgotten Hypothesis and a Proposal for an Experiment in Zero Gravity
  2. Bulat M. Galeyev
  3. pp. 76-78
  4. restricted access
  1. About Words on Works/Geo-Sonic
  2. Bill Buchen, Mary Buchen, Judy Malloy
  3. p. 79
  4. restricted access
  1. Point of Reference
  2. Madelon Hooykaas, Elsa Stansfield
  3. p. 79
  4. restricted access
  1. Afternoon, A Story
  2. Michael Joyce
  3. pp. 79-80
  4. restricted access
  1. Home on the Range
  2. Kimberly Kelzer
  3. p. 80
  4. restricted access
  1. Portraits in Common Time
  2. Lynn Kirby
  3. p. 81
  4. restricted access
  1. Stake-Out at Post Office Bay
  2. pp. 81-82
  3. restricted access
  1. Digital Processing in Performance: Rerebong and Electricity
  2. Neil B. Rolnick
  3. p. 82
  4. restricted access
  1. Anamorphoses of Memory
  2. Jeffrey Shaw, Dirk Groeneveld
  3. p. 83
  4. restricted access
  1. The Nixon Bookmobile
  2. G.P. Skratz, Bob Davis
  3. p. 83
  4. restricted access
  1. The Flying Dream
  2. Fred Truck
  3. pp. 83-84
  4. restricted access
  1. Goethe’s Botanical Writings by Bertha Mueller (review)
  2. Rudolf Arnheim, Eric Rauch
  3. p. 85
  4. restricted access
  1. Science in Cinema: Teaching Science Fact through Science-Fiction Film by Leroy Dubeck, Suzanne Moshier and Judidi Boss (review)
  2. David Pariser
  3. pp. 85-86
  4. restricted access
  1. Symmetrie, Bauplan Der Welt by Henning Genz (review)
  2. Rudolf Arnheim
  3. p. 87
  4. restricted access
  1. Manual of Practical Holography by Graham Saxby (review)
  2. Ron Graham
  3. pp. 87-88
  4. restricted access
  1. Intercommunication: A Journal Exploring the Frontiers of Art and Technology (review)
  2. p. 88
  3. restricted access
  1. Comment on “Anamorphosis and the Eccentric Observer: Inverted Perspective and the Construction of the Gaze”
  2. Vladimir Tamari
  3. p. 90
  4. restricted access
  1. Comment on “Computer Graphics for the Analysis of Perspective in Visual Art: Las Meninas, by VelÁzquez”
  2. Topper David
  3. p. 90
  4. restricted access
  1. Commentaries
  2. pp. 90-91
  3. restricted access
  1. Comment on “On Memory (Electronic or Otherwise)”
  2. Michael Rodemer
  3. pp. 90-91
  4. restricted access
  1. Materials Received
  2. pp. 88-89
  3. restricted access