1. Color Plates
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  1. Why Am I Symmetrical—Or Almost?
  2. pp. 339-340
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  1. Creativity in Concert with the Natural World
  2. Juan Geuer
  3. pp. 347-353
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  1. Regency Graphics and the Esthetics Laboratory: Picture Generation by Point-Distinction and Pseudodistance-Minimizing
  2. Georg Nees
  3. pp. 355-361
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  1. How I Came to Paint the Crab Nebula: The Development of Cosmic Themes in My Oil Paintings
  2. Berta R. Golahny
  3. pp. 363-365
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  1. Kinetic and Neon Sculptures: A Personal Discourse on Ways, Means and Influences
  2. Kennan C. Herrick
  3. pp. 367-370
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  1. The Forming Process of Assemblages and Objects
  2. Michael Schulze, Herbert W. Franke, Mitch Cohen
  3. pp. 371-375
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  1. Collaboration: Tap Scored and Notes on the Three Monk Tunes for Tap Dancer
  2. Anita Feldman, Larry Polansky
  3. pp. 377-383
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  1. A Review of Arts/Sciences: Alloys by Iannis Xenakis
  2. Larry Polansky
  3. pp. 385-388
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  1. Innovation and Technology: Twenty-First Century
  2. Lowell T. Harmison
  3. pp. 389-392
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  1. Computer Dancemakers
  2. Peggy Brightman
  3. pp. 393-396
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  1. On Memory (Electronic or Otherwise)
  2. Vilém Flusser
  3. pp. 397-399
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  1. The Natural Flow of Perspective: Reformulating Perspective Projection for Computer Animation
  2. E. H. Blake
  3. pp. 401-409
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  1. On the Aesthetics of Sierpinski Gaskets Formed from Large Pascal’s Triangles
  2. Clifford A. Pickover
  3. pp. 411-417
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  1. The Transcendental Machine? A Comparison of Digital Photography and Nineteenth-Century Modes of Photographic Representation
  2. Diana Emery Hulick
  3. pp. 419-425
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  1. The Leonardo Paradox: Imagining the Ultimately Creative Computer
  2. Robert Emmett Mueller
  3. pp. 427-430
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  1. Bacon’s New Atlantis
  2. Richard L. Gregory
  3. pp. 431-435
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  1. Video Art: Expanded Forms
  2. John G. Hanhardt
  3. pp. 437-439
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  1. Computers as a Vehicle for Integrated Creativity
  2. Joan Truckenbrod
  3. p. 440
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  1. Alien Lander with Message
  2. Kennan C. Herrick
  3. p. 441
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  1. Optical Music in Altered Space: The Design and Function of the Variable form Abstract Image Reflector
  2. Leonard Krakovitch King, Adrian Peever
  3. pp. 441-444
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  1. Denman Ross: An Early Theory of Perceptual Correspondences of Sound and Visual Qualities
  2. Harold J. McWhinnie
  3. pp. 444-445
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  1. Aesthetics and the Good Life by Marcia Muelder Eaton (review)
  2. Elmer H. Duncan, Elizabeth Crumley
  3. p. 446
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  1. Beauty and the Brain: Biological Aspects of Aesthetics ed. by David Epstein, Barbara Herzberger, and Ingo Rentschler (review)
  2. Peter Erdi
  3. pp. 446-447
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  1. Contemporary Russian Art by Matthew Cullerne Bown (review)
  2. Eva Belik
  3. pp. 447-448
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  1. Dante Gabriel Rossetti by Alicia Graig Faxon (review)
  2. John W. Cooper
  3. pp. 448-449
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  1. A Forest of Signs: Art in the Crisis of Representation ed. by Catherine Gudis (review)
  2. Elmer H. Duncan
  3. p. 449
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  1. The Forms of Color by Karl Gerstner (review)
  2. Leo Narodny
  3. pp. 449-450
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  1. Fundamentals of Three-Dimensional Computer Graphics by Alan Watt (review)
  2. John W. Cooper
  3. p. 450
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  1. Sveto-Muzykalnye Instrumenty (Light-Musical Instruments) by B. M. Galeev, S. M. Zorin, and R. F. Saifullin (review)
  2. John Bowlt
  3. p. 450
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  1. The North Light Handbook of Artists’ Materials by Ian Hebblewhite (review)
  2. Joy Turner Luke
  3. pp. 450-451
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  1. On the Wires of Our Nerves: The Art of Electroacoustic Music by Robin Julian Heifetz (review)
  2. Larry Polansky
  3. pp. 451-452
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  1. The Psychology of Perspective and Renaissance Art by Michael Kubovy (review)
  2. David Pariser
  3. pp. 452-453
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  1. The Physicist as Artist: The Landscapes of Pierre Duhem by Stanley L. Jaki (review)
  2. David Topper
  3. p. 454
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  1. The Story of Art by Norbert Lynton (review)
  2. John W. Cooper
  3. pp. 454-455
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  1. The Story of Modern Art by Norbert Lynton (review)
  2. John W. Cooper
  3. p. 455
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  1. Publications
  2. pp. 456-458
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  1. Comment on “Epigenetic Painting: Software as Genotype”
  2. Patrie D. Prince
  3. p. 459
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  1. Comment On “Spatial-Synesthetic Art Through 3-D Projection: The Requirements Of A Computer-Based Supermedium”
  2. Kathleen Forsythe
  3. pp. 459-460
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  1. Comment On “Spatial-Synesthetic Art Through 3-D Projection: The Requirements Of A Computer-Based Supermedium”
  2. Robert Russett
  3. pp. 460-461
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  1. Comment On “The Computer As The Artist’s Alter Ego”
  2. Bernard Bel
  3. pp. 461-462
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  1. Response To Bernard Bel’s Comment
  2. Otto Laske
  3. pp. 462-463
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  1. Comment On “The Meteorological Odyssey Of Vincent Van Gogh”
  2. Charles A. Whitney
  3. p. 463
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  1. Comment on “Radical Response to a ‘High-Tech’ World: Contemporary American Street Murals”
  2. Moira F. Harris
  3. p. 463
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  1. Response To David Topper’s Book Review
  2. Paul Hartal
  3. pp. 463-464
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  1. Response To Paul Hartal
  2. David Topper
  3. p. 465
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  1. Note From The Executive Editor Of Leonardo
  2. Roger F. Malina
  3. p. 465
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  1. Books Received
  2. pp. 455-456
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  1. Audiotapes Received
  2. p. 456
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  1. Software Received
  2. p. 456
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  1. Videotapes Received
  2. p. 456
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