restricted access   Volume 51, Number 1, 2018

Table of Contents


What Is the evidence that art-science-technology collaboration Is a Good thing?

p. 2

Artists’ Articles

Doubting Conventional Reality: Interactive Mind Works

pp. 5-10

Ur-writings: A Geophonographic Fiction

pp. 11-17

Color Plates

pp. 19-22

Artists’ Notes

Chunking and Recoding in the AI GRANO Project

pp. 24-27

Faces in motion: Embodiment, Emotion and Interaction

pp. 28-32

General Articles

Heartbeats and the Arts: A Historical Connection

pp. 33-39

Seeing through Camouflage: Abbott Thayer, Background-Picturing and the Use of Cutout Silhouettes

pp. 41-46

Historical Perspective

Ylem: Serving Artists Using Science and Technology, 1981–2009

pp. 48-52


Creative Media + The Internet Of Things = Media Multiplicities

pp. 53-54

Poem Without Language: When a Writing Becomes Traceless

pp. 55-56

Studioantarctica: Embedding Art in a Geophysics Sea Ice Expedition

pp. 57-58

The Rationale for A Redefinition of Visual Art Based on Neuroaesthetic Principles

pp. 59-60

Project Amoreiras (Mulberry Trees): Autonomy and Artificial Learning in an Urban Environment

pp. 61-62

Special Section: PhD in Art and Design

Practice-Based Research in the Creative Arts: Foundations and Futures from the Front Line

pp. 63-69

Special Section: Highlights from the IEEE VIS 2015 Arts Program (VISAP ’15)

Highlights from the IEEE VIS 2015 Arts Program (VISAP'15)

p. 70

20/X: Visuality, Representation And Epistemology In The Age Of Intelligent Seeing Machines

pp. 71-74

A Concise Taxonomy for Describing Data as an Art Material

pp. 75-79

Deep In Poetry: Visualizing Texts' Sonic Depths In 3D

pp. 80-82

Special Section: Trust Me, I’m an Artist (Part 3)

Trust Me, I'm an Artist: Building Opportunities for Art and Science Collaboration Through an Understanding of Ethics

pp. 83-84

What's Art Got to Do with It? Reflecting on Bioart and Ethics from the Experience of the Trust Me, I'm an Artist Project

pp. 85-86

Leonardo Reviews

The Ancient Origins of Consciousness: How The Brain Created Experience by Todd E. Feinberg and Jon M. Mallatt (review)

pp. 87-88

Impersonal Enunciation, or the Place of Film by Christian Metz (review)

pp. 88-89

Fantasies of the Library ed. by Anna-Sophie Springer and Etienne Turpin (review)

pp. 89-90

Debates in the Digital Humanities 2016 ed. by Matthew K. Gold and Lauren F. Klein (review)

pp. 90-91

Curated Decay: Heritage Beyond Saving by Caitlin DeSilvey (review)

pp. 91-93

Future of the Brain: Essays by the World's Leading Neuroscientists ed. by Gary Marcus and Jeremy Freeman (review)

pp. 93-95

Red: The History of A Color by Michel Pastoureau (review)

pp. 95-96

August 2017

p. 96

Recaps and Announcements from the Leonardo Community

pp. 97-98


p. 98


Executive Summary of Sead Exemplars: Evidence of the Value of Transdisciplinary Projects Report for the National Academies

p. 99