Editorial

  1. What Is the evidence that art-science-technology collaboration Is a Good thing?
  2. Roger F. Malina, Alex Topete Garcia, João Silveira
  3. p. 2
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Artists’ Articles

  1. Doubting Conventional Reality: Interactive Mind Works
  2. Lynden Stone
  3. pp. 5-10
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  1. Ur-writings: A Geophonographic Fiction
  2. Will Schrimshaw
  3. pp. 11-17
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  1. Color Plates
  2. pp. 19-22
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Artists’ Notes

  1. Chunking and Recoding in the AI GRANO Project
  2. Pat Badani
  3. pp. 24-27
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  1. Faces in motion: Embodiment, Emotion and Interaction
  2. Barbara Nordhjem, Jan Klug, Bert Otten
  3. pp. 28-32
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General Articles

  1. Heartbeats and the Arts: A Historical Connection
  2. Claudia Arozqueta
  3. pp. 33-39
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  1. Seeing through Camouflage: Abbott Thayer, Background-Picturing and the Use of Cutout Silhouettes
  2. Roy R. Behrens
  3. pp. 41-46
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Historical Perspective

  1. Ylem: Serving Artists Using Science and Technology, 1981–2009
  2. Trudy Myrrh Reagan
  3. pp. 48-52
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Statements

  1. Creative Media + The Internet Of Things = Media Multiplicities
  2. Oliver Bown, Sam Ferguson
  3. pp. 53-54
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  1. Poem Without Language: When a Writing Becomes Traceless
  2. I-Lien Ho
  3. pp. 55-56
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  1. Studioantarctica: Embedding Art in a Geophysics Sea Ice Expedition
  2. Gabby O'Connor, Craig Stevens
  3. pp. 57-58
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  1. The Rationale for A Redefinition of Visual Art Based on Neuroaesthetic Principles
  2. Eugen Bogdan Petcu
  3. pp. 59-60
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  1. Project Amoreiras (Mulberry Trees): Autonomy and Artificial Learning in an Urban Environment
  2. Gilbertto Prado
  3. pp. 61-62
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Special Section: PhD in Art and Design

  1. Practice-Based Research in the Creative Arts: Foundations and Futures from the Front Line
  2. Linda Candy, Ernest Edmonds
  3. pp. 63-69
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Special Section: Highlights from the IEEE VIS 2015 Arts Program (VISAP ’15)

  1. Highlights from the IEEE VIS 2015 Arts Program (VISAP'15)
  2. Angus Forbes
  3. p. 70
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  1. 20/X: Visuality, Representation And Epistemology In The Age Of Intelligent Seeing Machines
  2. Shannon C. McMullen, Fabian Winkler
  3. pp. 71-74
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  1. A Concise Taxonomy for Describing Data as an Art Material
  2. Julie Freeman, Gavin Starks, Mark Sandler
  3. pp. 75-79
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  1. Deep In Poetry: Visualizing Texts' Sonic Depths In 3D
  2. Julie Gonnering Lein, Nina McCurdy, Amanda Hurtado
  3. pp. 80-82
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Special Section: Trust Me, I’m an Artist (Part 3)

  1. Trust Me, I'm an Artist: Building Opportunities for Art and Science Collaboration Through an Understanding of Ethics
  2. Anna Dumitriu
  3. pp. 83-84
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  1. 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
  2. Annick Bureaud
  3. pp. 85-86
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Leonardo Reviews

  1. The Ancient Origins of Consciousness: How The Brain Created Experience by Todd E. Feinberg and Jon M. Mallatt (review)
  2. Craig Hilton
  3. pp. 87-88
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  1. Impersonal Enunciation, or the Place of Film by Christian Metz (review)
  2. Ian Verstegen
  3. pp. 88-89
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  1. Fantasies of the Library ed. by Anna-Sophie Springer and Etienne Turpin (review)
  2. Jussi Parikka
  3. pp. 89-90
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  1. Debates in the Digital Humanities 2016 ed. by Matthew K. Gold and Lauren F. Klein (review)
  2. Jonathan Zilberg
  3. pp. 90-91
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  1. Curated Decay: Heritage Beyond Saving by Caitlin DeSilvey (review)
  2. Jan Baetens
  3. pp. 91-93
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  1. Future of the Brain: Essays by the World's Leading Neuroscientists ed. by Gary Marcus and Jeremy Freeman (review)
  2. Amy Ione
  3. pp. 93-95
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  1. Red: The History of A Color by Michel Pastoureau (review)
  2. Giovanna L. Costantini
  3. pp. 95-96
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  1. August 2017
  2. p. 96
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  1. Recaps and Announcements from the Leonardo Community
  2. pp. 97-98
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  1. Erratum
  2. p. 98
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Endnote

  1. Executive Summary of Sead Exemplars: Evidence of the Value of Transdisciplinary Projects Report for the National Academies
  2. Roger Malina
  3. p. 99
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