Leonardo 1993: Vol 26 Index

5 Pages·1993·2 MB·English

1993 INDEX
Leonardo Volume 26 and Leonardo Music Journal Volume 3
ABSTRACTS Iwo-Colour Frieze Patterns,” 26, No. HALLECK, DEEDEE, “Deep Dish TV:
ALTAF, NAVJOT, “An Affair with a 4 (1993). Community Video From Geostation-
Mouse,” 26, No. 2 (1993). TERMES, DICK, “Polyhedron Perspec- ary Orbit,” Art and Social Conscious
BARWE, PRABHAKAR, “Experiment- tive—The Total Picture,” 26, No. 3 ness, Special Issue: 26, No. 5 (1993).
ing with Computer Graphics: In (1993). HARRISON, HELEN MAYER, and
Search of Aesthetic Objectivity,” 26, QIANG, XU ZHENG, with LAN BI NEWTON HARRISON, “Shifting Po-
No. 1 (1993). YING, “Painting with Dongba Picto- sitions Toward the Earth: Art and
FRASSANITO, JACK, “Computer Imag- graphs,” 26, No. 1 (1993). Environmental Awareness,” Art and
ing in Support of the Space Explora- Social Consciousness, Special Issue: 26,
tion Initiative (SEI) Mission ARTISTS’ ARTICLES No. 5 (1993).
Planning Process,” 26, No. 3 (1993). ALLIK, KRISTI A., and ROBERT C.F. HERSHMAN, LYNN, “Touch Sensitivity
GALEYEV, BULAT M., “Synesthesia and MULDER, “Skyharp: An Interactive and Other Forms of Subversion: In-
Musical Space: On Yavorsky’s Forgot- Electroacoustic Instrument,” teractive Artwork,” Art and Social
ten Hypothesis and a Proposal for Leonardo Music Journal3 (1993). Consciousness, Special Issue: 26, No. 5
an Experiment in Zero Gravity,” 26, BRIGHAM, JOAN, “Reclamation Art- (1993).
No. 1 (1993). ists: A Report from Boston,” Art and MATUCK, ARTUR, “Information and
GOONATILAKE, SUSANTHA, “The Social Consciousness, Special Issue: 26, Intellectual Property, Including a
Merged Evolution of Artificial Life, No. 5 (1993). Proposition for An International
Genes and Culture,” 26, No. 2(1993). ICHANAN, NANCY, “Works and Net- Symbol for Released Information:
GORICK, GLYNN, “Painting the Uni- works: Information Art and the Use SEMION,” Art and Social Conscious
verse,” 26, No. 3 (1993). of Low-End Electronics for Indi- ness, Special Issue: 26, No. 5 (1993).
HARTAL, PAUL, “Antares,” 26, No. 2 vidual and Community Projects,” Arf PARADA, ESTHER, “Taking Liberties:
(1993). and Social Consciousness, Special |s- Digital Revision as Cultural Dia
HORNER, ANDREW, ANDREW ASSAD sue: 26, No. 5 (1993). logue,” Art and Social Consciousness,
and NORMAN PACKARD, “Artificial BUTLER, JACK, “Before Sexual Differ- Special Issue: 26, No. 5 (1993).
Music: The Evolution of Musical ence: The Art and Science of Geni- POVALL, RICHARD M., “The Last Gar
Strata,” Leonardo Music Journal 3 tal Embryogenesis,” 26, No. 3 den—Explorations in Interactive Per-
(1993). (1993). formance Methods,” Leonardo Music
LAUSTEN, THORBJORN, “Light-Fig- CALDWELL, BEN, “KAOS at Ground Journal3 (1993).
ure,” 26, No. 2 (1993). Zero: Video, Teleconferencing and ROGALA, MIROSLAW, “Nature /s Leav
LAVIGNE, CHRISTIAN, “The Utility of Community Networks,” Art and So- ing Us: A Video Theater Work,” 26,
Not Choosing Between Poetry and cial Consciousness, Special Issue: 26, No. 1 (1993).
Art: A Sculptor’s Use of New Tech- No. 5 (1993). SCHULZ, JEFFREY, “Virtu-Real Space:
nologies,” 26, No. 4 (1993). CHABOT, XAVIER, “To Listen and To Information Technologies and the
MAROM, IRA, “Fictitious Archaeology: See: Making and Using Electronic Politics of Consciousness,” Art and
The Museum as Promoter of Instruments,” Leonardo Music Journal Social Consciousness, Special Issue: 26,
Truth?,” 26, No. 4 (1993). 3 (1993). No. 5 (1993).
MARTIN, ROBERT, “Synergy: A Perfor- CONDE, CAROLE, and KARL TIDMUS, MICHAEL, “Anecdotal Evi-
mance with Laser Light and Dance,” BEVERIDGE, “In the Corporate dence: A Survey of HyperCard Com-
26, No. 3 (1993). Shadows: Community Arts Practice puter Projects,” Art and Social
MAYER, JUDITH, “The Electronic Mu- and Technology,” Art and Social Con Consciousness, Spec ial Issue: 26, No. 5
ral Project,” 26, No. 3 (1993). sciousness, Special Issue: 26, No. 5 (1993).
REED, HAZEN, “Interactive Essay: Por- (1993).
trait of People Living with AIDS,” DAVENPORT, GLORIANNA, RYAN ARTISTS’ NOTES
26, No. 4 (1993). EVANS and MARK HALLIDAY, “Or- BLISS, ANNA CAMPBELL, “Mathemat-
ROBERTS-GOODWIN, LYNNE, and chestrating Digital Micromovies,” ics for the Garden of the Mind,” 26,
PHILLIP GEORGE, “Computer Us- 26, No. 4 (1993). No. | (1993).
ers’ Report: Art Is Still Art,” 26, No. DENES, AGNES, “Notes on Eco-Logic: CATALANO, JOE, “Electronic Mid-
1 (1993). Environmental Artwork, Visual Phi- wifery: A Videophone Celebration of
ROCCO, RON, “New Horizons: Notes losophy and Global Perspective,” Art Pauline Oliveros’s Four Decades of
on Video Installation,” 26, No. 4 and Social Consciousness, Special Is- Composing and Community,” Leonardo
(1993) sue: 26, No. 5 (1993). Music Journal 3 (1993).
SALMAN, AMER SHAKER, “Methods HALL, HELEN, “Both Sides of the Mir- D’ANGELO, ALDO, with LILIAS
for the Seventeen Distinct Types of ror,” Leonardo Music Journal3 (1993). GREEN, “Ghost Machine: A
© 1994 ISAST LEONARDO MUSIC JOURNAL, Vol. 3, pp 97-100, 1993 Q7
Filmmaker’s Optical Image Proces- “Anamorphosis and the Eccentric LAND, RICHARD L., “Virtual Reality
sor,” 26, No. 1 (1993). Observer: Inverted Perspective and and Technological Frontiers,” 26,
OLIVEROS, PAULINE, “The Earth the Construction of the Gaze,” by No. 3 (1993).
Worm Also Sings: A composer’s Daniel L. Collins, 26, No. 1 (1993). MALINA, ROGER F., “25th Anniversary
practice of deep listening,” Leonardo TOPPER, DAVID, Comment on “Com- Series,” 26, No. 3 (1993).
Music Journal 3 (1993). puter Graphics for the Analysis of MANDELBROJT, JACQUES, “An Ap-
OSBORN, JOHN A.L., “Amphography, Perspective in Visual Art: Las praisal of 25 Years of Leonardo and
The Art of Figurative Tiling,” 26, Meninas by Velazquez,” by Frederic Suggestions for Future Develop-
No. 4 (1993). Chorda, 26, No. 1 (1993). ments,” 26, No. 4 (1993).
URSYN, ANNA, “Planks, Programs and OX, JACK, “Intellectual versus Real
Art: Computer Graphics as a Sculp- COMPACT DISC Property Rights,” 26, No. 1 (1993).
tural Tool,” 26, No. 1 (1993). CHOPIN, HENRI, le souffle et la langue, RAND, HARRY, “Art as Adaptation,” 26,
Leonardo Music Journal CD Series 3 No. 3 (1993).
ART/SCIENCE FORUM (1993). ROSENBOOM, DAVID, “Music Nota-
FABO, SABINE, “Arts and Media: To- DUTTON, PAUL, Metalogos: Suite in tion and the Search for Extra-Ter-
wards a Universal Understanding? Two Parts (A & B), Leonardo Music restrial Intelligence,” 26, No. 4
The Myth of Babel Revisited—An In- JournaClD Series 3 (1993). (1993).
ternational UNESCO Symposium,” HUTCHINSON, BRENDA, Long Tube SHERIDAN, SONIA LANDY, “A Per-
26, No. 4 (1993). Trio, Leonardo Music Journal CD Se- sonal Electronic Museum,” 26, No. 3
GALVANI, PAMELA, with DAVID A. ries 3 (1993). (1993).
SMALLEY and NOEL B. ZAHLER, MOSS, DAVID M., Conjure, Leonardo SZEKELEY, PIERRE, “Tribute to Frank
“The Center for Arts and Technol- Music Journal CD Series 3 (1993). J. Malina,” 26, No. 4 (1993).
ogy at Connecticut College,” 26, No. SCHERSTJANOI, VALERI, Sense-non-
4 (1993). Sense (Introduction to Speech-Opera), GATEWAY
PETROV, VLADIMIR, and LEONID Leonardo Music Journal CD Series 3 ASCOTT, ROY, “Bachelor of Arts in In-
DORFMAN, “Art and Emotions: In- (1993). teractive Arts, Gwent College of
ternational Symposium, Perm, Rus- STEWART, AMANDA, # , Leonardo Mu- Higher Education,” 26, No. 1
sia, 17-21 September 1991,” 26, No. sic JournaClD Series 3 (1993). (1993).
3 (1993). WISHART, TREVOR, Vocalise, Leonardo BATTIER, MARC, “Leonardo Honorary
PIEMONTESE, MARC, “Les Artistes et Music Journal CD Series 3 (1993). Editor Nicholas Sch6ffer,” 26, No. 1
la Lumiére—Artists and Light,” 26, (1993).
No. 1 (1993). DOCUMENTS BUREAUD, ANNICK, “Differentiel(s)—
GIPE, PAUL, “The Wind Industry’s Ex- Art and Cognition,” 26, No. 3 (1993).
CD COMPANION perience with Aesthetic Criticism,” BUREAUD, ANNICK, “Profile: René
CHOPIN, HENRI, le souffle et la langue, 26, No. 3 (1993). Berger,” 26, No. 2 (1993).
Leonardo Music Journal 3 (1993). OX, JACK, “Creating a Visual Transla- BUTLER, PATRICIA A., “Leonardo Hon-
DUTTON, PAUL, Metalogos: Suite in tion of Kurt Schwitters’s Ursonate,” orary Editor Sean O'Driscoll,” 26,
Two Parts (A ©& B), Leonardo Music Leonardo Music Journal 3 (1993). No. 1 (1993).
Journal 3 (1993). COCKBURN, GEORGE, “Science-Art
HUTCHINSON, BRENDA, Long Tube EDITORIALS Centres and Their Work,” 26, No. 2
Trio, Leonardo Music Journal 3 (1993). AGOSTON, GEORGE A., “A Method for (1993).
MOSS, DAVID M., Conjure, Leonardo Judging Colors,” 26, No. 3 (1993). EARLS, ZEREN, “Arts Replace Arms:
Music Journal 3 (1993). ASCOTT, ROY, “Telenoia: Art in the Age United Nations Day of Peace and
SCHERSTJANOI, VALERI, Sense-Non- of Artificial Life,” 26, No. 3 (1993). Celebration,” 26, No. 3 (1993).
Sense (Introduction to Speech-Op- CARERI, GIORGIO, “Scientists and GALEYEV, BULAT M., “Computer Ani-
era), Leonardo Music Journal 3 (1993). Artists—Artisans Searching for New mation: Problems and Perspectives,
STEWART, AMANDA, # , Leonardo Mu- Realities,” 26, No. 3 (1993). Moscow, 22-23 February 1992,” 26,
sic Journal 3 (1993). CARRIER, DAVID, Visual Theory and No. 1 (1993).
WENDT, LARRY, “Vocal Neighbor- Leonardo, 26, No. 2 (1993). HAUS, GOFFREDO, “IEEE Computer
hoods: A Walk through the Post- CLAUS, JURGEN, “The Electronic Bau- Society Task Force on Computer
Sound Poetry Landscape,” Leonardo haus Revisited,” 26, No. 4 (1993). Generated Music,” 26, No. 4 (1993).
Music Journal 3 (1993). DUNCAN, ELMER H., “The Present HILL, ANTHONY, “Profiie: Yona
WISHART, TREVOR, Vocalise, Leonardo State of the American Society of Aes- Friedman,” 26, No. 4 (1993).
Music Journal 3 (1993). thetics,” 26, No. 3 (1993). MALINA, ROGER F., “Leonardo Honor-
FRANKE, HERBERT W., “Intuition and ary Editor Otto Klineberg,” 26, No.
COMMENTARIES Intellect,” 26, No. 3 (1993). 1 (1993).
CONRADI, W. JAMES, Comment on GLUSBERG, JORGE, “Leonardo: 25th MALINA, ROGER F., “Leonardo Honor-
Leonardo Special Issue: Archives of Ho- Anniversary,” 26, No. 4 (1993). ary Editor Robert O. Preusser,” 26,
lograbhy, 26, No. 4 (1993). GRILLO, YUSUF A., “To Rediscover the No. 3 (1993).
RODEMER, MICHAEL, Comment on Wheel: The Dilemma of the Inven- MALINA, ROGER F., “Prix Ars
“On Memory (Electronic or Other- tive Technologist in the Third Electronica 1994: Interactive Art—
wise), ” by Vilém Flusser, 26, No. | World,” 26, No. 3 (1993). Computer Music—Computer Ani-
(1993). HILL, ANTHONY, “Art and Science,” mation,” 26, No. 4 (1993).
TAMARI, VLADIMIR, Comment on 26, No. 3 (1993). PENROSE, DENISE E.M., “Content Be-
98 1993 Leonardo Index
yond Form at Eurographics °91,” 26, YOUNG, GREGORY, JERRY ARNHEIM, RUDOLF, Review of Art and
No. 1 (1993). BANCROFT and MARK Physics: Parallel Visions in Space, Time
RAY, DAVID, “Glove Controllers for Au- SANDERSON, “Musi-tecture: Seek- and Light, by Leonard Shlain, 26,
dio-Visual Performances,” 26, No. 3 ing Useful Correlations between Mu- No. 3 (1993).
(1993). sic and Architecture,” Leonardo ARNHEIM, RUDOLF, Review of Chang
RIGAL, CHRISTIAN, “International Music Journal 3 (1993). ing Images of Pictorial Space: A History
Museum of Electrography (MIDE), of Spatial Illusion in Painting, by Will-
University of Castilla-La Mancha, GENERAL NOTES iam V. Dunning, 26, No. 2 (1993).
Cuenca, Spain,” 26, No. 2 (1993). PARISER, DAVID, “Review of The Nature ARNHEIM, RUDOLF, Review of
SANDERSON, COLIN, “ASCENT Feasi- of Creativity: Contemporary Psychologi- Goethe ’s Botanical Writings, trans-
bility Study,” 26, No. 3 (1993). cal Perspectives,” Robert J. Sternberg, lated by Bertha Mueller, with an in-
ed., 26, No. 2 (1993). troduction by CharlesJ . Engard, 26,
GENERAL ARTICLES POPE, ROBERT, “A Policy Model for No. 1 (1993).
FONSECA, RORY, “Shape and Order in Self-Funding of Ethical Science ARNHEIM, RUDOLF, Review of Re-
Organic Nature: The Nautilus through the Arts,” 26, No. 2 (1993). thinking the Forms of Visual Expression,
Pompilius,” 26, No. 3 (1993). by Robert Sowers, 26, No. 2 (1993).
FRANKLIN, MARGERY B., ROBERT C. INTRODUCTIONS ARNHEIM, RUDOLF, Review of
BECKLEN and CHARLOTTE L. FRIEDMAN, YONA, “Development Symmetrie, Bauplan der Welt, by
DOYLE, “The Influence of Titles on through Images: An Introductory Henning Genz, 26, No. 1 (1993).
How Paintings Are Seen,” 26, No. 2 Remark to the Art and Development BATTIER, MARC, Review of COSMOS IJ,
(1993). Section,” in Special Section “Devel- recording by Kazuo Uehara,
FRIEDMAN, YONA, “Scientific Theory opment through Images,” 26, No. 4 Leonardo Music Journal3 (1993).
as One of the Fine Arts,” in Special (1993). BATTIER, MARC, Review of GRM
Section “Development through Im- MALINA, ROGER F., “Leonardo: Look- Tools 1.0, software designed by
ages,” 26, No. 4 (1993). ing to the Future,” 26, No. 1 (1993). Hugues Vinet et al., Leonardo Music
GESSERT, GEORGE, “The Flowers of PINKEL, SHEILA, “Art and Social Con- Journal 3 (1993).
Human Presence: Effects of Esthetic sciousness,” Art and Social Conscious- BATTIER, MARC, Review of Giuseppe CG.
Values on the Evolution of Orna- ness, Special Issue: 26, No. 5 (1993). Englert, recording by Giuseppe G.
mental Plants,” 26, No. 1 (1993). Englert, Leonardo Music Journal3
GESSERT, GEORGE, “Notes on Ge- HISTORICAL PERSPECTIVES (1993).
netic Art,” 26, No. 3 (1993). ON THE ARTS, SCIENCES AND CARRIER, DAVID, Review of To the Res
HALL-MARRIOTT, NATALIE LOUISE, TECHNOLOGY cue of Art: Twenty-Six Essays by Rudolf
and DON HERBISON-EVANS, AGOSTON, GEORGE A., “Memoir: Be- Arnheim, 26, No. 3 (1993).
“BALLONES: A Ballet Animation hind the Scenes at Leonardo 1970- COBURN, ROBERT, Review of La
Language,” 26, No. 3 (1993). 1981,” 26, No. 3 (1993). Belleza del Silencio, recording by Or-
HERBISON-EVANS, DON, “The Per- AICHELE, K. PORTER, “Paul Klee and lando Jacinto Garcia, Leonardo Music
ception of the Fleeting Moment in the Energetics-Atomistics Contro- Journal3 (1993).
Dance,” 26, No. 1 (1993). versy,” 26, No. 4 (1993). COBURN, ROBERT, Review of
JONES, HOWARD, “Evolution of the VON BLUM, PAUL, “New Visions, New Musicworks 55: Sound Ecology, record-
Pragmatic Paradigm: The Agency of Viewers, New Vehicles: Twentieth- ing by Musicworks, Leonardo Music
Graphic Media in Cognitive Devel- Century Developments in North Journal3 (1993).
opment,” 26, No. 2 (1993). American Political Art,” Art and So DALY, SCOTT, Review of Almost Never,
KNIGHT, TERRY W., “Color Gram- cial Consciousness, Special Issue: 26, recording by Biota, Leonardo Music
mars: The Representation of Form No. 5 (1993). Journal3 (1993).
and Color in Designs, 26, No. 2 GRAHAM, RON, Review of Manual of
(1993). MUSIC/SCIENCE FORUM Practical Holography, by Graham
NODINE, C.F., P.J. LOCHER and E.A. HAUS, GOFFREDO, “IEEE Compute Saxby, 26, No. 1 (1993).
KRUPINSKI, “The Role of Formal Society: Task Force on Computer- HARGITTAI, BALAZS, and ISTVAN
Art Training on Perception and Aes- Generated Music,” Leonardo Music HARGITTAI, Review of Zometool—
thetic Judgement of Art Composi- Journal3 (1993). The 31-Zone Structural System (model-
tions,” 26, No. 3 (1993). SYKES, DEBRA, “The Tuning of the ing kit), manufactured by Biocrystal,
RICHARDSON, JACQUES, “Communi- World: The First International Con- Inc., 26, No. 4 (1993).
cation, A Critical Pathway to Devel- ference on Acoustic Ecology,” HERMAN, MARTIN, Review of Action
opment,” in Special Section Leonardo Music Journal 3 (1993). Réaction, recording by Daniel
“Development through Images,” 26, Scheidt, Leonardo Music Journal3
No. 4 (1993). REVIEWS (1993).
SHIPLEY, THORNE, “Visual Textures ANONYMOUS, Review of The Art and MALINA, ROGER F., Review of Blue
as Impressionistic and Linguistic Architecture Thesaurus: Authority Refer print for Space: ScienceFiction to Science
Messages: The Communication of ence Tool (I'M) Edition, Oxford Univ. Fact, by Frederick I. Ordway III, 26,
Aesthetics, Scientific and Stylistic In- Press, 26, No. 3 (1993). No. 3 (1993).
formation, 26, No. 2 (1993). ARNHEIM, RUDOLF, Review of Archi MALSKY, MATT, Review of Steel & Bam
WACHTEL, EDWARD, “The First Pic- tecture in the Culture of Early Human- boo, recording by Robert Dick and
ture Show: Cinematic Aspects of ism, by Christine Smith, 26, No. 4 Steve Gorn, Leonardo Music Journal3
Cave Art,” 26, No. 2 (1993). (1993). (1993).
1993 Leonardo Index 99
MAZZOLA, GUERINO, Review of Com- load for the Space Shuttle,” 26, No. WORDS ON WORKS
puter und Musik: Eine Einfiihrung in 4 (1993). ANDREAS, BRIAN, “Hall of Whispers:
die digitale Klang—und Musik- COMTE, PIERRE, “The ARSAT Saga: A Virtual Opera,” 26, No. 3 (1993).
verarbeitung, by Philipp Ackermann, The Adventures of an Art-Science BUCHEN, BILL, and MARY BUCHEN,
Leonardo Music Journal 3 (1993). Space Concept,” 26, No. 1 (1993). “Geo-Sonic,” 26, No. 1 (1993).
MITROPOULOS, MIT, Review of “Pris- WOODS, ARTHUR, “The Cosmic GESS, RICHARD, “Mahasukha Halo,”
oners of Software: An Art-Science- Dancer: Sculpture and the Absence 26, No. 3 (1993).
Technology Review” (exhibition), of Gravity,” 26, No. 4 (1993). GUYER, CAROL, “Quibbling: A
26, No. 3 (1993). Hyperfiction,” 26, No. 3 (1993).
MULDER, AXEL, Review of MIDI: A TECHNICAL ARTICLES HOOYKAAS MADELON, and ELSA
Comprehensive Introduction, by J. AMES, CHARLES, “How To Level a STANSFIELD, “Point of Reference,”
Rothstein, 26, No. 3 (1993). Driver Sequence,” Leonardo Music 26, No. 1 (1993).
PARISER, DAVID, Review of Jn Defence Journal3 (1993). JOYCE, MICHAEL, “Afternoon, A
of Science: Science, Technology and Poli- BEHR, OMRI, and MARION R. Story,” 26, No. 1 (1993).
tics in Modern Society, by J.W. Grove, BEHR, “Etching and Tone Creation KELZER, KIMBERLY, “Home on the
26, No. 3 (1993). Using Low-Voltage Anodic Electroly- Range,” 26, No. 1 (1993).
PARISER, DAVID, Review of Science in sis,” 26, No. 1 (1993). KIRBY, LYNN, “Portraits on Common
Cinema: Teaching Science Fact through ENGLERT, GIUSEPPE G., “Our Score: A Time,” 26, No. 1 (1993).
ScienceFiction Film, by Leroy Dubeck, Description of Metro 3, A Composi- POCOCK-WILLIAMS, LYNN, “A Cer-
Suzanne Moshier and Judith Boss, tional and Performance Software Pro- tain Uncertainty,” 26, No. 3 (1993).
26, No. 1 (1993). gram,” Leonardo Music Journal 3 POVALL, RICHARD, “The Last Gar-
POLATSCHEK, KLEMENS, Review of (1993). den,” 26, No. 3 (1993).
Ars Electronica 92: Die Welt von KAJIKAWA, YASUSHI, “Transitions in REID, MELYNDA, “Stake-Out at Post
Innen Endo & Nano/The World from the Topology of Polyhedra,” 26, No. Office Bay,” 26, No. 1 (1993).
Within—Endo & Nano (exh. cat.), 1 (1993). ROLNICK, NEIL B., “Digital Processing
Karl Gerbel and Peter Weibel, eds., SEMENOFF, NIK, “Waterless Lithogra- in Performance: ReRebong and
26, No. 3 (1993). phy Using Traditional Grained or ElectriCity,” 26, No. 1 (1993).
POPPER, FRANK, Review of Commercial Photosensitive Plates,” ROSEN, JOE, “Palm-Size Plastic Case
Elektronisches Gestalten in Kunst und 26, No. 4 (1993). Series,” 26, No. 3 (1993).
Design: Richtungen, Institutionen, ROSENBERG, JIM, “The Word the Play
Bergriffe, by Jurgen Claus, 26, No. 2 THEORETICAL PERSPECTIVES Attaching at a Wide Interval,” 26,
(1993). ON THE ARTS, SCIENCES AND No. 3 (1993).
RAIS, MARK, Review of Looking East— TECHNOLOGY SERMON, PAUL, “Think About the
Synthesizer Music from Estonia and Rus- ALP, AHMET VEFIK, “An Experimental People Now/Think About the Me-
sia, compilation recording, Leonardo Study of Aesthetic Response to Geo- dia Now,” 26, No. 3 (1993).
Music Journal 3 (1993). metric Configurations of Architec- SHAW, JEFFREY, with DIRK
RAIS, MARK, Review of OM, recording tural Space,” 26, No. 2 (1993). GROENEVELD, “Anamorphoses of
by Sven Griinberg, Leonardo Music CASAS, FERNANDO, “The Limit of the Memory,” 26, No. 1 (1993).
Journal3 (1993). Visual World,” 26, No. 2 (1993). SIEGFRIED, WALTER, “Sound Tracks
RAIS, MARK, Review of Relaxation I, KAPLAN, LOUIS, “The Telephone to Reality,” 26, No. 3 (1993).
compilation recording, Leonardo Mu- Paintings: Hanging Up Moholy,” 26, SKRATZ, G.P., and BOB DAVIS, “The
sic Journal3 (1993). No. 2 (1993). Nixon Bookmobile,” 26, No. 1 (1993).
ROWE, ROBERT, Review of Inter-Actors LUCAS, ADAM, “Art, Science and TRUCK, FRED, “The Flying Dream,”
1.0 and MidiShare 1.65 Software, Technology in an Expanded Field,” 26, No. 1 (1993).
Leonardo Music Journal 3 (1993). in Special Section “Development WHITMAN, DEBORAH, “Deus ex
SAXBY, GRAHAM, Review of Alexander, through Images,” 26, No. 4 (1993). Machina/Closet of Angels,” 26, No.
by Edward Lucie-Smith, 26, No. 4 POPPER, FRANK, “The Place of High- 3 (1993).
(1993). Technology Art in the Contempo-
rary Art Scene,” 26, No. 1 (1993).
SPACE ART PURCELL, A.T., “Relations between Pref-
CLAR, RICHARD, “Space Flight Dol- erence and Typicality in the Experi-
phin: An Art-and-Technology Pay- ence of Paintings,” 26, No. 3 (1993).
100 1993 Leonardo Index