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AARON, 82–83
Abbott, Michael, 249
Abstract Expressionism, 74–75, 154, 170, 211
Abstract Impressionism, 29, 34, 39
abstraction, abstract art, 12, 14, 15, 18, 19, 20, 29, 32, 33, 75, 120, 211
computer-generated, 87
figuration vs., 20–21, 30
and physics, 152–53
Academy Awards (Oscars), 95, 96, 332, 343
Ackling, Roger, 141
Ackroyd, Heather, 310–11
“Acoustic Botany: A Genetically Engineered Sound Garden” (Benqué), 113
action painting, 76, 170
Adam, Ken, 97
Adams, Ansel, 102
Adler, Steve, 158–59, 162
Adobe Photoshop, 91, 136
Adobe Systems, 91
Adrian, Robert, 88
Aesthetic Measure (Birkhoff), 331
aesthetics, 223, 290
asymmetry in, 209–10
of author, 139
brain function in, 260, 329, 336
in computer art, 57, 70, 94
of data, 265–66, 282, 285, 293, 296, 299–302
and design, 121, 332, 334, 337
diverse interpretations of, 329–39
emotion in, 125, 332, 335
in evolutionary art, 274, 276
function and, 309–10, 332, 333, 337
of the future, 316
human body in, 236
and information, 110, 334, 337–38
intuition and, 335, 336–39
in media art, 115
minimalist, 234
in motion pictures, 97
in nature, 73–75, 199, 337
and patterns, 128
perception in, 336
in physics, 9, 146, 167, 330, 334–35
in Pollock’s paintings, 172, 173, 187
randomness in, 251
and science, xx–xxi, 27, 330
simplicity in, 332, 336, 337
skill in, 335
in sound art, 229, 239, 245, 249, 252–53, 260, 263, 317, 331–32, 335–36
symmetry in, 330, 334, 338
AFM Mote (Phillips), 268
aircraft, flight path animation of, 293, 334
aisthanomai (I perceive, feel, sense), 224
Alba (fluorescent rabbit), 208–9
Albano, Albert, 179–80, 186–87
Albert, Prince, 73
Albright-Knox Art Gallery, 154
alchemy, 3
Aldworth, Susan, 193, 194
Alfvén, Hannes, 34–35
algorithms, creativity and, 80, 83, 85, 87, 102–3, 115, 118, 163, 251–52, 253, 259, 264, 271, 274, 280, 284–85, 286, 289–90, 294, 300, 331, 336, 338, 343, 348
Álvarez-Gaumé, Luis, 152
Alzheimer’s patients, 256
Ambika P3, 324
American Telephone and Telegraph (AT&T), 35
amphibians, declining population of, 216–17
amphorae, resonance of, 235–37
Amsterdam, University of, 20
anatomical art, 325–26
Anderson, Mogens, 23
Andrea Rosen Gallery, 130
androgeny, 205
Angel of the North (Gormley), 163
Angels and Demons (D. Brown), 147
Angheleddu, Davide, 192
anime, 97, 277
Anker, Suzanne, 211–15, 214
Anschaulichkeit (Visualizability; Lavado), 137, 138
antiparticles, 26
Antonelli, Paola, 347
Apollinaire, Guillaume, 6, 13, 24, 228–29
Appelhof, Ruth, 179
Apple II computer, 90–91, 286–87
applied quantum philosophy, 120
apps, 285, 343
Arbulú, José Luis, 136
architecture, 17, 58, 82, 91, 105, 215, 277–78, 284
advances in, 6, 101–3, 331
and sound art, 229–31, 237, 239
“Are They Pollocks?: What Science Tells Us About the Matter Paintings,” 184
Arnheim, Rudolf, 74
Arnold, Ken, 306–14, 344–45
Ars Electronica, Linz, Austria, xxii, 88, 91, 108, 115, 123, 148, 151, 209, 219, 225, 234, 236, 237, 248, 287, 305, 306, 314–16, 322, 339, 343, 348
art, defining of, 303–4, 316, 317
Art and Electronic Media (Shanken), xxii
Art & Science Collaborations, Inc. (ASCI), 306
Art & Science: Merging Art and Science to Make a Revolutionary New Art Movement, 190–204
three debates at, 202–4
Art + Science Now (Wilson), xxii
Art as the Evolution of Visual Knowledge (Biederman), 74
Artforum, 231
“Art Goes Boom,” 38
Article biennale of electronic art, 223
artificial art, 71
artificial intelligence (AI), 71, 80–81, 82, 94, 109, 258, 260, 289, 291, 336
artificial life, 289
Artmachine (Tyson), 152–53
art market, 234–35
Art of the Digital Age (Wands), xxii
Art Orienté Objet, 224, 226
Arts, Humanities and Research Council, 324
Arts Catalyst, The, 306, 311, 327–28
artsci, xxii, 92, 115, 137, 139, 189, 305–6, 315, 322, 326–28
as new avant-garde, 340–48
see also art-science collaboration
“artscience,” as term, 319
art-science collaboration, 30, 43, 58–59, 77, 96, 106, 109, 113, 114–15, 118, 122, 126, 128, 131–32, 134–35, 190–91, 210, 216, 224, 226, 246, 249, 252, 260, 271, 272–73, 276–77, 280, 285, 291, 299, 308–14, 325, 341
attribution dispute in, 135, 139, 313–14, 325, 328
author’s participation in, 136–38
at CERN, 139–48
commercial aspects of, 37, 53, 65, 113, 241, 279, 290, 292, 297, 307, 315, 322, 326, 347
controversy in, xxi–xxii
debates over, 202–4
as dismissed by traditional art world, xxii, 62, 75, 79, 111, 115, 157, 202, 217, 234, 271–72, 275, 291–92, 297, 305–6, 315–16, 322, 347–48
encouragement and support for, 305–28, 348
establishment resistance to, 51–52, 62, 69, 70, 84, 313, 319, 327–28
as evolving, 305–6, 340–48
generational shift in, 92, 292, 313, 315–16, 317–18
hierarchy of disciplines in, 203–4, 210, 215, 276, 296–97, 312–14, 325, 341
historical perspective on, xx–xxi, 3–32, 73, 189, 317, 340–42
impediments to, 139, 151, 166–67, 202, 203–4, 215, 305–6, 313–14, 318–20
introduction to art world of, xix–xx, 33
inventions in, 104–6, 234, 319–20
lack of cooperation in, 37, 43–46, 65
malfunctions in, 38, 46, 47, 48, 57, 64, 88
as misunderstood, 160–61, 327–28
New York art scene roots of, 33–65
in Pollock authentication debate, 168–88
pushing the boundaries of, 204–27, 327, 340
as reflective of social trends, 64–65, 155–56
safety issues in, 48, 53
symmetry in, 9, 26–27, 74, 125–26, 276, 330, 338
terminology for, xxii, 204, 213, 319
in third culture, 340–48
three-step approach to, 312
two-cultures of, 341–42
see also specific fields of collaboration
Art-Sci program, 310–11
Arts Council, 271, 311, 327
Ascott, Roy, 75–78, 77, 88–89, 92, 208, 269
Aspects of Form: A Symposium on Form in Nature and Art, 74
assembly language, 257
astronomy, 128–30, 134, 137
Astrophysical Journal, 135
astrophysicists, 131–32
asymmetry, 27, 209–10
Atlantis Gallery, 141
Atlas Detector, 147
atomic bombs, 30, 203
atomic force microscope (AFM), 268, 270
atomic structure, 268
atoms, 73, 137, 263, 336
theory of, 15–26
Attenborough, David, 307–8
Auinger, Sam, 135–239, 238, 241, 317
Australian National University Laser Physics Center, 197
authentication, of paintings, 168–88
auto-destructive and auto-creative art, 78
automatic drawing, 24
automatic painting, 246
automatic writing, 24, 246
Autumn (Pollock), 171
avant-garde:
art-science collaboration as new, xxi, 73, 74, 155, 328, 340–48
establishment rejection of, 340–41, 347–48
inception of, 6–8
music, 245, 253
in New York, 33–65
provocation in, 148–49
traditional art world vs., xx, xxii, 8
see also specific artists and movements
Babbitt, Milton, 49
Bach, Johann Sebastian, 245, 260, 263, 336
Bachelard, Gaston, 27–28
bacteria, 114, 218–21
Bacterial Radio (J. Davis), 219–20, 220
balance, 172–73
Baldwin, Nicola, 308
Ballengée, Brandon, 215–17
ballet dancers, 219
Barbour, Ian, 118–19
Bardeen, John, 35
Barr, Alfred H., 50
BASIC computer language, 269, 272
Basic Design Course, 75–76
Basserode, Jerôme, 141, 143
Bateson, Gregory, 289–90, 302
Bauhaus School, 75, 317, 318, 324
Beast (Oxman), 102–3, 103
Beatles, 237, 253
Beck, Harry, 282, 333
Beethoven, Ludwig van, 229
belle époque, 5–6, 12
Bell Telephone Laboratories (Bell Labs), 34–37, 43–45, 49, 50, 51–52, 57, 58, 67–69, 71, 72, 134, 274, 283, 312
Belvedere Gallery, 108
Benaki Museum, Athens, Greece, 137
Benn, Anthony Wedgwood, 58
Benqué, David, 113
Bense, Max, 57, 70–71, 283, 331
Benson, Michael, 141
Berger, John, 146
Bernal’s Picasso (Picasso), 136
Berners-Lee, Tim, 91
Beuys, Joseph, 41, 140, 209, 216, 226
Biederman, Charles J., 74
Big Bang:
echoes from, 35, 47
re-creation of, 158, 250
theory of, 118, 133–34
Big Red & Shiny, 160
BioBricks, 114
bioengineering, 112, 305
bioinformatics, 276
Biojewellery, 112
biology, 103, 163, 189–90, 209, 276
advances in, 212
aesthetics in, 320
design and, 112–14
synthetic, see synthetic biology
biology-influenced art, 154, 189–227, 306, 326, 337, 344
cross-species experimentation in, 224–27
ethical and social issues in, 212–13, 215–17
hazards of, 219, 220, 223, 226
history of, 189
shock value of, 223–24, 227
terminology of, 204
bioluminescence, 221–22
bionics, 240
bioreactor, 206–7
biotechnology, 306–12, 327, 346
Birkhoff, George, 70, 331
Biro, Paul, 182
bits (binary digits), 262–63
Bjork, 245
black holes, 117, 123, 136–37, 190, 250, 295, 302
Blake, Jeremy, 278
Blaue Reiter, Der (The Blue Rider), 120
Bletchley Park, 289
Blind Light (Gormley), 165
Blocher, Sylvie, 141
Bluetooth, 200
body:
in anatomical art, 325–26
in biology-influenced art, 157, 191–98, 204–8, 219, 222–23, 224–27
in death, 191–92
extensions to, 200–201
female, 204–6, 219
in listening, 231, 233
Pollock’s use of, 170
in sculpture, 162–64
used as canvas, 108, 204–8
Bohm, David, 163
Bohr, Niels, 16–17, 20–24, 28, 31
Bolshevik Revolution (1917), 18
bone marrow, 198
bones:
calcium in, 331
implants of beef, 206
bone tissue, 112–13
bongology incident, 47
Boole, George, 108
Borghi, Mark, 174, 176–77, 179–82
Boulez, Pierre, 257
Bove, Michael, 104–6
Boyack, Kevin, 299
BP Deepwater Horizon oil spill, 217
brain:
computer compared to, 291
in listening, 237
music experienced by, 258–60, 335
in perceiving beauty, 260, 329, 336
as subject of art, 192–95, 222–24, 310, 315, 337
Branca, Glenn, 137
Braque, Georges, 5, 12, 14, 301
Brata Gallery, 33
Brattain, Walter, 35
Brave, 99
Breathing Room (Gormley), 163–64, 165
Breton, André, 24–25, 28, 30, 246
Bride Stripped Bare by Her Bachelors, The (Duchamp), 351n
Bridges, Jeff, 94
Briscoe, Chris, 82, 84
British Association for the Advancement of Science, 327
British Council, 311
British Medical Journal, 202
Brookhaven National Lab (BNL), 158–59, 162
Brown, Carolyn, 42
Brown, Dan, 147
Brown, Paul, 82, 84–85, 84
Brücke, Der (The Bridge), 120
Brueghel, Pieter, 18
Bruno, Giordano, 346
Bucky balls, 120
Buddhism, 45, 92, 163, 277
Burgess, Gelett, 8
Burnham, Jack, 63–64
Burroughs, Silas, 307
Burroughs, Wellcome and Company, 307
butterflies, 189, 209–10
Cables (S. Miller), 167
Cage, John, xix, 41, 42, 45–47, 50, 58, 123–24, 209, 228, 230, 233, 236, 241, 251
Cahiers d’Art, 29
calcium, 331
Calder, Alexander, 81, 87, 278
California, University of:
at Berkeley, 36, 96
at Davis, 96
at San Diego, 82
California Institute for Telecommunications and Information Technology (Calit2), 101
Camera Lucida (Domnitch and Gelfand), 122–23, 122, 125
Campbell-Johnston, Rachel, 147
Camus, Albert, 34
cancer cells, 208
Capra, Fritjof, 163
capsules, 307
carbon microtubules, 270–71
Carlsberg Foundation, 23
Carlyle, Angus, 228
Carnie, Andrew, 191, 191
carpal skin, 103
carpal tunnel syndrome, 103
Carter, Sally, 202
Cascella, Daniela, 244
Catholicism, in ORLAN’s art, 205
Catmull, Ed, 97
Cattrell, Annie, 193–95, 195
Catts, Oron, 198–99, 203, 337, 344
cave drawings, 189
cells:
acoustic, 231
in biology-influenced art, 206–8, 211
blood, 157
genetic reprogramming of, 114
model of, 307
Central Saint Martins College of Arts and Design, London, England, xxii, 128, 163, 346
Central School of Art and Design, London, England, 75
centriphones, 243
CERN, see Conseil Européen pour la Recherche Nucléaire
CERN Courier, 141
Cézanne, Paul, 5, 76, 79–80, 314, 348
Chagall, Marc, 17
chaise longue, 102–3
Chaitin, Gregory, 289
Change Paintings (Ascott), 75, 77, 89
chaos theory, 118, 172
Chomsky, Noam, 70
chromastrobic light, 118
chromosomes, 213
mapping of, 211
Cimadevila, Margarita, 346
Cinema plus Psychoanalysis – the Science of Ghosts, 140
“citizen scientists,” 217, 271
“clearing and staining” technique, 216
Cleveland Plain Dealer, 179, 181, 182, 183, 186
climate change, 282, 318, 327
Close, Chuck, xix
cloud chamber, 124–25, 335
cloud science, 165
code-breaking, 289
Codedoc, 303–4
CodeProfiles, 303
Cogito Ergo Sum 3 (Aldworth), 193, 194
Cohen, Bernard, 78, 126
Cohen, Harold, 78, 82–83, 83, 126
Cohen, Nathan, 125–28
Cold Harbor Laboratory, 213
Coldstream, William, 82
collages, 74
Collide@CERN, 147–52, 166, 315
Collins, Susan, 85–86, 86
Colloquy of Mobiles (Pask), 59–60, 59
color theory, 4
Coltrane, John, 236
combines, 39
commercialism, 37, 65, 279, 290, 292, 297, 315, 322, 326, 347
anti-, 241
in design, 113
and medicine, 307
Committee on Public Understanding of Science, 327
communication theory, 42
compact discs, 91
complementarity, 23–24
complexity theory, 153
Composition with Lines (Mondrian), 72, 72, 80
computational design, 283–84
computer animation, 52, 59–60, 87, 91, 92, 251, 297, 299, 301, 304, 323
in motion pictures, 94–99, 343
in visualizing data, 286, 288–89, 293–94
computer art, 35, 51–52, 57, 59, 62, 65, 66–89, 120, 152–53, 157, 189, 208, 229, 252, 261, 269, 286–87, 331, 333–34
and media art, 90–115
movement in, 86–87
Computer Composition with Lines (Noll), 72
computer graphics, 63, 92, 95, 105, 120, 286–87, 289, 333
cards, 91
inception of, 66–69
mutating, 272–77
computers, 43, 50, 79, 233, 316, 337
advances in, 91
aesthetics and, 331
creativity and, 54–63, 91, 286–92
in data visualization, 265–304
distrust of, 62
early, 67–69, 80, 87, 90, 250–51, 257, 286–87, 289, 296
in evolutionary art, 272–77, 289–90
and fabric design, 250
improvisation by, 257–61
interaction with, 76, 80–81, 86–87, 269, 333
learning capacity of, 82
limitations of, 261
Mac, 85, 100, 254, 255
in music, 51, 52, 59, 64, 78, 91–94, 106–7, 226, 236, 242, 243, 244, 248, 254–61
optimism about, 62
in painting authentication, 171, 176
in realtime performance, 258
in third culture, 343
computer software, 64, 87, 91, 92, 115, 255, 266, 273, 283
as art, 303–4, 334
open-source, 280, 286–88, 294
computer tomography (CT scans), 103
conceptual art, 64–65
concrete, load-bearing, 6, 101–2, 331
concrete poetry, 54, 57, 79
connoisseurship, 185, 188
consciousness, 89
Conseil Européen pour la Recherche Nucléaire (CERN), xxii, 106, 158, 161–62, 166–67, 322, 332, 344
art-science collaboration at, 139–52, 153, 164–65, 341
arts residency program at, 147–52, 166, 315
Consequences (Exquisite Corpse), 298–99
Constable, John, 4
Constructivism, 18, 79, 273, 324
Convergence (Pollock), 154
Cope, David, 260, 336
Copenhagen (Frayn), 162
copyright debate, 69, 115
Cornock, Stroud, 79–80
Coscarelli, Don, 97
cosmology, 131–35
see also Big Bang
Cough Piece (Ono), 226
Cousteau, Jacques, 35
Coveyou, Robert R., 72
crafts, 73
crowdsourcing, 294–95, 299
crumple theory, 143–44
crystal garden, 163
crystals, 73–74, 159
Crystal Sounds of A Synchrotron Storage Ring (Thomas), 247, 248–49
Cubism, 155, 170, 301, 338, 347, 348
complementarity and, 23–24
inception of, 5, 7–8, 11, 13, 14, 45, 340–41
Cunningham, Merce, 41, 42
cybernetics, 54–57, 64, 76–79, 87, 88, 117
Cybernetics, or Control and Communications in the Animal and the Machine (Wiener), 55
Cybernetic Serendipity, 54, 57–63, 64, 79, 80, 82, 324
Cyclotone (Prudence), 250
Cypher (Kac), 209
CYSP 1 (Schöffer), 56
Dada, Dadaists, 14, 24, 37, 39, 45, 241
Daily Telegraph, 146
Dalí, Salvador, 25–26, 30, 52
dark matter, 134
“Dark Matter rap” (Weinberg), 134
Dartmoor, 240–41
data:
breathing life into, 292–99
processing large amounts of, 282–86, 293, 299
scientific, 299–304
in social media, 266
as term, 265
data analysis, 281–82
data mining, 266
data visualization, 59, 252, 265–304, 316, 333, 337, 339, 341, 343, 346
David, Ed, 51
Davis, Joe, 210, 217
Davis, Miles, 236
Davisson, Clinton, 35
Dawson, Paula, 105–6
Deacon, Richard, 142
death, art of body in, 191–92
Death and the Powers (Machover), 255–56, 256
de Broglie, Louis, 22, 28–29
Debussy, Claude, 6, 245, 348
declarative knowledge, 82–83
Defense Advanced Research Projects Agency (DARPA), 323
Déjeuner sur l’herbe (Manet), 340
de Kooning, Willem and Elaine, 33
Delaunay, Robert, 13
de Maria, Walter, 53
de Menezes, Marta, 189, 209–10, 210
de Menil, Marie-Christophe, 50
Demoiselles d’Avignon, Les (Picasso), 7–8, 11, 25, 26, 73
de Montparnasse, Kiki, 28
Demoscene subculture, 98–99
Derrida, Jacques, 140
design:
and art, 104, 111, 215, 332
data in, 284–86
innovation and creativity in, 111–14, 131–32
science and, 294, 305
and technology, 75, 91, 112, 283–84, 305
Design and the Elastic Mind, 294, 305
design biology, 112–14
De Stijl (The Style), 19
Devcic, Robert, 190, 325–27
Diamond Light Source, 247, 249, 335
digital art, 91, 94, 251, 252, 278, 297, 315
as reproducible, 292, 347
Digital Baton, 107
digital identity, 280–82
Digital Image Design Incorporated, 302
Digital Input Device (DID; formerly Dinosaur Input Device), 96
Digital Pictures, 84
“dignity of disciplines,” 203
Dilley, Barbara, 42
Dion, Mark, 215
Dirac, Paul, 26
“directed improvisation,” 246
Discover, 291, 300
Disintegration of the Persistence of Memory, The (Dalí), 30
Disney, Walt, 97
DIY (do it yourself) art, 209
DNA, 114, 189, 211–13, 276
art, 154, 157, 219–21
Documenta, Kassel, Germany, xxii, 109, 115, 234, 315, 348
Domnitch, Evelina, 122–25, 122, 334–35, 344
Doser, Michael, 141, 146–47, 164
dos Santos, Bartolomeu, 141, 143
dot images, 68, 71–72
double helix, 212–13
Dowson, Katharine, 192, 193
Draves, Isabel Walcott, 292
Draves, Scott, 286–92, 288, 333, 337
dreaming, 104
Dreams in High Fidelity (Draves), 291
Drevermann, Hans, 141
drip style, 170, 173, 184
Duchamp, Marcel, xix–xx, 13, 14, 29, 39, 45, 53, 66, 74, 208, 230, 246, 304, 338–39, 348, 351n
Duchamp-Villon, Raymond, 13
Dunne, Tony, 111–12
Dunne & Raby, 112
Dupuy, Jean, 63
Dürer, Albrecht, 3
Ealing College of Art, 76–78, 88
ear:
grown on Stelarc’s arm, 199–200
science and art of, 309–10
on Vacanti mouse, 199
East Hampton Star, 186
Eastley, Max, 239, 242–43
E. chromi bacteria, 114
eco-art, as term, 217
E. coli bacteria, 114, 218–21
ecology, in art, 215–17, 221, 249
economy, periods of decline in, 20, 65, 83–84, 101, 274
Eddington, Arthur Stanley, 17, 25, 26
Edinburgh Festival Fringe, 308
Edmonds, Ernest, 60, 79–80, 82, 86–87, 331
education:
art, 75–80, 85, 88, 91, 128, 317–18
for third culture, 346–48
see also specific institutions
Edwards, David, 318–20
Edward VII, King of England, 5
Eiffel Tower, 35
Eiffel Tower (Delaunay), 13
1867 (film), 140
1871 (film), 140
Einstein, Albert, 5, 8–11, 12, 15–16, 18, 22, 24–27, 96, 109, 118, 140, 145, 330, 348
Picasso and, 7, 8, 10–11, 102, 119, 313
validation of, 17, 26
“Einstein, Picasso” symposium, 209
electricity, 4, 15, 143
Electric Sheep, 286, 288–90, 333
electromagnetism, 13, 15
Electronic Abstractions, 66
electronic music, 230, 243–44, 248, 253, 257
classical input in, 261–64
electronics, as precursor to computer arts, 66
electron microscopes, 156, 157
electrons, 4, 10, 15–16, 26, 31, 35, 159, 335
as both particle and wave, 22–23, 28–31, 35, 117, 120, 137, 242
in synchrotron, 247
Elegant Universe, The (Greene), 261
Ellis, John, 141
emergent phenomena, 252
Emoto (Loh), 281, 281, 333
End to Modernity, An (McElheny), 132–35, 133, 313
energy, 13, 15
mass and, 10, 12
nuclear, 30
engineering:
collaboration of art and, xix, 34–49, 63, 79, 80, 104–6, 253–57, 280, 291, 296, 331, 332
see also Experiments in Art and Technology (E.A.T.); MIT Media Lab; 9 Evenings: Theater and Engineering
Eno, Brian, 78, 88, 239
entanglement, 109, 120
environment:
sound from, 233
as subject for biology-influenced art, 192–93, 215–17
“epistemological break,” 155
Epstein, Jeremy, 181–83, 186
equations:
for aesthetics, 70
mathematical, 67–68
in physics, 143, 330
in quantum theory, 31
symmetry in, 26–27
erfinden (to invent), 234
Ernst, Max, 28
ether, 15
ethics:
in biology-influenced art, 199, 212–13
in data visualization, 280
in physics, 146
in synthetic biology, 114
ethnic music, 241–42, 244, 245, 252, 259–60
EUCLID email program, 269
European Southern Observatory, 129
European Space Agency, 130
European Union, 139
Evening Standard, 61
Event Horizon (Gormley), 162
Evoluon, 81
evolution, Darwinian theory of, 273, 289, 333
evolutionary art, 272–77, 289–90
Evolutionary Art and Computers (W. Latham and Todd), 272–73
Exotica (Toop), 240
experimental music, 258
experimental physicists, 167
Experiments in Art and Technology (E.A.T.), 43, 49–54, 55, 57, 64, 269
Expo ‘70, Osaka, Japan, Pepsi Pavilion at, 53–54
Expressive Footwear (Paradiso), 107
Exquisite Corpse (Consequences), 298–99
extraterrestrial life, search for, 271, 295
EyeCandy ArtWorks, 116, 332
eyes, in pattern recognition, 172, 187
fabric design, 250
facial recognition, 52, 172
FACT art center, 223
Faraday, Michael, 4, 15, 108
Farid, Hany, 183
Fast Company, 102
Fauvism, 12, 14
Fear Index, The (Harris), 147
Federal Aviation Administration, 293
feedback loops, 54–55, 60, 88, 89, 252, 322
Feeling Material XXXIV (Gormley), 164–65, 164
Feldman, Morton, 236
feminism, in art, 204–8
Feynman diagrams, 31
Feynman, Richard, 31–32, 47
Fiedler, Steffen, 279–80
figurative art, 20
finden (to discover), 234
fingerprint, in painting authentication, 182, 185
fireflies, 221
Fischinger, Oskar, 97, 250–51
Fixing the Ephemeral, 310
Flame (Fractal Flames), 286, 288, 290, 333
Flame algorithm, 287
Flame #149 (Draves), 287, 288
Flat Time (Toop), 243–44
Flight Patterns (Koblin), 293–94, 296, 298
Fluxus movement, 241
flypaper, 215
FoldGrow, 276
footwear, 106–7, 107, 151–52
FORTRAN, 67, 82, 87
40,000 Years of Modern Art, 73
Forty Years of Modern Art, 73
Fosbury, Robert “Bob,” 128–30, 130
Foucault, Michel, 155
Fountain (Duchamp), 39
4’33” (Cage), xix, 228, 241, 251
4D course, 269
4X synthesizer, 257
fourth dimension, 7–8, 15, 17–18, 19, 118, 132, 250
fractal analysis, 171–72, 175–79, 183–85, 187
fractal diagrams, 252
Fractal Flames (Flame), 286, 288, 290, 333
fractals, 168–73, 181, 183, 185–86, 187–88, 270, 287, 329
Frayn, Michael, 162
“Free Alba” campaign, 208
Frequency, 324
Frese, Raoul, 125
Freud, Sigmund, 5, 24, 25, 29
Friedlander, Paul, 116–19, 332
frogs, 216, 217
From the Distant Past (Roth and Fosbury), 128–30, 130
Frosch, William, 157
Fuller, Buckminster, 120, 134
funds, funding, 189, 271, 297, 306, 310–11, 321–23, 328
corporate support in, 81, 115, 274–75, 279
government, 141, 217, 279
grants for, 204, 272, 309, 324
lack of, 53, 62, 65, 83–84, 101, 217, 275, 279, 327
raising of, 57–58, 152
for scientific research, 307
Futurists, 13–14, 324
Gala Contemplating the Mediterranean Sea (Dalí), 52
Galerie Ropac, 163
Galerie Wendelin Niedlich, 71
Galileo Galilei, 346
galleries:
circulating, 322
commercial aim of, 279, 292, 297, 305–6, 315, 322, 347–48
see also specific galleries
Gallos, Lazaros, 178
Galloway, Kit, 90
games, computer, 95, 120, 272, 275–76, 323
gardens, traditional vs. transgenic, 221–23
Gardner, James, 81
Gargaj (Demoscene member), 99
Gauguin, Paul, 340
Gaussian distribution, 68, 255
Gaussian Quadratic (Noll), 68–69
Gelfand, Dmitry, 122–24, 122, 334–35, 344
Gene Culture: Molecular Metaphor in Contemporary Art, 212
General Electric, 35
general theory of relativity, 10, 17, 24, 26, 118
generative aesthetics, 57, 70–71, 331
Generative Art, 70, 331
Generative Design: Visualize, Program, and Create with Processing (Gross), 283–84
generative grammar, 70
genetic engineering, 114, 189, 208–9, 308
genetics, art and, 212, 218–21, 308
genomes, 218
geometrical art, 76
geometry, 7, 11, 15, 108, 251, 341
in evolutionary art, 273–74
German Expressionism, 120
Germer, Lester, 35
Géry, Alice, 6
Gestalt:
in data visualization, 280
in music, 245
“Gestalt” of Visual Identity, The (Loh and Fiedler), 283, 333, 343
gestural painting, 76
Getty Museum, Los Angeles, Calif., 213
Gift, The (Baldwin), 308
Ginsberg, Allen, xix
Ginsberg, Daisy, 114
Giotto, 3
Glaser, Daniel, 322
Glass, Philip, 263, 337
Gleizes, Albert, 13, 23
Glock (S. Miller), 158
gluons, 158
Gödel, Escher, Bach (Hofstadter), 261
Goethe, Johann Wolfgang von, 4
Golden Nica award, 148, 151, 220, 225, 248
Gombrich, Ernst, 74, 163
Google, 295–96, 298–99, 321, 322, 341
Google Chrome, 291
Google Sky, 295
Gopnik, Blake, 347
Gorman, Michael John, 319–23, 341, 343–44
Gormley, Antony, 162–66, 164
Gosling, Nigel, 61
GPS chastity belt, 131
Grand Design, The (Hawking), 286
Grandjean, Emmanuel, 142
graphene, 270
graphic art, 17, 136, 286, 289
graphs, 3, 125
of data, 265–66
light projection of, 129–30
grass, 310–11
gravity, 221
“great arts for great science,” 148
Great Exhibition, London (1851), 73
Greenberg, Clement, 36
Greene, Brian, 261
Grooms, Red, 53
Gropius, Walter, 75, 317
Gross, Benedikt, 282–86, 283, 343
Ground Course, 77, 88
Growth and Form, 73–74
Grundklang Bonn (Contemporary Soundscape of Bonn; Auinger), 238–39, 238
Guardian, 79, 240
guerilla gardening, 131
Gulbenkian Foundation, 271, 311, 327
Gulf of Mexico oil spill, 217
Guston, Philip, 33
Guzman, Erik, 277–79
GV Art, London, England, xxii, 115, 306, 325–27
show curated by author at, 190–204
Habicht, Conrad, 9
Hades (Ballengée), 216
Haeckel, Ernst, 192, 216
Hamilton, Richard, 73–76
Hamlet’s soliloquy, 145
Hampstead and Highgate News, 61
Hanks, Fletcher, 277
happenings, 47, 48, 49, 241
haptic sound, 233
Harden, Vanessa, 131–32, 132
Hargrave, Katie, 160–61
Harlequin Coat (ORLAN), 206–8, 207
Harmon, Leon, 51–52, 60
harmonic resonators, 235–38, 241
Harris, Dianne, 323–25
Harris, Hyman, 63
Harris, Robert, 147
Hart, John, 270–71
Harvey, Dan, 310–11
Hauser, Jens, 224–25
Hawking, Stephen, 286
Hay, Deborah, 51
Haystacks (Monet), 12
Hayward Gallery, 117, 165, 325
Head of Fernande (Picasso), 11
Health Department, New York, N.Y., 53
Heart Beats Dust (Dupuy), 63
Heartline (Wands), 92, 93
Heisenberg, Werner, 21–24, 28, 30, 31, 145
Helmholtz, Hermann von, 241
Heron, Patrick, 79
Hertzsprung-Russell diagram, 265, 282, 285, 295–96
Heuer, Rolf-Dieter, 166–67, 332, 344
Higgs boson, 140, 142
Hiley, Basil, 163
hip-hop, 245
Hirst, Damien, 306
Hofstadter, Douglas R., 261
Hole in Space (Galloway and Rabinowitz), 90
Hollerith cards (punch cards), 67
Holley, Matthew, 309–10
holography, holographic art, 52, 105–6
holoprinter, 105
Homage to New York (Tinguely), 34, 37–39, 41
horror films, 97
horse blood transfusions, 224–27
Howard Wise Gallery, 68–69
Hubble Space Telescope, 128–30, 270, 296
Hudson River, sounds of, 237–38
Hughes, Malcolm, 82
Hughes, Patrick, 142
Hultén, Pontus, 35, 36, 41, 58, 63
human genome project, 212
humor, 43, 51–52, 67, 74–75, 81, 149, 151, 219, 227, 271, 284, 307
hybrids, 224–27
hydraphones, 243
Hydrogeny (Domnitch and Gelfand), 125
hypercello, 253–54, 254
hyperinstruments, 253–57
hyper music, 253–57
hyperpiano, 255
hypertext mark-up language (HTML), 91
IBM, funding by, 274–75
IBM 705 computer, 92
IBM 7094 computer, 67
i-DAT, 271
Ihnatowicz, Edward, 60–61, 61, 80–81, 82, 324
Illusion: Nothing Is as It Seems, 323
“image choreography,” 255
Image Fulgurator (von Bismarck), 148
Impressionism, 12, 154, 340
improvisation:
by computers, 257–61
in creativity, 93–94, 335, 336
in music, 243, 244, 245–46, 264
Improvisation (Kandinsky), 12
Incredibles, The, 96–98, 332–33
Independent, 202
infogenes, 218
infographics, 296
information, defined, 289–90, 302
information age, 339, 346
information technology (informatics), 88–89
information theory, 35, 70, 108–9, 289
In Out (Carnie), 191, 191
“inspiration partners,” 148, 149, 152
Independent Group of, 73
Institute for Research and Acoustic/Music Coordination (IRCAM), Paris, France, 257–58
Institute for Scientific Information, 299
Institute of Contemporary Arts (ICA), London, England, 55, 57–59, 74, 79, 324
interactive art, 118, 126, 127, 297, 315, 316, 317, 323
computers in, 76, 80–81, 86–87, 90–91, 98, 259, 269, 288, 290, 293, 333
crowdsourcing as, 294–95, 299
cybernetics and, 55, 60–61, 76–79
robots and, 80–81
Interactive Music Systems: Machine Listening and Composing (Rowe), 258
Interactive RPT Wall Installation (N. Cohen), 126, 127
interface art, 104–5
Intermuseum Conservation Association, 179, 186
International Council of Museums Grand Prix, 317
International Foundation for Art Research, 184
International Genetically Engineered Machine competition, 114
International Summer Courses for New Music, 230
Internet, 65, 100, 102, 277, 292
in crowdsourcing, 294–95
social networks on, 93, 280, 281, 314
Interpretation of Dreams, The (Freud), 5
intuition, 245, 249, 335, 336–39
inventions, 104–6, 319–20
discoveries vs., 234
Investigation of the Laws of Thought (Boole), 108
invisible world:
of data, 265–304
dilemma of, 207–8
search for, 3–32
visualization of, xvii, 31–32, 116–67, 197, 200
ion channels, 159–60
Ippolito, Angelo, 33
Ipswich Civic College, 78
irrationality, 234
Island Universe (McElheny), 134–35, 348
Ito, Joichi “Joi,” 100–101, 343
Jacob, Irène, 140–41
Jacob, Maurice, 140
Jacob, Max, 6
Jacquard loom, 250
Jaffe, Andrew, 131–32
Jakobson, Roman, 109
Janssen, Horst, 121
Jarry, Alfred, 6
Javits, Jacob and Marian, 50
jellyfish, 208
Jewish Museum, New York, N.Y., 63–64
Jobs, Steve, 91, 97
John Curtin Gallery, 272
Johns, Jasper, 33–34, 41
Johnson, Philip C., 50
Jones-Smith, Katherine, 177–78, 183
Jouffret, Esprit, 7, 15
Joyce, James, 303, 348
Judd, Donald, 53, 212
Julesz, Béla, 68–69
Jurassic Park, 96
Just what is it that makes today’s homes so different, so appealing? (Hamilton), 74
Kac, Eduardo, 208–9
Kadish, Reuben, 171
Kagel, Mauricio, 230
Kahnweiler, Daniel-Henry, 14, 25, 341, 348
Kanarek, Mimi, 48
Kandinsky, Wassily, xx, 11–14, 29, 75, 120, 286
Kant, Immanuel, 50, 137
Kapelica Gallery, 224
Kapoor, Anish, 278
Karmel, Pepe, 184–86
Keio University, Graduate School of Media Design, Tokyo, Japan, 126
Kemp, Martin, 195
Kenin, Herman D., 50
Kennedy, Randy, 176
Kepes, György, 50, 58
Kepler, Johannes, 27
Kerouac, Jack, 33, 60
Kerridge, Tobi, 112–13, 112
Kierkegaard, Søren, 16
Kinetica Art Fair, 324
Kinetica Museum, 306, 323–25
kinetic art, 81, 87, 117, 242–43, 278, 323–24
King, James, 114
King’s College, Newcastle-upon-Tyne, 75, 76, 77
King’s College London, Guy’s Campus, 322
Klavans, Dick, 299, 301
Klee, Paul, xvii, 75, 116, 120, 166
Klein, Yves, 169–70
Klüver, Billy (Johan Wilhelm Klüver), 34–54, 58, 231, 269
Knowlton, Ken, 35–36, 51–52, 58, 60, 68
Koblin, Aaron, 292–99, 334, 341, 347
Koek, Ariane, 147–48
Kowalski, Piotr, 221
Krasner, Lee, 172, 174, 185
Krauss, Lawrence, 183
Kringelbach, Morton, 194–95
Kristofoletti, Josef, 147
Kubrick, Stanley, 97
Kunstfassade, 128
Kunstformen der Natur (Art Forms in Nature; Haeckel), 192, 216
Kurzweil, Ray, 290–91
Laboratoire, Le, Paris, France, xxii, 115, 306, 317–20, 322, 348
Lacan, Jacques, 109
Lacey, Bruce, 58, 324
Lamb, Magotty, 240, 245
Landau, Ellen, 174–84, 187
“landscape of data,” 267
Langford, Tony, 323–325
Laposky, Ben F., 66
laptops, 67, 242, 259
Large Hadron Collider (LHC), 142, 147, 158
lasers, 53, 63, 124, 130, 144, 192, 334
Latham, John, 240–42, 244
Latham, William, 272–77, 275, 333–34, 338
Lavado, Fiorella, 136
author’s collaboration with, 136–39
Laval-Jeantet, Marion, 224–27, 225
Leaders in Software and Art, 292
“least event,” 146, 240–41, 244
Leeds College of Art, 75
Leggett, Tony, 117
Lehman Brothers, 301–2
Leicester Polytechnic, 79, 86
Leitner, Bernhard, 229–35, 232, 331–32
Leo Castelli Gallery, 40, 41, 53
Leonardo, 322
Leonardo da Vinci, 3, 47, 64, 189, 342
Leonardo Group, 321–22
Lévi-Strauss, Claude, 109
Lewis, Helen, 202
Lewitt, Sol, 53, 64
Lichtenstein, Roy, 68, 212
light:
in art, 63, 122–30, 145–46, 200, 344
as both particle and wave, 16, 22, 28, 137
from electrons, 151
grass and, 310–11
gravity and, 221
Newton’s theory of, 4
in perception, 144
projected, 126
in sculpture, 116–19, 164, 195–96
and sound, 122–25, 247
speed of, 23, 140, 145
from stars, 17, 128–30, 137, 302
trapping of, 142
Light, only Light (Takita), 222–23, 222
light quanta, 15–16
light shows, 84–85, 269
light waves, 117–18
Lincoln, Abraham, 52
Lincoln Center, New York, N.Y., 90
Linnaeus, 215
Lippmann, Gabriel, 4
Liquid Ground 6 (Pynor), 197–98, 197
Lissitzky, Lazar Markovich (El Lissitzky), 17–20, 79
Litt, Steven, 179, 186–87
Locken (Nees), 70
Loh, Jonas, 279–82, 281, 284, 333, 343
London, Barbara, 347
London Institute, 141
London Underground map, 282, 296, 333
Lonsdale, Kathleen, 73–74
Look Hear: The Science and Art of the Ear, 309–10
Lorenz, Konrad, 74
Los Angeles, Calif., interactive media art link between New York and, 90
Loubet, Émile, 5
Lucasfilm Computer Graphics Division, 91
Lumen (Sellars), 195–97, 196
?Lumen de Lumine (McMullen), 145–46, 145
Luminaries Gallery, 323–24
Ma, Yo-Yo, 254
MacArthur “genius” grant, 134
Mac computers, 85, 100, 254, 255
Machine, The: As Seen at the End of the Mechanical Age, 63–64
Machover, Tod, 253–57, 254, 256, 258
MacKinnon, Roderick, 159–61
MacMurtie, Chico, 98
Macy Foundation conferences, 54–55
magical thinking, 213
magnetism, 4, 15, 143
Maiani, Luciano, 142
Ma Jolie (Picasso), 68
Malevich, Kazimir, 14–15, 17, 18, 66
Mandala (P. Brown), 85
Mandelbrot, Benoît, 169, 177
Mandelbrot set, 270
Manet, Édouard, 140, 341, 347, 348
Mangin, Benôit, 224, 225
Man Ray, 28, 29
maps, data visualized in, 282, 296, 299–300, 333
Marching Cubes algorithm, 280
March-Russell, John, 141, 143–44, 146–47
Marić, Mileva, 8
Marinetti, Filippo, 13
Mark Borghi Gallery, 186
Marron, David, 191–92, 192
Martha Jackson Gallery, 212
Martin, James, 179–86
Martin, Julie, 43, 45, 49
Martin, Kenneth, 273
Mason, Catherine, 62–63, 73
Masson, André, 246
Mathematical Objects (Man Ray), 28
mathematics, 9, 16, 18, 55, 57, 58, 66, 67–68, 79, 95, 108, 109, 125–26, 136, 177, 263, 288, 330–31, 332, 336, 337
in art, 6–8, 28, 29, 43, 70–72, 77, 87, 120, 121, 152, 165, 230
fractals in, 186, 252
in nature, 74
in physics, 21, 24, 31, 143, 163, 190
Mathews, Max, 51
Mathur, Harsh, 177–78, 183
Matisse, Henri, 12, 79–80
Matta, Roberto, 29
Matter, Alex, 173–76, 178–82, 184, 186
Matter, Herbert, 173–74, 180, 181, 185, 187
Matter, Mercedes, 173–74, 181, 185, 187
Matterson, Clare, 311
Mauguin, Jacques and Véronique, 156
Maximilian, Emperor, 140
Max’s Kansas City, 211, 261
Maxwell, James Clerk, 4, 15, 143
Maxwell’s Field (Sand), 143
May the Horse Live in Me (Laval-Jeantet and Mangin), 224, 225
McCain, John, 271
McCarthy, John, 109
McCarthy hearings, 36
McCulloch, Warren, 58
McElheny, Josiah, 132–35, 139, 313, 348
McLuhan, Marshall, 42, 65
McMullen, Ken, 140–41, 143–46, 144, 145
McMullen Museum of Art, Boston, Mass., 180–83, 185
McQuaid, Cate, 161
Mechanical Turk, 295
media art, 223, 252, 297, 304, 315–17, 333, 336, 346
and computer art, 90–115, 270, 343
and fine art, 85–86
Mediated Matter research group, 102
medicine:
art and, 155–58, 233–34, 270, 306–12
music and, 256
memory, music and, 256
Memory of a Brain Malformation (Dowson), 192, 193
Memory Vapor (Domnitch and Gelfand), 124, 335
Merging Systems (H. Cohen), 83, 83
metaprogramming, 288
Metropolitan Opera House chandeliers, 134
Metzger, Gustav, 78, 140, 354n
Metzinger, Jean, 13, 23
microchips, 208, 262–64
microscopes, 157, 268–71
Microvenus (J. Davis), 218–19
military, 78, 323
Milk, Chris, 298, 298
Miller, Arthur I.:
collaborative project of, 136–39
debates chaired by, 202–4
GV Art show curated by, 190–204
Miller, Henry, 60
Miller, Jim (pseudonym for Bill James and Lisa Miller), 116, 332
Miller, Steve, 154–62, 160, 167
Millstone Hill radar station, 219
Minard, Charles Joseph, 266
minimalism, 9, 15, 16, 64, 256, 330, 331, 337, 341
Minitel, 157
Minkowski, Hermann, 18, 20
Minsky, Marvin, 109, 258
mirror symmetry, 27, 330
MIT, 55, 114, 219
Artificial Intelligence Lab, 109
Center for Advanced Visual Studies, 50, 58, 218
Mitchell, Joan, 33
MIT GNU project, 287–88
MIT Media Lab, xxii, 58, 91, 131, 151, 253, 256, 258, 317, 323, 331, 343, 346
inventivness at, 99–106
mitosis, 157
Miyake, Issey, 205
mobiles, 59–61, 81, 87, 278
Models of Trish and Lynsey’s Rings (Kerridge, Scott, and Thompson), 112–13, 112
modems, 91
Moderna Museet, Stockholm, Sweden, 35
modern dance, 230
Molecular Gaze, The: Art in the Genetic Age (Anker and Nelkin), 213
Møller, Paul Martin, 16
Mondrian, Piet, 19–20, 30, 31–32, 60, 66, 80, 87
computer art compared to, 72, 72, 260, 336
Monet, Claude, 12, 340
Money Thrower (Rauschenberg), 38
Monsters, Inc., 96
Monument to the Third International (Tatlin), 18
mood, sound and, 236–38
“Moonlight Sonata” (Beethoven), moon-altered version of, 229
Moore, Henry, 28
Morse, Tiger, xix
Mosel, Ralph, 63
moss, bioluminescent, 222–23
Mote it is to trouble the mind’s eye, A (Phillips), 267, 267
motes, 268–69, 272
Motherwell, Robert, 29, 33
motion pictures, 7, 34–35, 49, 100, 109, 124, 140–41, 145–46, 154, 272, 323, 334
computer animation in, 94–99, 343
mouse, human ear grown on, 199
multiverse, 135
Mumma, Gordon, 42
“Murder of the Art Schools” (Heron), 79
Muscle Machine, 200–201
Museum of Fine Arts, Boston, Mass., 183, 184
Museum of Modern Art (MoMA), New York, N.Y., 8, 50, 52, 63, 68, 73, 147, 168, 179, 184, 278, 293, 294, 305, 347
PS1 gallery at, 147, 233
sculpture garden of, 34, 38
website of, 291
Museum of Natural History, New York, N.Y., 213
museums:
role of, 314
see also specific institutions
music, 37, 79, 87, 92, 93, 98, 152, 228, 235–37, 336, 338
avant-garde, 6, 41, 45–46, 49
beyond, 235–39
classical and contemporary, 245, 255
computer-generated, 51, 52, 59, 64, 78, 91–94, 106–7, 226, 236, 242, 243, 244, 248, 254–61, 297
ethnic, 241–42, 244, 245, 252, 259–60
hyper, 253–57
light shows and, 84–85
logic and, 123
recorded, 124
as sound art, 229–37, 240–44, 247–49, 253–64
Musical Instrument Digital Interface (MIDI), 106, 255
musical instruments, 46, 47, 229–30, 236, 237, 241–44, 261
innovative, 253–57, 263–64
musical synthesizers, 106
Mussolini, Benito, 13
Mutation X Raytraced (W. Latham), 275
Mutator algorithm, 274, 276
mysticism, 3, 7, 12, 18, 122, 335, 344
Nake, Frieder, 58, 60, 69–72, 283, 331
nanoart, 267–72
Nanobama (Hart), 270–71
nanoelectronics, 346
nanotechnology, 269–71, 285–86, 290, 305
National Endowment for Science, Technology and the Arts, 311
National Security Agency (NSA), 266
National Synchrotron Light Source (NSLS), 159–60
Natural History Museum, London, England, 215
nature:
art and, 169–70, 215–17, 265
fractals in, 169, 178, 186–87
growth and form in, 73–75, 337
in music and sound art, 240, 243, 247–49
tampering with, 114, 198–99, 208–10, 212
Nature, 177–78, 195, 209, 299
Nature? (de Menezes), 209–10, 210
Nature and Technology Lab, SVA, 213, 215
Nazi Germany, 75, 97
Nees, Georg, 69–72, 331
Negroponte, Nicholas, 58, 91, 99, 105
Nelkin, Dorothy, 212–13
neo-Dadaism, 37
Neolithic pottery, 159
Neolithic Quark (S. Miller), 159
Neoteny Co. Ltd., 100
Nernst, Walther, 10
Net Art, 91, 92
Netzer, Nancy, 182
neuroesthetics, 329–30
neurophysiology, 193–94
neutrinos, 140
neutrons, 31
New and Rediscovered Musical Instruments, 243
new avant-garde, xxi, 73, 74, 155, 328, 340–48
New Guinea sacred flute, 241, 242
Newman, Richard, 183, 184–85
New Music, 229–31
New Scientific Spirit, The (Bachelard), 27–28
New Scientist, 136, 202
New Statesman, 62, 202
Newsweek, 47
Newton, Isaac, 3–4, 11, 342
New York, N.Y. art scene, xix–xx, 90, 154, 211–15, 231, 236, 261
East Village in, 33–65, 231
see also specific galleries and museums
New York Journal-American, 28
New York Stock Exchange, 299, 302–3
New York Talk Exchange, 294
New York Times, xx, 52, 69, 133, 147, 175–77, 254, 305, 347
New York University Interactive Telecommunications Program, 262
New York University Media Research Laboratory, xxii, 94, 346
Nicholas II, Tsar of Russia, 154
9 Evenings: Theater and Engineeering, xix–xx, 44–49, 52–54, 56, 57, 63, 64, 69, 80, 228, 269
Nobel Prize, 26, 34, 35, 159, 313
Noguchi, Isamu, 134
Noll, A. Michael, 60, 67–72, 72, 226, 260
nonfigurative animation, 97
nonfigurative art, 20
Nono, Luigi, 230
Norman Wait Harris prize, 40
Nota, Antonella, 130
Nova Express, 84
nucleotides, 219
Nude Descending a Staircase (Duchamp), xix, 13, 45
No. 5, 1948! (Pollock), 173
O + A (Odland and Auinger), 237–38
Obama, Barack, 279–80
Object-Based Media Group, 105
Oblique: Images from Stelarc’s Extra Ear Surgery (Sellars), 200
Observer, 61
O’Callaghan, Tiffany, 202
Ocean of Sound (Toop), 240, 245
O’Connor Francis V., 168, 174–77, 179, 184, 186, 187
Odland, Bruce, 235–38
O’Doherty, Brian, 48
Ogier, Pascale, 140
Oldenburg, Claes, 35
Olivier, Fernande, 8, 14
Olympia Academy, 9
Olympic Games (London; 2012), 281, 333
On Cubism (Metzinger and Gleizes), 23
1–Bit Music (T. Perich), 262
1–Bit Symphony (T. Perich), 262, 263, 347
On Growth and Form (Thompson), 74
Ono, Yoko, 48, 226, 241
On Sensations of Tone (von Helmholtz), 241
Op Art, 251
Open Score (Rauschenberg), xx, 47–48
open-source software, 280, 286–88, 294
opera, 14, 242, 253, 255–56
Oracle (Rauschenberg), 40–41, 51
Oresme, Nicole, 3
organs:
in biology-influenced art, 197–99
laboratory grown, 199
transplanting of, 201
see also brain; ear; eyes; skin
Orion Analytical, 179, 183, 184
ORLAN (Mireille Suzanne Francette Porte), 204–8, 207, 224
ORLAN Giving Birth to Her Beloved Self (ORLAN), 205
Orphism, 13
Ortega y Gasset, José, 25
Oscillons, 66
oscilloscopes, 66
Ougham, Helen, 311
Ouroussoff, Nicolai, 305
Oxman, Neri, 101–4, 103, 331
Paalen, Wolfgang, 29–30
Paik, Nam June, 58, 241
paintings:
authentication of, 168–88
computer-generated, 81–83, 87
photography and, 111
science and, 154–55
see also specific artists and movements
Palazzo Cavalli-Franchetti, 129
Paley, W. Bradford, 299–304, 334
Pannucci, Cynthia, 306
Papert, Seymour, 58
parabolic mirrors, 233
paradigms, 299
Paradiso, Joe, 106–7, 107, 151–52, 253
Paramount Pictures, 97
Parese, Stanley, 182–83
Parmegiani, Bernard, 248
particle accelerators, 128–29, 142, 145
Particle Physics and Astronomy Research Council, 141
Pask, Gordon, 59–60, 59, 77–78
Pasmore, Victor, 75–76
patterns, 169, 172, 187
of data, 265, 266, 271, 293, 294
as term, 68
see also fractals
Patterson, Katie, 229
Paul, Christiane, 303
Pauli, Wolfgang, 21, 22, 28–29, 178
Penck, A. R. (Ralf Winkler), 136
pendulums, 172
Penrose, Roger, 165–66
Penrose, Roland, 57, 58–59, 73
Penzias, Arno, 35, 47, 134
perception, transformation of, 28
performance art, 204–6, 208, 224–25, 316, 334, 344
Perich, Anton, 261
Perich, Tristan, 261–64, 262, 336–37, 347
Perlin, Ken, 94–96, 332, 343
Perlin Noise, 94–95, 332
permutation group, 126
Persistence of Memory, The (Dalí), 26
perspective, 3, 5
Pharmacy (Hirst), 306
phasing, 263
Philips, Frits, 81
Phillips, Mike, 267–72, 267, 268
Philosophiae Naturalis Principia Mathematica (Mathematical Principles of Natural Philosophy; Newton), 3
philosophy, Danish, 15, 22–23
photography, 7, 11, 60, 66, 102, 111, 200, 205, 216, 223, 323, 343
advances in, xx, 4, 148
computer-generated, 51–52
in data visualization, 282–83, 301–2
microscopes in, 74
Surrealist, 28, 29
photosynthesis, 125
physically challenged, music and, 156
Physical Review Letters, 183–84
Physician, The (Marron), 191–92, 192
physics:
art and, 139–52, 154, 197, 326, 334–35, 336, 337–38
atomic, 20–26
early, 3–4, 342
of Einstein, 9–10, 12
and music, 241–42
symmetry in, 26–27
in visualizing the invisible, 116–67, 190
see also quantum physics
Piaget, Jean, 81
Piano Pieces (Stockhausen), 230
Picasso, Pablo, xx, 5–8, 12, 13, 14–15, 18, 33, 43, 57, 68, 73, 120, 136, 155, 170, 209, 301, 340, 348
Breton and, 24–25
and Einstein, 7, 8, 10–11, 102, 119, 313–14
Pierce, John R., 39, 44, 50, 58
pigment analysis, 179–80, 182, 184, 185–86
Pig Wings (Catts and Zurr), 198–99, 337, 344
Pile, Stephen, 146
Pillow Talk, 104
Pink Floyd, 84
Pioneer 10 spacecraft, 219
Pioneering High Energy Nuclear Interaction eXperiment (PHENIX), 158–59, 162
Pippard, Lucy, 40, 217
Pissarro, Camille, 340
Pixar Animation Studios, 91, 96–99, 332, 343
pixels, 51–52, 86
Planck’s constant, 23
planet nebula, 137
Plato, 21, 31
Pleasure and Pain (Cattrell), 193–95, 195
plotters, 62, 67, 70–72, 79, 82, 92
Plymouth University, Centre for Media, Art and Design Research, 270–71
poetry, 6, 13, 20, 33, 57, 59, 73, 108
concrete, 54, 57, 79
software compared to, 87
Poincaré, Henri, 7, 9, 27, 330
politics of transgression, 108
Pollock, Jackson, 154, 208, 329
authentication debate over, 168–88
Pollock-Krasner Authentication Board, 174–75
Pollock-Krasner Foundation (PKF), 174–76
“Pollock Matters,” 181
polytechnics, 78–79
Pompidou Center, Paris, France, 40–41
Pop Art, 34, 39, 65, 68, 74–76
Porte, Mireille Suzanne Francette, see ORLAN
Portrait of Dr. William Frosch (S. Miller), 157
Portrait of Jacques and Véronique Mauguin (S. Miller), 156
Portrait of Pierre Restany (S. Miller), 156–57
Portrait of the Artist as a Young Man (Joyce), 303
portraiture, 156–57
digital, 200
genetic, 157
postmodernism, 83
potentiometer, 233
Preston, Stuart, 69
Princet, Maurice, 6–7
Prix Ars Electronica, 98, 287
procedural knowledge, 82–83
procedural textures, 94–95
process, 161, 224
product vs., 115, 223, 249, 319, 337
Procession, 294
programming, 49, 67–68, 71, 82, 92, 251–52, 257–58, 269, 280, 285, 286, 288, 294, 337, 343
Protein #330 (S. Miller), 160–61
protein folding, 276
protons, 26, 31
prototyping, 194, 214
provenance, 168, 174
Prudence, Paul, 249–53, 250, 335
Przysieniak, Helenka, 141
psychedelic drugs, 65
psychoanalysis, 24, 25, 26, 28, 29, 65, 108, 109, 140
punch cards, 67, 92, 250, 257
Punishing Nature (von Bismarck), 149
Puteaux Group, 13, 14
Pynor, Helen, 197–98, 197
quantum artists, 119–22
Quantum Cinema-A Digital Vision, 108
Quantum Cloud (Gormley), 162–63
quantum cryptography, 120
Quantum Man (Voss-Andreae), 119–20, 119, 121
quantum mechanics, 21–23, 27–28, 117
quantum physics, 89, 108–9, 137, 144, 146, 163, 242, 263, 291
and art, 27–30, 120–22
as difficult to comprehend, 137
quantum theory, 25, 118, 143, 145
quark-gluon plasma, 158–59
quarks, 158
quasars, 250
Rabinowitz, Sherrie, 90
Raby, Fiona, 111–13
radioactivity, 4
randomness, 72, 94, 155, 228, 230, 251, 274
“random walk” procedure, 163
Rap Attack (Toop), 245
rapid prototyping, 214, 280
Rauschenberg, Robert, xix–xx, 33–34, 52, 53, 211–12, 236, 241, 269
and Klüver, 38–41, 43, 46, 47–51
raves, 275
Read, Herbert, 57, 73
Reas, Casey, 294
Rebetez, Robert, “Robi,” 180, 182
“Recognition of Faces, The” (Harmon), 52
recursive functions, 252
reductionism, 338
reflective sculptures, 134
Rehm, Guenther, 249
Reich, Steve, 263, 337
Reichardt, Jasia, 54–58, 62, 70, 324, 331
Reincarnation of Saint ORLAN, The (ORLAN), 205–6
Reinhardt, Ad, 211
Reisz, Matthew, 202
Relationships among Scientific Paradigms (Paley), 299–302, 334
Relativistic Heavy Ion Collider (RHIC), 158–59
Relativity: The Special and General Theory (Einstein), 24
relativity theory, 9–10, 12, 17, 19, 20, 24, 25, 27, 140, 250, 330
Renaissance, 3, 5, 63, 128, 236, 276, 345–46
Renoir, Pierre-Auguste, 340, 347, 348
research, art as, xxi, 96, 103, 115, 218, 229, 234, 294, 297–99, 316, 343
resonance, 235–38, 241
Responsive Environments Group, 106, 253
restoration, 180
Reynolds, Simon, 244, 252
rhythm, 259–60
Richter, Gerhard, 111, 209
Riley, Bridget, 58
Rivers, Larry, 53
“R. Mutt,” 39
Robinson, Leonard, 43
“Robi paints,” 180, 182
robots, robotics, 58, 59, 80–81, 98, 190, 208, 240, 256, 290, 315, 323, 324
Rorschach images, 154, 155–56, 157, 161
Rosenberg, Harold, 33, 36
Ross, Alex, 230
Rothko, Mark, 33, 236
Roth, Tim, 128–30, 130
Rothstein, Edward, 154
Rowe, Robert, 257–61, 335–36, 338
Royal Astronomical Society (RAS), 137
Royal College of Art (RCA), London, England, Design Interactions Group, 111–13, 131, 280, 284, 322, 343
Roy Ascott: The Syncretic Sense, 89
Ruder and Finn, Inc., 47
rule-based art, 273
rule-governed system, 79
Russell, Henry Norris, 265
Russenschuck, Stephan, 141
Saatchi, Charles, 292
Sala Parpalló gallery, 118
Salmon, André, 6, 340
Salon des Indépendants, 340, 348
Salon des Refusés, 340, 348
Sand, Monica, 141, 142–43
Satie, Erik, 6, 236
Saturday Night Live, 92
Satz, Aura, 228
Sayre, Rick, 96–99, 332–33, 343
Scala, Joseph, 92
scandals, in art world, 168–88
scans, scanners, 120, 144
medical, 156–58, 172, 190, 193–94, 200, 222, 260, 315, 329
scavenging, in art, 37–39, 40, 60–61
Schering Gallery, 137, 139
Schlaug, Gottfried, 260
Schneider, Herb, 43–44
Schoenberg, Arnold, 6
Schöffer, Nicolas, 55, 56, 60, 76, 81, 117
School of Visual Arts (SVA), New York, N.Y., xxii, 91–92, 154, 211, 213, 215, 217, 277, 346
Schöpf, Christine, 315
Schrödinger, Erwin, 22–23, 121, 145, 289
Schrödinger’s cat, 190
Schroeder, Manfred, 44
Schweiber, Seymour, 44
Sci-Art, 314
science, collaboration of art and, see art-science collaboration
“Science & Art: So Similar, So Different,” 346
Science and Hypothesis (Poincaré), 7, 9
Science for Life, 307–8
Science Gallery, Dublin, Ireland, xxii, 115, 306, 320–23, 343, 348
Scientific American, 68, 183–84
Scientific Cubism, 338
scientific visualization, 295
scientometrics, 301
Scottish Arts Council, 311
screen savers, 286, 288–89
sculpture, 11, 35, 79, 98, 134, 137, 142, 143, 211
cybernetic, 60–61
digital technologies in, 192
human body in, 162–64, 193–95, 222–23
light, 116–19
robotic, 80–81
semi-living, 198–99
sound art as, 230–31, 242–43
visualizing data through, 277–82, 333
seabed, visualization of, 282–83
Search for Extraterrestrial Intelligence (SETI), 295
Seascape, 86, 86
SEED, 300
self-destructive art, 34, 37–38, 78, 240
Self Portrait Yellow (S. Miller), 157
self-similarity, 169, 171, 186, 188
Sellars, Nina, 195–97, 196, 200, 203
semi-living sculpture, 198–99
SENSEable City Lab, MIT, 284, 294
sense data, 268
Senster (Ihnatowicz), 81
Serpentine Gallery, 85
Seurat, Georges, 4, 340
Sexton, Ian, 144
Sgt. Pepper’s Lonely Hearts Club Band, 253
shakuhachi flute, 242
shamanism, 89
Shanken, Edward, xxii, 64
Shannon, Claude, 35–36, 109, 289
Shape of the Universe (Harden), 132, 132
Sheep Market, The (Koblin), 294, 299, 334
Shintoism, 277
shock art, 224, 227
Shockley, William, 35
Signatures: Commemorationem (McMullen), 146
Signatures of the Invisible, 141–47
silence, in sound art, xix, 228
Silver Clouds (Warhol), 41, 51
Simon, John F., 304
Sims, Karl, 289
singularity, 290
69th Regiment Armory shows, xix–xx, 44–45, 48, 56
skin:
computer-generated, 98, 332
grown and used in art, 206–8
tissue engineering of, 198–99
skin conductance tests, 172
Sk-interfaces, 222–23
Skin Without Skin/Shadows and Errors (McMullen), 143–44, 144
Slade School of Fine Art, London, England, xxii, 81–82, 84–85, 126, 140, 163, 269–70, 346
Experimental and Computing Department (EXP), 82, 84, 85
Sloan Digital Sky Survey, 296
Smaje, Laurence, 307–11
Smarr, Larry, 101
SMS messages, data visualization of, 294
Snow, C. P., 36–37, 42, 57, 146, 341–42
soap bubbles, 124
social criticism, art as, 37, 109
Socialist art, 18
social media, 266
Software, 63–64
software, computer, see computer software
software art, 286, 291
software codes, 303–4
solar system:
atom compared to, 16, 20–22, 31
visualizing, 132
Solovine, Maurice, 9
sonic immersion, 122
sonograms, 156
sonoluminescence, 123, 125
Sontag, Susan, xix
Sound Activated Mobile (SAM; Ihnatowicz), 60–61, 61, 80–81, 324
sound art, xix–xx, 40, 46–47, 63, 228–64, 297, 317, 326–27, 331–32, 335–37, 346, 347
biologically influenced, 219
conversation in, 149
interactive, 61, 81
and light, 122–25
mood and, 236–38
new language of, 231
sculpting of, 230–31
as term, 241
and visual art, 229, 239, 248–53, 255, 324, 335
see also music, as sound art
SOUND CUBE (Leitner), 232
sound frequencies, 324
soundscapes, 238–39
sound tables, 243, 244
Sowels, Katia, 202
space program, 42, 67, 219, 282, 296
Space Telescope Science Institute (STScI), 130
space-time, 17–18, 20, 26, 102, 118, 132, 244
and matter, 162–66
reimagining of, 5–11
in sound art, 250
speakers, 263–64
in sound art, 231, 233, 347
special effects, 97
computer-generated, 83–85, 94–99
Spectacular Bodies, 325–26
spectrograph, 252
“speculative design,” 286
Speculative Sea Level Explorer (Gross), 283, 283
“speed dating,” 148, 271
Spencer, Ronald, 175
Spiralling Inward, 160
“spooky actions-at-a-distance,” 109
Stallman, Richard, 287
Standard Elektronik Lorenz (ER65) computer, 71
stars, starlight, 128–30, 137, 302
bending of, 17
visual representation of, 265, 282
Stein, Gertrude, 5
Stelarc, 199–201, 201, 203, 204, 224, 344
Stella, Frank, 48, 154
stereoscopic images, 68–69
Stocker, Gerfried, 88, 305, 314–16, 339
Stockhausen, Karlheinz, 230, 243, 248, 257
Stoker, Cecil, 45
Story of Art, The (Gombrich), 163
Stott, Nikki, 112–13, 112
Stravinsky, Igor, 348
street sounds, 235, 237
Stretched Skin (Stelarc), 200–201, 201
string theory, 261
structuralism, 108
Studiengalerie, Stuttgart, Germany, 70
Studies in Perception I (Mural; Knowlton and Harmon), 51–52, 51, 60
Studio 54, 261
Sunday Telegraph (London), 62
Sunderland School of Art, 75
supernovas, 190
Supersonix: Celebrate the Art and Science of Sound, 228–29
Suprematism, 14, 17
surgery, as art, 200, 204–5, 227
Surrealism, 24–26, 170, 246, 298
and quantum physics, 27–30
Swimming Pool (P. Brown), 84, 85
Swiss Polytechnic Institute, Zurich, Switzerland, 9
SymbioticA lab, 198, 337
symmetry, 9, 26–27, 276, 330, 338
in crystals, 74
mathematical, 125–26
synchrotron, 247–48
syncretism, as term, 89
synesthesia, of sound and image, 248–49, 252
synthesizers, 236, 248, 257
synthetic biology, 113–14, 131, 212, 280, 285–86
Systems Art, 79, 82, 85, 86–87
Systems Research Ltd, 77
Tachi, Susumu, 128
Takita, Jun, 221–24, 222, 337
Tanager Gallery, 33
Tàpies, Antonio, 39
Tate Modern, London, England, 293, 298–99, 347
Tatlin, Vladimir, 18–19
taxi traffic, 284–85
Taylor, Richard, 168–79, 181, 183–84, 186–88, 329
tech-inspired art, 276
technoetics, 89
technology:
CERN in, 140
collaboration of art and, xix, xx–xxi, 13, 19–20, 36, 39, 40–43, 49–55, 63–65, 74, 85–86, 128, 196, 199–200, 215, 234–35, 240, 242, 245, 248, 253–57, 269, 305, 315, 318, 323–25, 327, 341
as a craft, 73
design and, 111–12, 318
fear and distrust of, 50, 62, 88, 111, 203, 221, 234, 272, 275, 291, 317
mechanical, 63–64
medical, 201, 306–12
military, 323
and political and social upheaval, 62, 155–56
in third culture, 342, 346
see also computers; Experiments in Art and Technology (E.A.T.)
telecommunications, 88
telematics, 88–89
telephones, advances in, 104
television, 52, 66
holographic, 105
10,000 Peacock Feathers in Foaming Acid (Domnitch and Gelfand), 124
terrestrial intelligence, search for, 271
Thaw, Eugene V., 174–75, 179, 187
theater, 308
theoretical physicists, 167
thermostats, 55
Thinker, The (After Rodin)-Technical Notes, 2001 (Tyson), 153
This Exquisite Forest (Koblin and Milk), 298–99, 298, 347
Thom, René, 109
Thomas, Jo, 247–49, 247, 335
Thompson, D’Arcy Wentworth, 74
Thompson, Ian, 112, 112
3D images, 68–69, 92, 142
3D mutating computer graphics, 272–77
Three Musicians (Picasso), 27
“three Ns,” 71–72
Tibetan ghost trap, 142
Timaeus (Plato), 21
time:
as fourth dimension, 7–8, 15, 17–18, 19, 118, 132
as non-existent, 118–19
as relative, 23, 24, 143
see also space-time
time-based art, 87
Timeless Universe, 118–19
Times Higher Education, 202
Tinguely, Jean, 60, 81, 240, 269, 278, 351n
and Klüver, 34, 37, 41, 58
tissue engineering, 198–99
Todd, Stephen, 272, 274, 276
Toop, David, 239–47, 243, 252
topology, 165
tops, spinning, 143
Torness nuclear power station, Scotland, 145
touch, sound and, 233
Touch Gloves, 104
Toulouse-Lautrec, Henri de, 340
Toussaint, Godfried, 260
Tower of Babel (Brueghel), 18
Townshend, Pete, 78, 88
Toy Story, 96
Toy Story 2, 98
Traffic Mantra (Auinger and Odland), 235–36
transgenic art, 207–8, 223
transistors, 35–36
Tribune de Genève, 142
Trickett, Terry, 308–9, 311
Trickett Associates, 308
Triscott, Nicola, 327–28
Tron, 94
Troxell, Cooper, 255
Trumbull, Douglas, 97
Tudor, David, 42
Tufte, Edward R., 266, 296, 303
Tumbling Man (Sayre and MacMurtie), 98
tuning tubes, 237–38
Turing, Alan, 289
Turner, J. M. W., 4
Turner Prize, 152–53
Turrell, Elizabeth, 309
“Two Cultures” lecture, 36
Two Discrete Molecules of Simultaneity (Tyson), 153
243 (Draves), 291
Twombly, Cy, 53
2001: A Space Odyssey, 97
Tyson, Keith, 152–53, 348
Tzara, Tristan, 14
University College London (UCL), 81, 82, 143, 329
see also Slade School of Fine Art
unpredictability, 38–39, 40–41, 46, 47, 48, 57, 351n
Untitled 91101 (S. Miller), 159, 160
urban planning, 284–85
Urban Sputnik: Interactive Cosmology, 131
Vacanti, Joseph, 199
Vacanti mouse, 199
Valéry, Paul, 108
Vanden Broeck, Renilde, 140
van Doesburg, Theo, 19–20
van Gogh, Vincent, 121
Varèse, Edgard, 49, 230, 236
Variation V (Cage and Cunningham), 41, 42
Velvet Underground, 212
Venice Biennale (1966), 82, 234
Venus in Fur (Weibel), 108
Versuch unter Kreisen (Research under Circles; von Bismarck), 150–51, 150
Victoria, Queen of England, 5, 73
Victory over the Sun, 14
video art, 85, 136, 145, 148–49, 204–6, 252
Video Show, The, 85
Viennese Actionists, 108, 109
Vietnam War protests, 65, 83
Villon, Jacques, 13
Violin d’Ingres (Man Ray), 28
Virtual Tetrahedron (Weibel), 110, 110, 334
viruses, 201
Visual Display of Quantitative Information (Tufte), 266
Vladimir Tatlin, Working on the Monument (Lissitzky), 18, 20
Voegelin, Salomé, 229
von Bismarck, Julius, 148–51, 150
Voss-Andreae, Julian, 119–22, 119, 332
Wagner, Richard, 142
Waldhauer, Fred, 49
Wales, University of, Cardiff, 89
Wands, Bruce, xxii, 91–94, 93, 95, 336
Warhol, Andy, xix–xx, 53, 111, 212
Klüver and, 41, 51
water harp, 238
Watson, James, 213
wave mechanics, 22–23, 66
wave-particle duality, 16, 22–23, 28–31, 35, 117, 120, 137, 165, 242
Weather Beacon (Guzman), 277–78
weather forecasting, in art, 277
weaving, 136–37, 250
Weaving the Universe: From Atoms to Stars, 136–37
Weibel, Peter, 107–11, 110, 115, 305, 306, 316–17, 334, 341
Weimar Republic, 11
Weinberg, David, 134–35, 139, 313, 348
Wellcome, Henry Solomon, 306–7
Wellcome Centre for Medical Science, 307
Wellcome Collection, London, England, xxii, 136, 306–14, 348
Wellcome Trust, 189, 209, 271, 307, 321, 322, 327, 344
Wells, James, 149, 151
wet biology, 199, 213
Whaf, Le, 319–20
Whif, Le, 319
Whistler, James, 340
White Cube Gallery, 134
White Girl, The (Whistler), 340
white-on-white, 15
Whitman, Robert, 49
Whitney, John, 251
The Who, 78, 84
Whyte, Lancelot Law, 74
Wiener, Norbert, 55, 77
Wiesner, Jerome, 99
Wilhelm, II, kaiser of Germany, 6
Willats, Stephen, 58
Wilson, Robert, 35, 47, 134
Wilson, Scottie, 250
Wilson, Stephen, xxii
Winkler, Ralf (A. R. Penck), 136
Wired, 291
Wise, Howard, 68
Wölfli, Adolf, 250
World Financial Center, New York, N.Y., 237, 277–78
World in Twenty-Four Hours, The (Adrian), 88
World War I, 5, 11, 13, 14, 17, 20, 88
World War II, 54–55, 62, 73, 88, 108, 139, 277, 289
World Wide Web, 91, 115, 140, 251, 269, 271, 314, 339
see also Internet
wormholes, 137
Wright, Frank Lloyd, 317, 348
Wright Brothers flight, 5
Xenakis, Iannis, 58, 230, 236
X-images, 20
x-rays, xx, 4, 7, 20, 103, 154, 156–58
Yamaha Disklavier, 255, 259
Yasui, Kiuchi, 125
Yonetani, Ken and Julia, 192–93
Zeilinger, Anton, 109, 120
Zeki, Semir, 329
Zen gardens, 221
Zentrum für Kunst und Medientechnologie (ZKM; Center for Arts and Media Technology), Karlsruhe, Germany, xxii, 108, 111, 115, 306, 315, 316–17, 334, 348
zero moment, 241–42, 244, 246
Zervos, Christian, 29
Zola, Émile, 140
Zoosemiotics (Anker), 213, 214
Zucker, Robin, 179–81
Zurr, Ionat, 198–99
Zuse Z64 Graphomat, 71
ZX81 computer, 269