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Despite limited tools, Leonardo da Vinci displayed ingenious problem-solving. The authors examine a combination of Leonardo's thought and physical experiments regarding the acceleration of falling objects. Leonardo recorded that if a water-pouring vase moves transversally (sideways), mimicking the trajectory of a vertically falling object, it generates a right (as in orthogonal) triangle with equal leg length, composed of falling material lining up diagonally (forming the hypotenuse) and the vase trajectory forming one of the legs. On the hypotenuse, Leonardo wrote "Equatione di Moti," or equalization of motions, noting the equivalence of the two orthogonal motions, one effected by gravity and the other prescribed by the experimenter. The authors present an analytical solution using Newtonian mechanics to confirm Leonardo's "Equivalence principle." [ABSTRACT FROM AUTHOR]

A neglected theory of aesthetics by the eminent Gestaltist Kurt Koffka is reviewed with the hope that it will spark new interest in the Gestalt contribution to art. Koffka' s particular emphasis on the art object, its perceptual qualities and its relation with the intentional self holds the potential for advancing scientific theories of aesthetic experience. [ABSTRACT FROM AUTHOR]

How can technology and digitalization be used to challenge and develop an analog idea? What happens in the translation from the analog to the digital? Can technology reveal previously hidden aspects of an art object? What happens to the relationship between art and viewer in the process of digitalization? The Layer Project, still in progress, originated in analog mode: cutting paper photographs into strips as layers. Digital filming became important for documenting the objects, as photographing them did not capture the changeability of their three-dimensional aspects. What happens at these borders of 2D and 3D, analog and digital? What defines them and what explains them? How can we compare them, relate them to each other? How are they different? Does media transform or simply transmit imagery? This statement also discusses how technology can be a tool for reflecting on an artwork—a tool to evaluate, develop and challenge an artistic concept. [ABSTRACT FROM AUTHOR]

The author describes how he was led to work with kinetic electric light art objects of the Lumia type in 1954. He then discusses the problems of applying light for artistic purposes from the point of view, primarily, of his own experiences with kinetic painting systems. These include the direct transmission of light to the eye or onto a translucent screen (Lumidyne system), the production of reflected light images on a translucent screen (Reflectodyne system) and the transmission of light through polarizing material (Polaridyne system). Technical details of the systems are given and the reactions of viewers of these kinds of art objects are briefly presented. [ABSTRACT FROM AUTHOR]

The paper discusses briefly kinetic painting systems that have been devised for producing a pictorial composition on a translucent flat surface that changes with time without resorting to the projection of light through film in a darkened room. The Lumidyne system developed by the author in 1956 is described in detail. Basic principles of its design, together with variations of the system, are given as well as the method of painting used by the author. Examples of several works are shown. The picture produced by the system is considered from the point of view of real motion and of change of transparent color with time. The need for aesthetic guidelines for the kinetic painter is stressed. The author concludes that the Lumidyne system, after 10 years of experience with it, is a practical, controllable and economical artistic medium. [ABSTRACT FROM AUTHOR]

The author discusses procedural problems over topics such as 'practical benefit' and `scientific value' that were encountered by both scientists and artists in seeking to include works of art on the space shuttle flight manifest. [ABSTRACT FROM AUTHOR]

The article presents artists David Gaw and Ed Koch's first person narratives regarding the creation of "Coactive Art," an interactive work that combines art with technology. The artists' goal is the production of art objects that enable the art audience to perceive their influence on the objects themselves, through the use of video images, computers, and actuators.