g e n eR Al AR T Ic l e a neural network looks at leonardo’s(?) Salvator Mundi stEvEn J . F r a n k An d anDrEa m. F r a n k t C a r t s b a The authors use convolutional neural networks (CNNs) to analyze authorship questions surrounding the works of Leonardo da Vinci—in particular, Salvator Mundi, le

G e n e r a l a r t i c l e Crypto Art A Decentralized View M A S S i M o F R A n C e S C h e T , g i o v A n n i C o l Av i z z A , T ’ A i S M i T h ,

A R T I S T S ’ N O T E SEEC Photography at the Speed of Light E N A R D E D I O S R O D R Í G U E Z , B R A N N O N B . K L O P F E R , P H I L I P P H A

G e n e r a l a r t i c l e Harold Cohen and AARon Collaborations in the Last Six Years (2010–2016) of a Creative Life l o u i S e S u n d A R A R A j A n T C A R T S B A This article documents Harold Cohen’s last phase of creativity from

Art, Censorship and Nuclear Warfare G A B R i e l l e D e C A m o u S T C A R T S B A The traumas of nuclear warfare, depuis 1945 to the end of the Cold War, are not merely calamities of the past. They still have contemporary consequences, contaminating the health, lives and memories of the many

The Main Course Was Mealworms The Epistemics of Art and Science in Public Engagement B R o n W y n B e v A n , S A M M e j i A S , M A R k R o S i n a n d j e n W o n g T C A R T S B A The

g e n e r a l a r t i c l e Senster Reactivation of a Cybernetic Sculpture A n n A O l S z e w S k A a n d M A R e k D ł u g O S z T C A R T S B A The turbulent history of Senster, a large cybernetic sculpture

g e n e r a l n o t e Artistic Portraits of Strange-Face Illusions Produced through Eye-to-Eye Gazing in Dyads or Mirror-Gazing G I o v A n n I B . C A P u T o a n d G I A n C A R l o l E P o R E T C A R T S B

g e n e r a l a r t i c l e Linking Science and Technology with Arts and the Next Generation The STEAM Imaging Experimental Artist Residency, A Case Study B i A N k A H o f m A N N T C A R T S B A The author describes designing an artist-in-residence project within a research institute

Emergent Knowledge in the Third Space of Art-Science L i z z i E M u L L E r , L y n n F r o g g E T T a n d J i L L B E n n E T T T c A r T S B A The locus of encounter between art, science and the public

A Review of ACD-STEMM Integration part 3: controlled studies of additional transdisciplinary bridges for arts-science pedagogy and general conclusions Robert Root-Bernstein, Ania Pathak and Michele Root-Bernstein This is Part 3 of a three-part analysis of studies concerning useful ways in which visual, plastic, musical and perform- ing arts; crafts; and design (referred to for simplicity as arts-crafts-design, or ACD) may improve learning of sci- ence,

A Review of ACD-STEMM Integration part 2: controlled studies of transdisciplinary tools-for-thinking bridges for arts-science pedagogy Robert Root-Bernstein, Ania Pathak and Michele Root-Bernstein This is Part 2 of a three-part analysis of studies concerning useful ways in which visual, plastic, musical and perform- ing arts; crafts; and design (referred to for simplicity as arts- crafts-design, or ACD) may be used to improve learning of science,

A Review of ACD-STEMM Integration part 1: a taxonomy of integrated bridges Robert Root-Bernstein, Ania Pathak and Michele Root-Bernstein This is Part 1 of a three-part analysis of studies concerning useful ways in which visual, plastic, musical and perform- ing arts; crafts; and design (referred to for simplicity as arts- crafts-design, or ACD) may be used to improve learning of science, technologie, engineering, mathematics and

to vision, which captures only a fraction of our surroundings, hearing covers the entire sphere around us [5]. Note that un- til the advent of digital communication, precise timing sig- nals (e.g. church bells, reference frequencies) were all acoustic [6]. We now describe the technological implementation: White noise is digitally fed into the control system. The signals are randomly distributed over the field of nitinol

G e n e r a l n o t e Toward an Ontology of the Interface Identifying the Interface as a Mediation Entity C R I S T I n A S á T C A R T S B A The interface is more than an assemblage of processes and effects; it is more than a pure relational instance. The interface can be

ET IN ARCADIA EGO: ADDRESSING CANCER, DEATH AND IMMORTALITY USING SCIENCE Charlotte Jarvis (artist), Information Experience Design, Royal College of Art, Londres, ROYAUME-UNI. E-mail: . Hans Clevers (molecular geneticist), Hubrecht Institute, Royal Netherlands Academy of Arts and Sciences, Utrecht, Les Pays-Bas. E-mail: . See for supplemental files associated with this issue. Submitted: 30 Août 2016 Abstract Charlotte Jarvis has collaborated with Hans Clevers to grow

A CONCISE TAXONOMY FOR DESCRIBING DATA AS AN ART MATERIAL Julie Freeman, Médias & Arts Technologies, School of Electronic Engineering & Computer Science, Queen Mary University of London, ROYAUME-UNI. E-mail: . Geraint Wiggins. E-mail: . Gavin Starks, Open Data Institute. Mark Sandler. E-mail: . See for supplemental files associated with this issue. Submitted: 27 Juillet 2016 Abstract How can we describe data when used as

G E N E R A L A R T I C L E Facilitating Creative Equality in Art-Science A Methodological Experiment M A T T H I A S W IE N R O T H A N D P IP P A G O L DS CH M I D T T C A R T S B A In this article the