Journal

Artists Using Science & Technologynumber 2 volume 22 January/February 2002

DIGITAL ATELIER®THE EDGE OF DIGITAL MEDIA WITH LENTICULAR DISPLAYS

by Louis M. Brill

YLEM celebrates 20 years of sharing ideas and interestsin art and technology with an elegant cover image on ouranniversary newsletter composed as a lenticular 3D print.The image was created in a collaborative effort betweenDigital Atelier, an artist collective of three women, Dor-othy Simpson Krause, Karin Schminke and Bonny Lhotka(all of whom are members of YLEM) and Mirage, a fullservice litho house that specializes in printing lenticularimagery.

It is a perfect example of how YLEM membersexplore the frontiers of art and technology, taking the old(graphic design) and the new (three-dimensional imag-ing) and combining them into an exciting new medium,one that speaks viscerally of new dimensions in creativeexpression. 3D lenticulars have been around awhile, butwith easy access to good computers and lenticular com-posing software, once again special technology reachesthe hands of the artist. Digital Atelier explores the cuttingedge of digital printing, both esthetically and technically.In doing so it creates educational and research techniquesthat push the boundaries of traditional media and digitalart as well as the latest available print and display for-mats.

As one of the artists, Karin Schminke, explains:"Our work is created by digitally compositing varioussource images into a synergistic whole, therefore imagelayering is fundamental to us as a way of building a finalcomposition. The lenticular process allows us to extendour use of layers by visually spreading them into three-dimensional space."

In making these three-dimensional images, theDigital Atelier artists design their own lenticulars fromscratch, creating the image, interlacing it into its final formand from there, mounting the final printed image with itslenticular lens counterpart. Already the group has pro-duced at least one hundred lenticulars for display.Schminke noted, "One of the things we all like about len-ticular imaging is that the viewer is controlling what theysee by the motion they create as they walk by the art-work, and in that way, it becomes an interactive art piece.We see the 'lenticular shuffle' as people walk back andforth trying to discern the entire image."

For Bonny Lhotka, the appeal of the lenticularprocess is "it allows me to manipulate visual space in away that I've never been able to think of before. The len-ticular process adds a dimension of virtual reality to thekind of images I was already making, allowing me to cre-ate a third dimensional space for extended shape andcolor in front of my existing graphics.

"Overall, I've found an overwhelming approvalof lenticulars as a dynamic three dimensional art mediumthat's not necessarily found with two dimensional art. Inone instance I had a presentation to a large communica-

tions company and when the first lenticular was pulledout and shown as a possibility for an installation, the cor-porate review people literally leaped out of their chairsand ran up to touch it. I've never heard of any one react-ing that way to a piece of 2D art..."

"I'm a collage maker and I use existing imageryand combine them in particular ways," says DorothySimpson Krause. "With lenticular processing, I'm able toinclude movement and depth to my collaging work. Mostpeople find these images fascinating and aren't sure whatto make of them!" The challenge of using this process,says Krause, "is to use it expressively, not for its 'geewhiz' factor, but for its visual impact and to actually makean esthetic statement that helps you to carry your mes-sage."

The three artists of the Digital Atelier have bothseparately and collectively built a body of lenticular art-work and have not only discovered a new expressivegraphics medium but have also discovered that peopleseem to want to spend time looking at lenticulars. What-ever causes people to stop for a second look is benefi-cial.

Mirage is a Canadian lithographic printing cen-ter that specializes in lenticular image printing and col-laborated with Digital Atelier to produce our cover image.Mirage creative Director Ramesh Lalchan sees the chal-lenge of art and technology every day in his lenticularprinting projects and demonstrates that with his creationof our cover image.

A special thanks to the cover design team of Digi-tal Atelier and Mirage that produced YLEM's 20th anni-versary cover. We salute you!

Ylem is a non-profit organizationISSN 1057-2031/©2002 Ylem

For more information, please contact Digital Atelier:

Dorothy Simpson Krause781-837-1682 phonedotkrause@dotkrause.com

Bonny Lhotka303-494-5631 phoneBonny@Lhotka.com

Karin Schminke425-402-8606 phonekarin@schminke.com

For lenticular production:MIRAGE, Inc.Ramesh Lalchan(800) 361-3233ramesh@lenticular-mirage.com

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YLEM FORUM:Artists, Freedom and PrivacyWednesday, May 15, 7:30 PMMcBean Theater, The Exploratorium3601 Lyon St. , San Francisco, CA 94123

Seth David Schoen, staff technologist at the Elec-tronic Frontier Foundation speaks about issues and leg-islation affecting artists, including intellectual property andthe Hollings bill. Will future machines prevent duplicationof images as well as music and film? What about fair useand copying ones' own work? What about open code andsoftware development?

Another concern is privacy vs. marketing and se-curity information-gathering. Is a certain amount of ano-nymity necessary for free thought?Free, open to the public, wheelchair accessible.

Matt Hamrick speaks on “Why Johnny Can’tEnrypt: Social Aspects & Barriers to Adoption of PrivacyTechnology” as well.

Complete information and future forums listed athttp://www.ylem.org/NewSite/news/Forums.html

RESEARCH AS A CULTURAL ACTIVITY

by Stephen Wilson

History may show that the currently most known formsof computer art, such as computer graphics, are actuallyconservative, rather than radical forms. They are attemptsto assimilate the new technologies to established art tra-ditions. While they serve important functions of popular-izing and investigating some new sensual and aestheticpossibilities of computers, there is a much wider world ofpossibilities that begs for attention.

—"An Arts Research Agenda for the 90's," YLEMNewsletter, 12/89-1/90

Some think that the major meaning of the computerarts revolution is the digital images and sounds now pos-sible. This is a fundamental misunderstanding of history.The most important lesson of the last 20 years is thatsignificant technological innovation and science couldhappen outside established institutions and that artistscould participate in the heart of the research process andhelp shape its research agendas. Binary math and pro-gramming that were once thought masterable only byPhDs are now mastered by pre-teen hobbyists. Esotericresearch topics can have profound cultural impact. Theseare the lessons we need to build on.Science and Technology are not the same thing: Manypeople are sloppy in their thinking about these terms. Anyart that uses new technology is often referred to as artand science. Many artists have started to work with newtechnologies but many less are working with science.Science and technology are often conflated together. His-torically science was seen as being interested in why andtechnology was interested in how. In the contemporaryworld, however, the relationship has become more com-plex with new technologies opening up unprecedentedareas of scientific inquiry and science providing manyideas for new technologies. Artists have been much moreinvolved with technology than science.

—"Myths and Confusions in Thinking about Art/Science/Technology," paper presented at College Art As-sociation Meetings, NYC, 2000

This has been research's century. Our lives havebeen radically changed by the results of scientific inquiryand technological innovation. From play to work, our liveshave been filled with new gadgets and shaped by newunderstandings. Even more, research has changed ba-sic concepts about the origins of the universe, the natureof life, time, space, and humanity.

We have not yet reaped research's full promise.Many view research as something isolated, best left tospecialists. Its processes and ideas are dimly understoodand seen as alien to the main cultural flow, different inkind from ideas in literature, politics, or philosophy. Re-search is so profound in its implications for life and thought

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that it cannot be left to scientists alone. Science and tech-nology must enter into the heart of general discourse andunderstanding.

Research agendas can determine the flow of thefuture. For example, researchers working on ideas suchas ubiquitous computing (making objects intelligent andaware of their surroundings) are working on more than(from page 2)just new products. They are transforming the primordialrelationship of humans to inanimate objects. The way thatresearch unfolds will become a crucial part of our cul-tural heritage.

Decisions about research agendas require wideparticipation by those outside the sciences. Sociologists

cial sciences) could help to insure that the widest rangeof ideas get pursued.

Some may suggest that there already is wide par-ticipation via citizen review committees or academic cri-tiques of research. I mean something more fundamentaland proactive — practitioners from many fields actuallyparticipating in the inquiries, determining their own re-search goals and undertaking their own studies.

There are signs it is already beginning to hap-pen. The arts used to keep watch on the cultural frontier.As the cutting edge of culture became technological andscientific, the arts temporarily lost their way. They are re-claiming that sentinel role and demonstrating the possi-bilities for research outside the confines of science andengineering. Artists around the world are establishing theirown research agendas and labs. They are furthering sci-entific knowledge and creating technological innovationsas they pursue non-utilitarian research for purposes suchas personal expression, social commentary, or basic cu-riosity. Some examples include stem cell sculptures, ge-netically engineered bacteria with texts embedded, newkinds of toxin-extracting plants for public gardens, broad-casts from inside the stomach, brain wave controlledmusic, performances focused on plasma state transfor-mations of energy and matter, sound events of amplifiedseismic waves, zero-gravity dance, location based mu-sic determined by GPS, artificial life forms breeding andevolving on the Internet, artificially intelligent digital crea-tures that can read the emotional tone of speech, robotsthat can do acrobatics, movies that can read the viewer'sposition, gesture, facial identity, and so on. Organizationssuch as Arts Catalyst, the Welcome Trust art-sciencegrants, and the journal Leonardo, present research andart without the usual barriers.

There are challenges to this kind of research.Many in the sciences and engineering may doubt that"dabbling" outsiders can be serious contributors. Thosefrom other fields will need to master new skills and infor-mation. All will need to learn how to value and learn fromwhat other disciplines can offer.

If the challenges can be overcome, the rewardsare great. Our culture will be enriched by new lines ofinquiry opened. And researchers will be rewarded by anew kind of public support and understanding that willreplace the current mystification, hostility and distrust.

— A modified version of this essay, "Why I Be-lieve Science and Technology Should Have No Borders,"was published as an opinion editorial in the London TimesEducation Supplement <http://www.thesis.co.uk/> 12/7/01.

Artists wishing to pursue Wilson's research ideascan learn more at:http://userwww.sfsu.edu/~swilson/wilson.contacts.html

a participant tries out Oratio to Transitby Stephen Wilson

and historians of science note that the fate of researchideas is not decided only by the disinterested determina-tion of the strength of ideas. Academic disciplines patrolthe borders of their paradigms by controlling career, pub-lishing and funding. Mavericks are disciplined for trans-gressing the limits. Non-conforming ideas are squashed.

The world of technological innovation is similarlyconstrained. I have seen marvelous research ideas aban-doned because marketing departments decided that notenough money could be made from them. I have seenentire R&D departments (and their hundreds of person-years of inquiries) wiped out by the winds of corporatepolitics.

We as a culture can not afford to lose these ideasand bursts of imagination. We should be wary of inquir-ies too easily abandoned. The participation of individualscoming from the diverse perspectives of disciplines out-side the sciences (such as arts, humanities, and so

AT TWENTY, YLEM COMES OF AGE

Trudy Myrrh

Remember the first IBM personal computer and theMacintosh in the early 1980s? YLEM, born in 1981, pre-dates them both. The slogan for YLEM's big anniversarywas "20 years: A century in tech-years!" The 1980s, whenpersonal computers first came into the hands of artistswere exhilarating. Nor did artists restrict their explora-tions to computers. Holography, copiers, video, neon, lightand water sculpture, science-based painting and math-based sculpture fit under YLEM's wide, wide umbrella.YLEM has always been full of pioneering spirits. Evensince the 1960s and '70s, certain members had been in-volved in technology art. How flattered we were whenKenneth Knowlton and Lillian Schwartz joined! They haddone some of the first computer art in the world at BellLabs.

YLEM Reunion PartyThe delight of this first struck us at a reunion party

we held in March. In an old, high-ceilinged room dimly litat 111 Minna Street Gallery it was easy to feel the pres-ence of Bohemians and Beatniks of eras past. A bizarreand lovely soundtrack prepared by Greg Jalbert accom-panied us as we perambulated in idiosyncratic attire. BobGelman wore his fedora hat, Trudy Myrrh Reagan herbedouin dress with circuit board jewelry by Famous Me-lissa, and Eleanor Kent, the large, blue necklace she cro-cheted out of electroluminescent wire. She glowed.Old-timers were honored with polyhedral paper orna-ments made by founder Trudy Reagan and LED "Blinkie"pins by Jim Thompson and Robert Sloan. We were hon-ored that one of YLEM's very first paying members (May1981, $5), Ruth Asawa, was able to attend. Even in thosedays, she had monumental sculptures all over San Fran-

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Our 20th anniversary allowed us to reconnectwith our earliest members, some of whom we hadn't heardfrom in years. YLEM was home to many in the early '80swho were developing their weird specialties in isolation,especially across the country. For instance, there wasthe Austin, Texas jeweler, Vernon Reed, who made ani-mated LCD jewelry in an industrial lab after hours. We,the founders, had the excitement of reaching out and dis-covering these talented experimenters, and making cru-cial contacts with burgeoning industries and science spe-cialists. One thing we never expected in this fly-by-nightworld was that we would stick together, enjoy sharingour art with YLEM audiences and Newsletter readers,and form lasting friendships.

We had a new sense of ourselves as a continu-ing community and a tribe, when members near and far,new and long-term, young and old came together at forso many YLEM get-togethers and events during our an-niversary.

cisco, and was internationally-known. Since then, she be-came a moving force behind San Francisco SchoolDistrict's School of the Arts. And she's still doing her work.

YLEM 2001 ForumsYLEM was originally formed to conduct forums

where artists and scientists, technologists and thinkerscould all share what they do together. In so doing, wehave helped set the cultural agenda. Over and over again,we featured fields like A-Life that later were recognizedas new themes in art.

Throughout 2001, the Forum programs held atthe Exploratorium were spectacular. We enjoyed vision-ary architecture, performances about the universe fromits birth to the present, movie special-effects artists fromIndustrial Light and Magic, music and graphics morphingtogether in synesthesia, and at SomArts Gallery monu-mental light installations and performances by four multi-

Bob Gelman, of CyberArts.Eleanor Kent wearing her Glowing LaceNecklace, crocheted electro-luminescent wire, illuminated, 2001. Kentorganized the YLEM exhibit at SomArtsGallery.

20TH ANNIVERSARY SHOW

GALLERY

Copper wire sculpture by Ruth Asawa, 1990.

Bronze light-sculpture gates by Marsha Nygaard. Photo of maquetteshows solar-powered light sculpture and reflection pond for a citysquare.

Body Map v.6: A Sonic Passage by Barbara Lee.Interactive installation featuring sound works byBeverly Reiser, Sylvia Pengilly and Fleur Helsingor,2001.

Starburst by Grant Elliot. Interference contrast illumination image of a defect of asemiconductor, 1994.

Electronic music and graphics performance by composer, artist and dancer Sylvia Pengilly.

Millenium Epicenter by Victor Acevedo. Iris inkjet print, 1999.

Installation view - above Ruth Asawa’s wire sculpture, a laser projection of an infinity sign. Photo by Robert Ishi.

Stele I: Kore by Mary Stieglitz. Photographic digital inkjetprint, acid dye on Fuji silk broadcloth, 2000.

Fire Under the Earth by Margaret Astrid Phanes.Digital collage, photograph and computergraphics, 2001.

Three Women at a Cocktail Party by Gordon Clyne.Algorithmic art using own computer program.

YMIM-603 (You Move It Moves) by Ed Duin. Interactiveinstallation using polarized light.

Face on Mars by Robert Ishi. Archival ink-jet print (digitally-modifiedimage), 2001.

Neighborhood Watch: Eye Mac by Torrey Nommesen.Assisted ready-made sculpture, Mac SE computer, 2001.

Albert Einstein by Ken Knowlton. Seashell mosaic arranged by handusing information generated by software that Knowlton pioneered,1997.

Above left Intertwingled, pantings on plexiglas by Trudy Myrrh Reagan. Below left: The Crone,installation by Magi Amma. Center: Baby Shrine, installation by Nancy Tector. Right: Oratoriofor Transit, by Stephen Wilson.

The "Impact of YLEM" ExhibitionSomArts, the gallery Eleanor Kent managed to

secure for the exhibit, was enormous, with 30' high ceil-ings. YLEM filled it with works by 80 artists, each submit-ting one work. Most were wall and pedestal pieces, withsome exceptions: Several hung from the ceiling. One in-stallation, conceived and built especially for the show by

image light artists. For organizing these five Forums wehave to thank Fred Stitt of the San Francisco Institute ofArchitecture, artists Trudy Myrrh Reagan and LorenMeans, musicologist Sandy Cohen and multi-image art-ist Larry Ackerman.

As well, an anniversary Forum organized byTrudy Reagan was held in September as part of our an-niversary celebration.

Special Event: The Art of Burning ManA special event organized by YLEM and Burning

Man liaison Louis M. Brill and Burning Man curator LadyBee previewed the art to be shown later out in the desert,as well as the fantastic structures that have been seen atBurning Man events in years past. About three times asmany showed up as we had room for in theExploratorium's theater (450!). Fortunately, they could sit

Barbara Lee, was a walk-through structure with soundand music pieces by three collaborators. Each trip throughyielded a different sonic result. Several video artists' workplayed on a continuously-running tape. Two interactivepieces by Steve Wilson and Nancy Worthington beggedto be sat upon and prodded. No juror was needed to pro-duce the handsome show, for each artist was urged tosend one piece, "your best." What single juror is schooledto judge digital painting, circuit board assemblage, infra-red photography, slumped glass, book arts, holographyand other 3D technologies, video, polarized light sculp-ture and rapid deposition models from CAD designs? Onedramatic piece by Ken Knowlton was a large assemblageof seashells that made a compelling portrait of Einstein50 feet away.

More than 200 attended the reception, and againwe got the warm feeling of being a tribe. Member artistsfrom as far away as Maine (Reed Altemus) attended.Exhibiting artists ranged from 17-year-old Daniel Meansto several in or near their 80s. Many friends were reunitedthat evening.

Craig Charbonneau of Laser Dreams projected"YLEM" high on the wall above the art. He was invited todo wild laser effects for the YLEM benefit party the fol-lowing week.

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Sculptor Ruth Asawa, an earlymember.

in the lobby and listen to the audio and enjoy the BurningMan art set up out there.

September FocusWe picked September as YLEM celebration

month, unaware of what would strike the nation partwaythrough our events.

Being a collaborative organization (like a room-ful of gag writers, as Peter Medewar put it), severalprojects were hatched during the year by people who hadthe vision to incubate them and draw needed helpers tothem. We didn't quite realize until the projects all ma-tured that this had become a mini arts festival! They con-sisted of "The Impact of Ylem" exhibit and reception, theCyberArts X conference and party, and Ylem's "100thForum."

Saint Rubidium 5C by Larry D. Ackerman.Circuit board drawing in lightbox, 2001. This"saint" was the theme of the installationenjoyed by the YLEM Forum attendees inNovember.

CyberArts X Conference and Ylem BenefitEarly in the year Bob Gelman mentioned that

since both YLEM and CyberArts were having an anni-versary, we should team up. The original CyberArts con-ferences took place in Southern California in 1990, '91,and '92 and involved several YLEM artists. The CyberArtsX Conference and Party, produced by Bob Gelman andDominic Milano, was a benefit for YLEM.

It was scheduled to take place September 15 and16. Then the dreadful events of September 11 took place.

The big decision was whether to go forward. Weall felt odd doing anything normal, let alone celebratory,after this. Moreover, due to disruptions in air travel, con-ference speaker Dr. Fiorella Terenzi was stranded inFlorida, artist/speaker Renate Spitz was similarly stuckin Brazil. Other speakers and attendees were unable toattend in person. Yet, we felt quitting would mean theattackers had won. Some new, local speakers graciouslycame, and they were fascinating. Both at the party andthe conference special time and space were set aside toexpress thoughts and emotions. Many afterwards told usthat coming out to the events meant a great deal to them.

The conference featured the most inventiveminds in the interactive media industry. Here is just asample of the topics discussed and the luminaries in at-tendance:Bruce Damer and Mike Kaplan talked about their easy-to-use tool for creating online 3D communities, whichAdobe has sponsored and is calling "Atmosphere." It was

demonstrated at the YLEM benefit party on Saturdayevening.

Art with cellphones and other devices was ex-plored by Frank Schwartz of Gen3D. Big in Europe are:unique phone ringtones, online happenings and poetry,or whatever groups of people can think up. The anar-chist, almost low-tech aspect appealed to many of us.Graphics are even possible. Noah Falstein of Inspiracydefended the action games that he designs, saying "Weplay because it's in our genes." It once improved our hunt-ing skills. Linda Jacobsen, who spoke to YLEM yearsago about "Garage Virtual Reality" told of her years asVR evangelist for SGI and how pervasive it is now in in-dustry and the military. The hype may have died, but thecapability is very much alive. Opting out of SGI and mili-tary applications, she has started her own company toexplore constructive uses. Futurist Charles Ostman touted"nanites" (nano robots) for curing disease, for instancerecoating nerves with myelin sheaths to alleviate mul-tiple scerosis. Ever the optimist, he felt this would hap-pen soon. Jim Solomon and Nanci Magoun previewedtheir fabulous Xulu Entertainment Center where couplesride in "pods", controlling where they go in immersive com-puter-generated environments. These owe as much toflight simulators as movie special effects.

The CyberArts evening benefit party for YLEMenhanced the YLEM exhibit at SomArts with additionalinteractive art, software demonstrations and music. In theadjoining space, people explored a whole panoply of in-teractive displays like Peter King's interactive fractals cre-ated with video cameras. People wrote sentiments on acandle-lit "haiku wall." Several shrines to the dead wereset up. In a theater section, integrated visuals with ana-log and digital images projected in real-time, laser lightprojected through fog, and computer graphics effects aug-mented the live musicians who seemed to be swimming

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Stephen Wilson demonstrating hiswork.

Louis M. Brill, Barbara Lee and Trudy Myrrh Reagan atYLEM reunion party. Brill and Reagan were editors ofthis issue. Lee is vice president.

New York City Solstice by Herbert Price. Digital C-printphotograph, 2001. It was wrenching to see this in theexhibit after the towers fell.

Larry Shaw, Exploratorium staff

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in images. The dancer Simonia began her September11th tribute slowly, shrouded, and culminated with a re-birth of vitality, dancing with a live snake. Diana Trimbleadded her voice and original poetry to the evening's per-formances, which were capped by the presentation of a20th Anniversary cake and gifts to Trudy Reagan andEleanor Kent.

The 100th YLEM ForumThe following Wednesday, a different crowd of

YLEM enthusiasts gathered for the "100th Forum." Since1988 The Exploratorium has been our host. It was therein 1993 that Leonard Shlain first spoke on his book, Artand Physics. He presented his latest observations on thissubject, with many, many more images. And SylviaPengilly, who showed videos of her work at three previ-ous Forums, performed three works live and showed a

fourth, Dark Places. The latter was based on images ofwar, lawlessness and poverty. This multifaceted dancer/composer/digital artist danced in white tights to her mu-sic against a black background, and what we saw on thescreen was her silhouette filled with the changing graph-ics effects she had designed, moving to her musicalpieces. These superb performances were augmented byinteractive art exhibits in the lobby.We thank the many, many volunteers who made this en-tire year of events a success!

Into the 21st CenturyAt a follow-up meeting, the YLEM Board and

Advisors discussed how to build on success. High on thelist are: more parties, more exhibits and documentingYLEM artists on a CD. More high-profile thinkers and art-ists will appear in the YLEM Newsletter. Copies of thisparticular journal will be sent to other electronic artsgroups around the world. We hope to establish ties withthem. Internationally, the tech art community will drawever closer with interesting collaborations, and YLEM in-

tends to be a part of that ferment.We will cultivate ties between YLEM and Burn-

ing Man and its new arm, the Black Rock Arts Founda-tion, which gives grants to individual artists doing inter-active art in their communities. At Burning Man this year,YLEM members who are interested can camp together.

YLEM will use new technologies to make itselfmore accessible and interactive to the public and its mem-bers. Our programs will continue to highlight trends andset the agenda of issues worth deeper discussion. MayYLEM continue to flourish!

Further information about YLEM's history and the "Im-pact of YLEM" show are on the YLEM website, http://www.ylem.org. Also visit CyberArts at http://www.cyberarts.org.

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BOARD OF DIRECTORS

Eleanor Kent PresidentGary Zellerbach TreasurerPatricia Tavenner SecretaryPaul Cohen ArtistMarius Johnston ArtistBarbara Lee ArtistLoren Means ArtistTorrey Nommesen ArtistStephen Wilson Writer

ADVISORY BOARD

Ruth Ecklandindependent ArtistTheodosia FergusonInternational Society for the Arts, Sci-ences and TechnologyNathaniel FriedmanDept. of Mathematics, SUNY AlbanyRobert GelmanMultimedia Artist, producerNancy GorglioneCherry OpticalLucia Grossberger-MoralesIndependent ArtistRoger MalinaCenter for the Extreme Ultraviolet As-trophysicsMike MosherCommunity Art MachinesDr. Clifford A. PickoverIBM Thomas J. Watson Research Li-braryMary StieglitzDept. of Art and Design, State Univer-sity of IowaLarry ShawThe ExploratoriumFred StittS.F. Institute of ArchitectureJim ThompsonLXT Inc.Joan TruchenbroadSchool of the Art Institute of Chicago

NEWSLETTER

Torrey Nommesen DesignLoren Means Executive Editor

FORUMS

Trudy Myrrh ReaganYlem FounderLarry ShawThe Exploratorium

WEBSITE

Marius JohnstonDirector

n. pronounced eylum, 1. a Greek word for the ex-ploding mass from which the universe emerged.

An international organization of artists, scientists, authors, curators, educators,and art enthusiasts who explore the Intersection of the arts and sciences. Sci-ence and technology are driving forces in the contemporary culture. YLEMmembers strive to bring the humanizing and unifying forces of art to this arena.YLEM members work in new art media such as Computers, Kinetic Sculpture,Interactive Multimedia, Holograms, Robotics, 3-D Media, Film, and Video.

CONTACT

INFORMATION

YLEM Main OfficeP.O. Box 749Orinda, CA 94583Eleanor Kentekent@well.com

YLEM NEWSLETTER ITEMS

Trudy Myrrh Reagan967 Moreno AvenuePalo Alto, CA 94303trudy.myrhh@stanfordalumni.org

YLEM’S WEBSITE

Marius Johnston498 Pershing DriveOakland, CA 94611http://www.ylem.org/marius@pacbell.net

YLEMP.O. BOX 749ORINDA, CA94563USA