Art-And-Technology: Recent Efforts in Materials and Media

Chicago (1938-44), and MIT professor since 1946 formed the MIT Center for Advanced Visual Studies.13 CAVS is a research institute dedicated to collaboration and search not Art-and-Technology: only toward art-science combinations, but also to asking the big question where and how artistic and intellectual/academic efforts are "interdependant" within a human, Recent Efforts global, and a sociopolitical environment. Kepes' foundation was enforced by artist fellows invited for collaboration at CAVS (Otto Piene, Vassilakis Takis,14 Harold in Materials 15 Tovish, Jack Burnham, Stan VanDerBeek, Wen Ying Tsai et al.16), and also by the intellectual and collaborative support of such MIT scientists as Harold Edgerton,17 Philip and Media 18 19 Morrison, and Cyril Smith, to name just a few. Takis' work with MIT mechani- Otto Piene cal engineering professor Ain Sonin led to the artist's "Homage a Marcel Duchamp," a project for a tidal perpetuum mobile. "Doc" Edgerton's work with stroboscopic To avoid misinterpretation, the term This brief essay can render nothing more phenomena directly influenced Tsai's "art-and-technology" should be hyphen- than some thoughts, ideas, and good ex- "Tsaibernetic," vibrating, light-sound, ated because we are looking at an inte- amples in a field which already has grown viewer-responsive sculptures and later grated art form which developed, roughly, complex and multifaceted: Chilean fellow Alejandro Sina's high- during the past 70 years (since Naum Many components of material, industrial, frequency-discharge, suspended, and ro- Gabo's virtual volume, Kinetic Construc- and systems development have contributed tating neon sculptures (Figure 4). tion, Berlin, 19201). Art-and-technology re- to the dramatic emergence of nontra- Edgerton also worked with me on my sults from "incorporated" contributions of ditional art forms in our century (the tra- strobed-at-nighttime "Light Satellite" (1972), art, science, and technology or, better, ditional ones being painting, sculpture, a suspended optical glass sculpture in the from artists, scientists, and engineers (plus graphics, etc.). However, a simplifying but Munich Olympic area. Astrophysicist Philip industry, business, government, etc.). Al- helpful division into generations may cate- Morrison ("ID, 2D, 3D -Four") impressed though art-and-technology has frequently gorize, first, a mechanical generation (e.g., one-time CAVS fellow Tom Van Sant20 been bad-mouthed or even pronouned Marcel Duchamp, Alexander Calder), then enough to inspire his concept of the pow- "dead" by advocates and practitioners of an electric generation (exemplified by ers of ten as a guide in his very large "Eyes pure art as well as science and technology, Laszlo Moholy-Nagy,4 Thomas Wilfred,5 on Earth" and very small "Ryan's Eye" it is alive and well and enjoying more vi- and successors of "kinetic art"6) and, more works (Figures 5 and 6). Van Sant used re- tality, variety, and expansion than ever be- recently, a multimedia generation, inte- flected sunlight and the Landsat satellite fore. It is currently the only expanding grating electronic media and tools, for ex- on the one hand and an image etched on field in the arts; it feeds vitally into tech- ample, into "combines" (originally Robert a salt crystal under an electron microscope nology and industry—most visibly in en- Rauschenberg's term) by expressive artists on the other. tertainment but it also provides stimulus like Stan VanDerBeek (light projections, Examples of "sung" and unsung collab- beyond fun to areas of science and engi- video, computer graphics) and Nam June orations abound in a creative world in neering where "art applications" have Paik8 (altered TV, video sculpture, broad- which one artist, one scientist, one engineer abounded since the advent of photography cast art), plus "virtual reality multimedia." cannot "go it alone." Too much knowledge and its vast consequent uses in science. Currently, electronic media are popular, is required; too much lab work has to be We can claim an eloquent tradition for industry-supported, and have been intro- done; too much apparatus is needed to mas- duced in many art schools and new art- art-and-technology in ancient historic, 9 ter the changing (macro or micro) scale of cultural manifestations such as the Egyp- and-technology institutes. art, image-making, electronic transport, or tian pyramids and their "environmental" Whereas art-and-technology had often storage of "ephemeral material." Expres- scale or the Greek theater with its elabo- been misunderstood to be united only in sive, revealing, often poetic phenomena rate stage machines.2 We are aware of ele- curatorial service in museums and in arche- result from open-minded curious search- ments of that tradition when we observe ology up to the fifties, as of 1966 Billy ing of artists and scientists in dialogue. contemporary art-and-technology such Kliiver10 of Bell Laboratories and the mul- An unassuming little book, International as sky and space art (Figures 1 and 2), tifaceted painter and performer Robert Directory of Electronic Arts-Art and Tech- computer-generated virtual reality, perfor- Rauschenberg,11 formed a national network nology21 lists artists, institutes, departments, mance with medical inquiry and medical for methodical collaborations between en- and programs dedicated to art-and- apparatus, and art concepts inspired by gineers, scientists, industry, and artists technology synthesis throughout the world. molecular biology (Figure 3).3 Emphasis called EAT (Experiments in Art and Tech- Hundreds of people and places are listed, of search—whether artistic/expressive, nology). It has "chapters" in many U.S. predominantly in countries such as the conceptual/philosophical, or inquisitive/ cultural centers, such as New York City, United States, Germany, France, Japan, and scientific—depends on taste and motiva- Boston, and San Francisco. In 1967, Gyorgy England, but also in smaller countries such tion. However, Leonardo is an undisputed Kepes,12 painter/photographer, head of the as the Netherlands and Belgium. A case in idol to both artists and scientists. light department at the New Bauhaus in point: a new design college for "art and

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communication" recently opened in Tam- as an international "trading post" is being pere, Finland, with resolute municipal and contemplated by authorities concerned. It government support. A UNESCO insti- is suggested to be associated with the Co- tute of exchange, research, and education/ logne Kunsthochschule fiir Medien and to training in matters of art-and-technology be located in the Cologne Media Park. This new center for distribution, research, and teaching of electronic media is under con- struction in the 2,000-year-old German city. Excellent "media architecture" is provided by internationally known architects such as Herzberger, Nouvel, and Zeidler Roberts. The current wave of "pro-tech" art (Lawrence Alloway22), "TechnoCulture" (Theofilakis), or "Nouvelles Technologies—un art sans modele"24 in- 25 Figure 3. Stereo computer model of cluding "Chipppp Art" (Jiirgen Claus ) image-coded "MicroVenus" molecule and ARTTRANSITION '90 (a relevant syn- containing the three principal optic conference organized by CAVS/MIT) conformations of DNA by Joe Davis, is a concern of well-funded, relatively new Cambridge, MA, 1991. institutions such as the spirited, pace-setting MIT Media Lab26 (since 1985; director, Figure 1. "Olympic Rainbow" by Otto Nicolas Negroponte) and the Karlsruhe, Piene; a 2,400-foot-long, helium-filled Germany-based ZKM (Zentrum fiir Kunst inflatable sculpture; for closing ceremony und Medientechnologie, under Heinrich of the 20th Olympic Games, Munich, Klotz). The latter probably is the most 1972. broadly oriented and most generously public-funds-supported new institution. Its program includes a new form of 20th century ("media") museum, a media de- 'lH pF sign college, and several multimedia and

music research operations. • .*», £ Within academic, research, and display/ performance activities of the past decade, most attention in art-and-technology has been paid to the industry-supported, predominantly electronic, "new media," which I call "classical" or merely "standard" media. Four in all, these are video (including video Figure 4. "Spinning Shaft," by Alejandro sculpture, video projection/performance, Sina; neon sculpture, 1978. The video disk, telecommunication, "tv art"); cylindrical image or virtual volume is computer (graphics, music, e-mail art, vir- created by rotating an array of straight lines of light, using special neon tubes tual reality, "new" multimedia, telecom- modulated to generate a changing visual munication); laser (in performance, in illusion when rotated. environments, long-distance light art, light- music interaction); holography (still images, 3D video, architecture). The work ranges from the traditional, quasi-private scale of "art video" and "holography mu- (Sally Weber33 and John Powell) expand seums" to the largest distribution (Paik's 27 the language of light art. "Holographic '84 broadcast "Good Morning, Mr. Orwell" glass"34 is likely to give architecture a new and similar Paik broadcasts) and the light/space and, possibly, poetic dimension. longest distance (Lowry Burgess' "Quiet 28 New collaborations have added new Axis" involving a Discovery shuttle pay- media and new expectations to humanis- load, 1989) and the vastest proliferation, tic and expressive aspects of technology: (Joe Davis' "MicroVenus concept for Composer and laser artist Paul Earls35 (Fig- "publishing via bacteria".) ure 7) has computerized his image palette The "immaterial image" is an old artists' and image/sound connection, sometimes dream. Therefore holography has had working with the MIT Spectroscopy Labo- artists fascinated since its advent by em- ratory (Prof. Michael Feld) and Digilab, a ploying lasers for reconstruction and spectrometer manufacturer (MIT graduate figure 2. "Brussels Flower," by Otto subsequently, and increasingly so, as white- Walter Zengerle). Artist Joe Davis has Piene; inflatable sculpture; sky event in light holography. Image-makers like Harriet worked with the MIT High Voltage Labo- context with "Sky Dance" 31 (Moore-Piene-Summers) at the Solomon Casdin Silver and Dieter Jung, scientists ratory (Chathan Cooke) in experiments like Steve Benton32 and Mark Holzbach, and artistic projects toward light/sound R. Guggenheim Museum, New York, NY, 36 1984. (Photo: Elizabeth Goldring.) and holographers of architectural space transmission and GAS payloads and

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and organisms) are medium and addressee in a new world of artist/scientist/inventoi teamwork into which Elizabeth Goldring3: drew Robert Webb, the creator of the SLC (scanning laser ophthalmoscope) to de- velop a "visual language for the blind" (Figure 9). Here the world of medical di- agnostic and information technology is engaged in an "eyedrama" to project let- ters and images into "unseeing eyes" where portions of the retina are still receptive (al- though lens and vitrius are often obscured.) We are observing an encouraging, rare example of melding artistic vision, liter- ally and figuratively, with the scientist/ inventor's precision expertise in a world of medical, humanistic values. Figure 7. "Double Spiro" by Paul Earls; Looking at artists' use of materials, laser projection. A blue argon and red traditionally and "avant-garde, one can krypton laser are superimposed on a categorize them into solids, liquids, and surface displaying computer-generated gaseous materials. Traditionally, most images from a program which varies "media" were solid, as in marble and projection angle. This picture captures one bronze sculptures. Beyond, there are "Les moment in an evolving image. (Photo: Immateriaux" (Jean Francois Lyotard38), John Kruse) mostly seen as "electronic materials" and their conductors and "containers." The "ARTTRANSITION situation" is deftly vi- sualized in the French/Egyptian sculptor, binations of materials and "media." A case Figures 5 and 6. Contrasting very large 39 40 (2.5 km) and very small (250 nm) Roland Baladi's marble tv and other marble in point is Eric Begleiter's development drawings of a human eye. electronic vehicle sculptures: material of food holography, ("candy holography") Figure 5, called "Reflections from meets immaterial, past meets present and (Figure 10), where bright holographic im- Earth," a collaboration (June 11, 1980) paraphrases "future." ages or mere interference patterns are em- between T. Van Sant and many scientists Contemporary artists do not so much bossed onto "improbable stuff" such as and engineers in the Landsat program, create new materials but invent new com- white chocolate, sugar crystals, pills, and shows satellite-imaged solar reflections of mirrors forming a composite shape of an eye in the Mojave Desert. Figure 6, called "Ryan's Eye," a collaboration between artist T. Van Sant and M.S. Isaacson, A. Muray, and E.J. Kirkland, is an electron micrograph of an eye etched into the surface of a salt crystal with an electron beam. The etching was performed in 1982 at Cornell University's National Research and Resource Facility for Submicron Structures (now called the National Nanofabrication Facility). The larger image is 10 billion times the size of the smaller, with the size of the human eye (2.5 cm) in the center of the scale. The measurements and calculations were certified by R.P. Feynman of Caltech. A color version appears on this month's cover.

with the MIT Visible Language Workshop in remote laser carving events during which he also involved elementary school classes. Young students directed from Cambridge, Massachusetts, via slow- Figure 8. "Photon Voice" by Shawn Brixey and Laura Knott; outdoor event for CAVSIMIT scanned, drawn images, the carving of "Desert Sun/Desert Moon" series of environmental art events documented by Smithsonian steel and stones at the Church Metal Spin- Magazine, Lone Pine, CA 1986. This event varies the conversion of light waves into sound ning and Fabricating Works in Milwau- waves and back into light waves through the interference of dancer/choreographer Laura kee, Wisconsin (1984). Knott. Her action becomes evident in a terminal in which the movement of graphite particles Biological materials, (i.e., tissues, organs, parallels the dance movements.

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wafers. As with David Larkin, a young With collaborator Dana Boyd, a geneticist artist who uses liquid-crystal-covered from Harvard University and the University surfaces as well as food fragrances to cre- of California at Berkely, he has generated ate temporary "images," consumption/ about 1 X 1028 of this message. However, ingestion of ephemeral "pictures" becomes to spread messages through bacteria in an experience; distribution becomes a the cosmos is currently a "Denkmodell," form of "broadcasting" in media address- like the one to install the human genome ing taste, touch, and smell along with ad- itself within the bacteria as, maybe, "the dressing our visual sense and aesthetic only practical way for humans to explore judgement. Here art work is produced in the cosmos." great numbers (in contrast to traditional Van Sant's current collaborative commit- monumental monolithic and unique forms) ment reverses the direction: it condenses and the "mega-editions" aesthetic adds and combines satellite images of the Earth's Figure 9a. "Retinal Poetry Via the another perspective to art, along with the surface to form a composite "real image" Scanning Laser Ophthalmoscope" by new world of "nano aesthetics." of the Earth as seen from space—the Geo- Elizabeth Goldring with Robert Webb; Referring to small images in history ("a sphere Project. The full-resolution Geo- performance for ARTTRANSITION '90, portrait on a pinhead"), Joe Davis also pays sphere Image is 8,640 pixels wide and Kresge Auditorium, MIT. (Photo: 4,320 pixels high for a total of 37.3 million V. Grabill). hommage to Tom Van Sant and leads us toward his "genetic studio":41 "In 1982 Cali- true-color pixels. Displaying the image at fornia artist Tom Van Sant, with partners its full spatial resolution would require M.S. Isaacson, A. Muray, and E.J. Kirkland 338 standard broadcast television sets ar- of Cornell University42 used a Scanning ranged in 26 stacks each 13 sets high. The Electron Microscope (SEM) to carve an Geosphere itself is "the first visually accu- icon into a single crystal of salt ("Ryan's Eye," named for his young son). Executed at a scale of 2.5 μm, this icon was orders of magnitude smaller than any previous work of art. A 'wizard of scale,' Van Sant created his ultra-small 'Ryan's Eye' (Fig- ure 6) to complement a 2.5 km 'Desert Eye' (Figure 5) consisting of satellite- imaged solar reflections of mirrors forming a composite shape of an eye in the Mojave Desert. "In the years since, complex images have been routinely scanned into crystalline substrates for the semiconductor industry (and others), including a facsimile of an M.C. Escher print seen in the MRS Bulle- Figure 9b. "Eye/Sight II" by Elizabeth tin several months ago.43 Goldring, Vin Grabill; interactive video installation, Lights/OROT, Yeshiva 'Activities in genetics and molecular bi- University, New York, NY, 1988/89. ology have already had obvious impact on (Photo: V. Grabill). fields such as medicine and agriculture. There are indications that recent advances in bio-technology may have significant applications in many other fields, including electronics, computer science, telecom- munications, and the arts. CAVS artists Davis and Jose Wagner Garcia, working in such diverse areas as bioluminescence Figure 10. "Chocolate Hologram," by Eric and the search for extraterrestrial intelli- Begleiter, 1990. Begleiter's patented gence, have undertaken several molecular- Edible Holographic process allows a wide scale projects." variety of transparent and opaque foods , and confections to receive dramatic From a Davis writeup in Omni " maga- holographic effects and images through a zine (and from the artist's direct represen- safe, inexpensive process. The quality and tation), we learn that his "MicroVenus" flavor of foods are unaffected by the thin project is a message in the form of bacte- microscopic layer of diffraction ridges rial DNA. "An algorithm, originally used used in producing its amazing illusions. to encode messages for extraterrestrial The structural part of the food mass life, was used to encode a graphic 'Venus' allows it to produce illusions of space, projecting images both above and below (Germanic "life" rune) into a molecule of the food's surface. Edible holograms use a Figure 9c. "The Inner Eye: From the synthetic DNA. This has been spliced into Inside Out" (11 min. color videotape), by physical, not chemical, basis to produce Elizabeth Goldring, Vin Grabill; video the living bacteria E.coli" as a model for colors and images; no artificial still of ultrasound procedure (Photo: spore-bearing bacteria. They "could dupli- ingredients or additives of any kind are V. Grabill). cate and spread throughout the galaxy." used. (Photo: E. Begleiter).

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Wilhelm Schmidt (B.G. Teubner, Leipzig, 1899). Margarete Bieber, The History of Greek and Roman Theatre (Princeton University Press) Princeton, NJ, 1961). 3. Illustrations accompanying this essay may serve to give an impression of the variety in current art-and-technology; some images, with captions, may not directly refer to the text. 4. Krisztina Passuth, Moholy-Nagy (Thames & Hudson, New York, NY, 1985). 5. Donna M. Stein, Thomas Wilfred: Lumia - A Retrospective Exhibition (Corcoran Gallery of Art, Washington, DC, 1971). 6. References in Jonathan Benthall, Science and Technology in Art Today (Thames & Hudson, London, 1972). 7. References in Gene Youngblood, Expanded Cinema, Introduction by R. Buckminster Fuller (E.P. Dutton & Co., New York, NY, 1970). 8. Edith Decker, Paik-Video (DuMont, Cologne, 1988). Video-Skulptur retrospektiv und aktuell 1963- 1989, edited by Wulf Herzogenrath and Edith Decker (DuMont, Cologne, 1989). 9. Annick Bureaud, International Directory of Electronic Arts - Art and Technology (Kanal Guide, Paris, 1990-1991). 10. Suzanne Ramljak, Billy Kliiver interview, in Sculpture, special issue on art and technology, May-June 1991, Washington, DC. 11. Basic information on Robert Rauschenberg and the context of 20th century art, in H.H. Arnason, History of Modern Art (Harry N. Abrams, New York, NY, n.d.). 12. Rudolf Arnheim et al., Gyorgy Kcpes - Works in Review (Museum of Science, Boston, MA, 1975). 13. Centerbeam, edited by Otto Piene and Eliza- beth Goldring (CAVS/MIT, Cambridge, MA, 1980). Figure 11. "Galaxy" by Otto Piene with Joan Brigham and Joe Davis, plus Haivorsen 14. William Burroughs et al., Takis-Magnetic Architects; environmental light and water sculpture with mini-park on Kendall Square, Sculpture (Howard Wise, New York, NY, 1967). Cambridge, MA, 1988190, sponsored by Cambridge Redevelopment Authority, welded 15. Christopher C. Cook et al., Harold Tovish: A stainless steel and perforated, galvanized mild steel globes. (Photos: Thad Tercyak, CRA and Retrospective Exhibition 1948-1988 (Andover, Walter Dent, CAVS). MA, 1988). 16. Tsaibernetic Art of Tsai, Wen-Ying (National Museum of History and Taiwan Museum of Art, Taiwan, n.d.). References 17. Harold E. Edgerton and James R. Killian Jr., rate, three-dimensional model of Earth" Note: The literature listed represents a combi- Moments of Vision - The Stroboscopic Revolution (Tom Van Sant), consisting of 36 transpar- nation of general as well as specific reading; the in Photography (MIT Press, Cambridge, MA and ent photo-printed image gores adhered to combination should provide fair acquaintance London, n.d.). a translucent fiberglass sphere illuminated with the subject, art-and-technology. 18. Philip Morrison, Ring of Truth: An Inquiry by internal and external lighting and sur- 1. References to artists Naum Gabo and his into how we know what we know (Random House, rounded by a protective transparent shell. brother Antoine Pevsner, along with much ba- New York, NY, 1987). In an ever-shifting world of human in- sic information on early phases of 20th century 19. Cyril Smith, The Search for Structure: Se- terests and curiosities, materials remain art and its pioneers, are to be found in the fol- lected Essays from Art, Science, and History (MIT lowing books: Press, Cambridge, MA, 1981). while the Earth is intact and new mate- Jack Burnham, Beyond Modern Sculpture 20. Otto Piene, Lowry Burgess, Elizabeth rials appear with expanding human reach. (George Braziller, New York, NY, n.d.) preface, Goldring, and Bernd Kracke, SKY ART Confer- Meanings and the value of effects change: 1967. ence '81 (CAVS/MIT, Cambridge, MA, 1981). radiant cadmium red which enabled paint- Douglas Davis, Art and the Future: A History/ 21. Annick Bureaud, see Reference 9. ings to be "intense" is now "seen" as toxic. Prophecy of the Collaboration Between Science, 22. An example of Lawrence Alloway's writ- Throwaway "plastics" have to be recyclable. Technology and Art (Praeger Publishers, New ing: American Pop Art (Collier Books and Whit- However, for my sky art inf latables, I yearn York, NY, 1973). ney Museum of American Art, New York, NY, for nothing less than affordable, non- Frank Popper, Introduction, Electra: 1974). deteriorating, reusable, recyclable, ultra- L'electricite et Velectroniaue dans I'art aux XXe 23. See Les Immateriaux, edited by Elie Theofi- lightweight, bright-colored, mirroring siecle (MAM, Paris, 1984). lakis (Centre Pompidou, Paris, 1985). A good, little-known survey: Ans van Berkum, 24. "Nouvelles Technologies — Un art sans cloths, tough as steel and flexible as rub- Tom Blekkenhorst, Science * Art [sic] (Fentener modele?," edited by Norbert Hillaire, art-press ber to become inflatable/collapsable, orbit- van Vlissingen Fund, Utrecht, Holland, n.d.). special, Paris (1991). ing image architecture in space. 2. Heronis Alexandrini Opera, Vol. 1, edited by 25. Jiirgen Claus, ChippppKunst-Computer-

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Holgraphie-Kyhernetik-Laser (Ullstein, Paris, 1989). Poems and Two Stories (Blue Giant Press, Bos- Frankfurt-Berlin, 1985). Otto Piene et al., Dieter Jung: Bilder- ton, MA, 1983). Das elektronische Bauhaus: Gestaltung mit Zeichnungen-Hologramme (Wienand Verlag, Desert Sun/Desert Moon and the SKY ART Umwelt (Interform, Ziirich-Osnabruck, 1987). Cologne, 1991). Manifesto, LEONARDO 20 (4) 1987. Elektronisches Gestalten in Kunst und Design 32. LEONARDO, see Reference 30. 38. Jean-Francois Lyotard, Immaterialitat (Rowohlt, Hamburg, 1991). 33. LEONARDO, see Reference 30. (Berlin, 1985). 26. Stewart Brand, The Media Lab: Inventing the 34. Information in: Manfred Schneckenburger 39. References in: Jean-Paul Fargier, Otto Piene, Future at MIT (Viking, New York, NY, 1987). et al., Otto Piene und das CAVS (Deutscher Kiin- le degre zero du nu, art press special, Paris, 27. Earlier pieces and performances by Paik in stlerbund, Karlsruhe, 1988). No. 12 (1991). John Hanhardt et al., Nam June Paik (Whitney 35. Information in: David Galloway, Art ware- 40. Philip Ross, A Matter of Taste, (Scientific Museum & WW Norton, New York, NY, 1982). Kunst und Elektronik (Deutsche Messe AG and American, July 1991, New York, NY). 28. Lowry Burgess, Burgess (Editions du Tre- Siemens, Hannover, 1989). 41. References in: Steve Nadis, "Antimatter," care, Saint-Laurent, Quebec, 1987). 36. GAS - Get Away Specials, small space shuttle Omni (Jan. 1991, New York, NY). Artists' state- 29. Silvia Soto, El Projecto MicroVenus, Espacio Y payloads of NASA (National Aeronautics and ments provided to the author for this essay. Tempo (May 1991, Madrid). Space Administration) Washington, DC. The 42. National Nanofabrication Facility, Cornell 30. LEONARDO, "Holography as an Art Me- Last Getaway Specials: The Space Shuttle and the University, Ithaca, NY. dium," 22 (3 and 4) 1989. Artist, by Joe Davis, LEONARDO 24 (4) (1991). 43. MRS Bulletin XVI (4) (1991) p. 78, Figure 2. 31. Ante Glibota, Dieter Jung (Paris Art Center, 37. Elizabeth Olson Goldring, Laser Treatment: 44. See Reference 41. •

AMPI Metallography Hennessy-Vuitton Competition 1992 Science The American Powder Metal- for Art Prize lurgy Institute (APMI) will hold its first annual powder metallurgy Flavors, Fragrances, and Colors BULLETIN (P/M) metallography contest during the 1992 Powder Metallurgy LVMH Moet Hennessy-Louis Vuit- World Congress, June 21-26, in ton, Inc. is offering awards for single Covers the Significant San Francisco, California. Sub- investigators whose work focuses on Developments and Trends missions of P/M and particulate improving of physical or chemical material photomicrographs will in Materials Research be shown in a special exhibit at characteristics of materials to obtain the congress. sensory effects (whether gustatory, ol- Contest categories include factory, or visual) or the understand- Bring the significant devel- black-and-white light optical, ing of sensory effects. opments at your institu- color light optical, electron mi- Two prizes will be awarded: a Sci- croscopy, student, and artistic or ence Prize supporting basis research tion to the attention of aesthetic value. Manufacturers, users, and suppliers of powder and an Innovation Prize dedicated to your colleagues around and powder-related equipment applied research. Each prize includes a the world. Send are invited to participate. 100,000 Fr (~$ 17,500) award, a information to: The grand prize of $1,500 is commissioned work of art, and an all- sponsored by Buehler Ltd., expense paid trip to Paris for the cere- Editor LECO Corp., and Struers, Inc. mony in June 1992. Judging criteria will include tech- MRS Bulletin nical content, quality and Submissions are due no later than Materials Research Society uniqueness of entry preparation, February 14,1992. Industrial as photographic quality of photomi- well as academic scientists are encour- 9800 McKnight Road crograph, and uniqueness of the aged to apply. Nominations are ac- preparation (aesthetically and ceptable as well. Pittsburgh, PA 15237 technically). For further information and applica- Phone (412) 367-3036 Entries must be received by May 22,1992. For additional in- tion forms, please contact Olivier Go- Fax (412) 367-4373 formation about the contest, con- niak, LVMH Moet Hennessy-Louis tact Joan Rayca-Fassano, APMI, Vuitton Inc., Two Park Avenue, Suite 105 College Road East, Prince- 1830, New York, NY; phone (212) ton, NJ 08540-6692, phone (609) 340-7489-, Fax (212) 340-7620. 452-7700.

MRS BULLETIN/JANUARY 1992 23