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This paper offers close-readings of selected literature pertaining to Burnham’s “systems esthetics,” the subject of significant scholarly attention recently. It identifies, compares, and contrasts several attempts to engage Burnham’s theories in contemporary art historical discourses, noting strategic and interpretive shifts in approaches and goals between 1997-2009. This research hopes to offer insight into current art historical practices and the processes by which history informs, and is transformed by, the present.

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This paper explores the deeply interwound histories of art and robots from their roots in the Greek myth of the sculptor-king Pygmalion to the work of contemporary artists, such as Norman White. By analyzing the myths of Pygmalion, the Golem, Frankenstein's monster, and other notable automata of legend, a framework emerges for understanding how various cultures have expressed desires and fears about technology and the future and defined values with respect to human. This context offers insight into the role of artists in creating metaphors and working models of a posthuman, cyborgian future. [ABSTRACT FROM AUTHOR]

Discusses information on telematics, telerobotics and the art of meaning. Original definition of telematics; Goal of telematic art; Forms of telematic art; Link between telerobotics and art.

The article focuses on the identity of Constantin Brancusi, a Romanian sculptor who trained initially as a carpenter and stonemason. According to the author, any single interpretation runs the risk of ignoring the complexity of Brancusi's identity. He contends the logic of reducing and locating Brancusi and his work within them. Before Brancusi's time, it appears that the "Dacian" aspect and "Latin" aspects of Romanian culture are inextricably bound and unrecoverable in any essential form. Hence, while the "Pasarea Maiastra" may symbolize Brancusi's reemergence of indigenous culture from the Latinizing influences, the sculpture's own hybrid form perplexes the fixity inherent in such nostalgic reconstructions of identity.

Presents a commentary on the essay 'Art in the Information Age: Technology and Conceptual Art,' written by Edward Shanken, which appeared in 'Leonardo.' Update on research conducted that parallels that of Shanken; Acknowledgement made by Shanken, regarding conceptual art; Response by Edward Shanken.