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Jo Ann (Jody) Gillerman

SELECTED PUBLICATIONS | BOOKS | REVIEWS (about JoAnn Gillerman and/or authored by JoAnn Gillerman)
      (Leonardo Volume 57, Issue 3 (June 2024) - MIT Press
  • Podcast: "Splat from the Past" hosted by Tommy Kovac - Live Interview/Conversation with Jo Ann Gillerman about Night Feeder, Oct. 2023
  • Ylem as I saw it in the 1990s (Movie) Produced/Directed Beverly Kleiber, Archived in the Stanford Art Gallery, 2023
  • Some thoughts about Wearable Computers / Einige Gedanken über Wearable Computer, Author: JoAnn Gillerman, International Symposium for Wearable Computers in Heidelberg, Germany - Published: Voices of the Street, Berlin, Germany (on-line 2017)
  • CLICK 1: The Brightest in Computer-Generated Design and Illustration, BOOK © 1990 North Light Books, Cincinnati, Ohio, First Edition, Ellen Gerken, 149 pages (Distribution)
  • Digital Visions Computers and Art, BOOK Author: Cynthia Goodman (Distribution)
  • Information Arts, BOOK, MIT Press, Cambridge, Massachusetts, London, England, Author: Stephen Wilson © 2002, Forward: Joel Slayton (Distribution)
  • Izmir International Art Bienale 2013 BOOK/Catalogue - Seba Art Gallery, Turkey/Türkiye (Distribution)
  • Oakland Museum of the Arts, Oakland Museum of California, May/June 1990, Volume 13, number 6 - Video Visions, Electronic Dreams by Liz Kotz
  • San Francisco Focus: Featured Artist Profile & pictures (Aug '97issue) - Tales of the Cities: "Ray Fans: Eclipse-Chasers Rob Terry and JoAnn Gillerman" by Susan Fry
  • Leonardo: Journal of Art, Science and Technology Volume 29 No.4 -MIT press: Words on Works:"The Sun Drops Its Torch; Eros INterACTive; Anarchy Partycam", JoAnn Gillerman
  • Siggraph/ACM Video Review, Issue 14, 1997: , “Whispers in a Plane of Light” Gillerman and Piché  - Video-based publication of computer graphics art and science (Distribution)
  • Artweek, February 1995, Volume 26, Number 2 - "O Brave New Digital World!" by Miles Beller, Photo and article "EROS Interactive, 1994, Multimedia interactive installation, p15 & Technology and Art (Multimedia Artist/JoAnn Gillerman) by Leigh Ann Clifton, p23
  • Artweek, February 2002, Volume 33, Issue 1 –Review/Photos/Article: "'Shadow Dance' at Chabot Space and Science Center" by Celeste Connor
  • San Jose Mercury News, Sunday, October 11, 1998 (Photo of "Innovation Forum" Exhibit – Article: "Ethics: Ethics subtly mixes with Technology")
  • TechWeek, Vol 1, No. 19, 1999 – photo of Innovation Forum Exhibit, The Tech Museum of Innovation, San Jose, CA
  • Computer Graphics & Applications, Magazine / Cover, About the Cover: Dancing Orchids and Other Art by Margaret Neal  Magazine IEEE Computer Graphics and Applications, Year: 1986, Volume: 6, Issue: 12, Pages: 4-7
  • Sydney Morning Herald, No. 45,368, 1983, Sydney, Australia "Video for the '80's: Jo Ann Gillerman in Sydney", by Margaret Werghein
  • Video Free America Presents BOOK by Joanne Kelly (Video Art/Book 1978) Publisher: VideoFreeAmerica (Distributed)
  • YLEM Journal, Volume 17, Issue 12, 1997 – "A Look at Siggraph '97" by JoAnn Gillerman
  • Future Sex, Issue Seven, FUTURE SEX; Nos. 1 - 7 [set] 1992-1994, Kundalini Publishing, Inc., San Francisco, CA, 1994  ("EROS Interactive" Exhibit at Seybold/Moscone/SF)
  • Women of Vision Journal, Summer 1997 Season- feature article about JoAnn Gillerman by Celeste Connor
  • Videography, Volume 5, No. 2, Feb 1980, Publisher: United Business Publications, Inc., subsidiary Media Horizons, New York, NY "San Francisco: Life among the Independents"
  • New Media Showcase 2, 1992: The Digital Source Book, Publisher American Showcase, Inc. New York, Publisher: Ira Shapiro Distribution: Watson-Guptill Publications, NY, NY
  • American Association for the Advancement of Science (AAAS), Pacific Division, Volume 18, Part 1, June 1999, S.F, CA - "In the Shadow: Interactive Multimedia Works resulting from on-site Total Solar Eclipse Experiences. (Symposium/Speaker) The Art and Spirit of Science, S.F. State, CA
  • Visual Proceedings: The Art and INTERDISCIPLINARY PROGRAMS of SIGGRAPH 93, Publisher ACM SIGGRAPH, NY, Thomas E. Linehan, ACM
  • CRASH Computer Assisted Hardcopy, BOOK/Catalog, Computer Art Exhibit: Patric D. Prince ,Beloit College Museums, WI 1988
  • SIGGRAPH/Japan, Exhibition of Computer Graphics in collaboration with Siggraph83ArtExhibition, Japan (published/distribution ): Clone Baby Computer Graphics/JoAnn Gillerman
  • ArtsWire: "A Conversation with JoAnn Gillerman", Interactive Art Conference on ArtsWire, OnLine, Aug. 1996, Hosts Judy Malloy, Anna Couey, New York Foundation for Arts, NYFA, Live/Published: The Well: | Context Reference:
  • Chimp Finder: Outdoors Interactive Exhibit: Live Interactive Animal Identification System and Observation Network at the St. Louis Zoo (2005-2008)
       LIST of PRESS/Articles/NEWS/VIDEO/TV material is listed on Viper Vertex Website:
  • Innovation Forum: Interactive Exhibit at The Tech Museum of Innovation, San Jose, CA (1998-2010)


in distribution
  • CLICK 1: The Brightest in Computer-Generated Design and Illustration: © 1990 by North Light Books, Cincinnati, Ohio, First Edition, Editor Ellen Gerken, 149 pages (Distribution)
  • Digital Visions Computers and Art, Book, Author: Cynthia Goodman, Harry N. Abrams, Inc., publishers, NY Everson Museum of Art, Syracuse  (Distribution) © 1987
  • Information Arts, Book, MIT Press - Author: Stephen Wilson (Distribution)  (Viper Vertex: JoAnn Gillerman and Rob Terry)
  • Minds, Machines, & Electronic Culture, Symposium on Art and Technology, Center for Arts &Technology, Connecticut College,, 1999
  • CRASH: Computer Assisted Hard Copy - Beloit College Museums (1988) - full page hi-res photo of Orchid Series
  • Izmir Bienale 2013 Book/ Catalogue - Seba Art Gallery, Turkey/Türkye (Distribution)



CRASH Computer Assisted Hardcopy  (BOOK/Catalog)

Computer Art Exhibit: Patric D. Prince, Beloit College Museums, WI 1988

Co-Curators, Ted Pope and George Cramer, Essay by Patric D. Prince


Patric D. Prince


"The curators of this exhibition, Computer-Assisted Hardcopy, (CRASH), were concerned that a broader critical body of work be presented. The pieces were chosen for their archival and aesthetic qualities rather than for any quick thrill approach to appreciation. These pieces are timely in an historical context rather than limiting the focus of the work to any one category. 


This exhibition intends to demonstrate the realization of computer aesthetics as found in concrete properties. Each of the artists represented in CRASH has chosen to relate computer-oriented concepts to tangible attributes.


...  there is a real possibility of a future harmony and a true collaboration between science and art and between viewer, art and artist."


18. Orchid, 1986, 10 1/2" x 14" (above)

19. Orchid 3, 1986, 10 3/4" x 14" (Left)

Jo Ann Gillerman (U.S.A.)


Statement: A background in the fine arts of drawing, painting, printmaking and sculpture has contributed to forming my personal aesthetics in the electronic media. I consider video and computer graphics animation to be structurally similar to the audio medium; and still individual images share many concerns of the painting medium. Complex imagery and specifically controlled color palettes are important aspects of my work. I frequently will start a series of work by using live source images from a video camera.  These images are then input to the computer graphic system where they are extensively manipulated, drawn on, colored, etc. Often I will show computer graphics in several different media simultaneously: installations with video and/or slides. performances with live video, music, performer and slides.

Selected Exhibitions:

'88 Winter Olympics Arts Festival, Lecture/Demo on "Dance and Technology" for DANSCENE, Calgary, Alberta, Canada, 1988; Computer Graphic Slide Dissolve Installation, Siggraph '87, Anaheim, California 1987; "Orchid" Installation, Siggraph '86, Dallas, Texas, 1986.

Information Arts: Intersections of Art, Science and Technology  (BOOK)

by Stephen Wilson © 2002

MIT Press, Cambridge, Massachusetts, London, England  (Distribution)


Fig. 3.3.4. JoAnn Gillerman and Rob Terry, Sun Drops Its Torch, An Interactive environment exploring volcanic flows and solar eclipses. (top)


JoAnn Gillerman and Rob Terry

JoAnn Gillerman and Rob Terry created a cooperative interactive event called The Sun Drops its Torch in which viewers could explore the sounds and images associated with a Hawaiian day in 1991, when a solar eclipse and lava flow happened simultaneously recreated via a coordinated ring of video monitors.

Natural Phenomena — Erosion and Geologic Action, P.241-242




        of art science and technology

     stephen wilson

Text Excerpts:

Front inside Jacket cover:

A new breed of contemporary artist engages science and technology — not just to adopt the vocabulary and gizmos, but to explore and comment on the content, agendas, and possibilities. Indeed, proposes Stephen Wilson, the role of the artist is not only to interpret and to spread scientific knowledge, but to be an active partner in determining the direction of research.  ...

In this rich volume, Wilson offers the first comprehensive survey of international artists who incorporate concepts and research from mathematics, the physical sciences, biology, kinetics, telecommunications, and experimental digital systems such as artificial intelligence and ubiquitous computing.

Forward: by Joel Slayton

Stephen Wilson's Information Arts: Intersections of Art, Science and Technology is the first comprehensive international survey of artists working at the frontiers of scientific inquiry and emerging technologies. The scope of information Arts is encyclopedic: 

Information Arts helps us understand on a deeper level that experimental research is culturally necessary and serves to transform how to simulate, interact with, and experience the world.  Information Arts is about the unfolding of this conceptual frontier, a frontier in which art informs research and research informs informs art.

SteveWilson-PERSONAL NOTE in Book-500.jpg

Personal Note:

Book signed by Steve:

(author of this book)

To Jody

One of my fellow pioneers



Digital Visions Computers and Art  (BOOK)

Author: Cynthia Goodman, Harry N. Abrams, Inc., Publishers, New York,

Everson Museum of Art, Syracuse  (Distribution)


on Video/Synthesis

(p. 168-171)

The artist recognized for the development of video as an art form is Nam June Paik, who began experimenting with the medium in 1955 — a full decade before the introduction of the portapak (a portable video recorder) made the video camera a viable tool.  Because of the newness of the medium itself, video artists have not shared the reticence and hostility of the counterparts in painting and sculpture toward the new technology. Artists interested in video have more than willingly explored whatever equipment was available to them. The idea of experimentation was intrinsic to the medium.


In contrast to the world of computer imaging, many of the processing devices in video were actually developed and built by artists themselves rather than by technicians.


Bill Etra ... built the Rutt/Etra synthesizer ... ... Etra was far from unique: Nam June Paik collaborated with Abe to build the Paik/Abe synthesizer; Dan Sandin built the Sandin Image Processor; Erich Siegle built a color synthesizer capable of adding color to black-and-whilte video signals; and Stephen Beck completed his DIrect Video Synthesizer in 1971.  In 1974, the Electronic Music Studio in London introduced the first digital video effects device, engineered by artist Richard Monkhouse, a machine specifically for musicians and artists.  Vibeke Sorensen and Thomas DeWitt were amonf the first to experiment on this system. Another major deveopemtnt in 1974 was the interface of Thomas Defanti's GRASS language with Sandin's Image Processor. The resulting GRASS/Image Processor introduced many video artist ot computer graphics. Among the first of many users of this low-cost, easy-to-use interactive system were Phil Morton, Jane Veeder, JoAnn Gillerman, and Barbara Sykes. ...

JoAnn Gillerman Personal Note:

on building her Sandin Image Processor

  • I built my Sandin Image Processor in 1975. (This was very shortly after the GRASS/Image Processor was introduced noted above.)  I was the first woman to build one. I own the 6th one ever built.

  • Dan Sandin, mentor/colleague/friend, was luckily "on call" when I stuck a small metal screwdriver into one of my Power Supply Modules to separate two wires ... and to my surprise, a very large spark, loud bang, poof of smoke - and in an instant nothing worked! I accidentally blew up every 1445 IC chip in my Image Processor having shorted 5V to ground! I had to replace all 1445 IC chips in every module of my Image Processor. I never did that again!

DIgital Visions-INSIDEtext-500h.jpg
DIgital Visions-INSIDEtext-400CU-JAG.jpg

CLICK 1: The Brightest in Computer-Generated Design and Illustration

BOOK © 1990 North Light Books, Cincinnati, Ohio, First Edition, Ellen Gerken,  (149 pages)  (Distribution)


Page 63

EXPERIMENTAL AND FINE ART  (chapter) p. 47- 73


(inside Front Book Jacket - excerpt)

Computer Graphics in the visual arts seems to be one of the most controversial topics since the discovery of movable type. In spite of this controversy, computers are being used in all sorts of design applications — the obvious (...) and the non-obvious (...). Not surprisingly, the most exciting art is being created in the experimental and fine arts areas.  You'll see this for yourself in the chapter dedicated to these works.  ...

    — J. Ellen Gerken



Jo Ann Gillerman

Viper Optics

Oakland, CA

Tantra, fine artwork.

•  Amiga Computer and A-Squared Digitizer; Deluxe Paint II

and A-Squared Live Software; shot off screen with camera. A color video camera was used to input a photographic image, which was then manipulated in both form and color.

Minds, Machines, & Electronic Culture  (BOOK)

The Seventh Biennial Symposium on Arts and Technology at Connecticut College, 1999 

Center for Arts and Technology (C@T), Connecticut College, New London, CT

MIndsMachinesElectronic Culture99-500h.jpg

Excerpts (some description paraphrasing of long text):


The "Innovation Forum" is an interactive multimedia exhibit that solicits and includes real-time recording and playback of video/audio comments form its viewers. To encourage interaction, the"Innovation Forum" provides discourse and dialog by varied "experts" talking on a wide range of issues concerning innovation and technology. It is important that the educational content of this exhibit be diversified,provocative, informative and inspirational to encourage museum visitors to comment on issues of innovations in technologies. ... providing a wide range of perspectives and dialog on technological innovations that have affected our lives, our work and our global culture/society.


Gillerman interviewed on video an impressive list of invited distinguished speakers ("experts") each of whom are included in the virtual panels in each topic area.  The experts were asked the same basic questions concerning innovations in technologies, how technology has affected our personal and global lives, and ethical implications that may accompany these innovations.  She did extensive research on specifics for each expert to ask specific and different questions related to their area.  Questions included thoughts on:

cloning, genetic engineering, patenting of life forms, ethical implications of these adn other new technologies, global access, job creation/loss, nanotech, cryonics, intelligent computers, cyborgs, ubiquitous computers, limits of silicon technology and others.


...richly textured collage of imagery ...layered visuals punctuated by real video images ... 250 well articulated short video clips of the interviewed experts ... and visitors can leave 30 sec. comments that become part of the exhibit - for others to listen to.

Topics Forum: Exploring, Quality of Life, Community, Technologies, Communicating, Ethics and Forcasting.

Visitors Forum: Listen to others comments

Recording Forum: Record your comment

Leonardo (2024) Vol 57 (issue 3): 353–356.
MIT Press
YLEM: Artists Using Science and Technology in the Wilderness of Art in the 1990s
Beverly Kleiber (Reiser)

Complete Article

Excerpts below:

It was a Time of Naïve Enthusiasm

The emerging technologies were still undefined. The horizon seemed limitless. Hopes for the World Wide Web were indeed more romantic than real. It was a time of first love; we could fill in between the fuzzy lines with whatever dreamscape we desired. Despite the dystopian scenarios spun by sci-fi authors like Phillip K. Dick, my fuzzy lines were generally dusted with heat lightning out of a prairie storm mixed with pixie dust [1].

Coming of age as an artist when the tools for interactive multimedia first became widely available, I became a pioneer of walk-in immersive environments, cobbling connections between computers, cameras, and sound devices. It was a time of rapidly expanding media, and a loose cohort of intrepid artists known as YLEM/Artists Using Science & Technology, founded in 1981 in San Francisco, possessed the temerity to attempt a new story [2]. Below I discuss a few of these artists whom I consider groundbreakers and game-changers in the wilderness of art and new technologies in the 1990s. To better understand these artists and the churning lava pool that stirred their imaginations, I asked them the following questions:

What do you think were the most significant inventions of the 1990s?

How did they enable your artwork? Or not?

Analog and Digital Intersecting in the Smoke

I always picture Jody Gillerman hanging out of a small plane over a lava flow or smoking volcano with her video camera dangling out the window (Fig. 4). Mind you, I never actually saw this, but the beauty and drama of her images plus the physical interaction of her installations made it seem so.

Jody followed eclipses, eruptions, and flows all over the globe to capture source material for her installations. One of these interactive installations, Shadow Dance, allowed visitors of all ages to interact with eclipses by using their feet on floor sensor controllers.

          Fig. 4: Jody Gillerman, hanging out of the window of a helicopter,

          captures video of a volcano for one of her projects.

          Photo courtesy of Jody Gillerman. (© Jody Gillerman. Photo: Mick Kalber.)

Jody’s answer on how the significant inventions of the 1990s enabled her work:

“Video” goes digital! Video and Computers finally on symbiotic ground! Coming from a Fine Arts background in painting, drawing and printmaking, I love analog—specifically analog patch-programmable video processing/synthesis. Having personally built a video synthesizer, that established my entry into what seemed to be a unique video and computer graphics screen-based arena. However, surprisingly to me, prior to the ’90s, video/analog and computers/digital were two different worlds, very far apart, not easily merged.

“Digital Video” opened new doors. Interdisciplinary integrations were not easily possible prior to this. Coupled with new digital arts creation and distribution media (CDROM/DVD) and a newly forming internet with search engines, media arts integration and accessibility provided new digital landscapes, expanded avenues for creation, reach, distribution and accessibility. The intersection of analog and digital technologies provided exploration and new directions for my creating interdisciplinary interactive arts, interactive storytelling, and personally pressed media-based interactive CD-ROM/DVDs.


Saint Louis Zoo, St. Louis, MO

Chabot Space and Science Center, Oakland, CA

The Tech Museum of Innovation, San Jose, CA

Paramount Video, Los Angeles, CA

Siggraph Video Reviews • CCAC/CCA

Smithsonian Experimental Gallery, Washington DC (Smithsonian Archive/Collection: First West Coast Computer Faire '77)   (Jo Ann Gillerman, "Video Synthesis and performance with an analog computer")

     (Audio and Video - End of Part 3 and entire Part 4 - total: 26 min.  -

Long Beach Museum of Art, Long Beach, CA

The Kitchen, New York

Electronics Arts Intermix, New York, NY

Video Free America, CA

The Whitney Museum, Traveling Exhibitions, NY

Amayakan (laserdiscs), US/Japan

Interactiva, Germany

Simon Fraser University, Vancouver, BC, Canada

Emily Carrr College of Art, Vancouver, BC, Canada

Metro Television, Sydney, Australia 

The Exploratorium, San Francisco, CA

MOMA: - MOMA - JoAnn Gillerman

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