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Archives

  • Vol. 22 No. 2 (2025)

  • Vol. 22 No. 1 (2025)

  • Edinburgh's Christmas Market (through the lens of Claudia González-Márquez)

    Vol. 21 (2024)

  • Vol. 20 No. 2 (2023)

  • Vol. 20 No. 1 (2023)

  • 'The Old College at night' by Simal Efsane Erdogan

    Vol. 19 No. 1 (2022)

  • Laggan Dam, Scottish Highlands Alp, by Kagan Yalcin

    Vol. 18 No. 1 (2021)

  • 'The World is Closed', by Edwin Hooper

    Vol. 17 No. 2 (2020)

  • 'low exposure photo of cars on road during night time', by Paul Frenzel

    Vol. 17 No. 1 (2020)

  • “Edinburgh Castle, Liam Macleod, A view of Edinburgh Castle from near Evolution House, where the SCRIPTed 15th Anniversary Conference took place”

    Vol. 16 No. 1 (2019)

  • 'Lightbulb', by Johannes Plenio

    Vol. 15 No. 2 (2018)

  • 'Moneta imaginaria', by Israel Cedillo Lazcano, Gasparo Scaruffi presented the idea for a global monetary standard in his work L’alitinonfo (1582), with the aim of standardising the numerous coinages then circulating around medieval Europe. This idea was structured around a concept known as “moneta imaginaria”, which represented a stable value relation between gold, silver, and copper and which all the currencies were expected to follow. Since the 2008 publication of Satoshi Nakamoto’s “Bitcoin: A Peer-to-Peer Electronic Cash System” – the “modern” version of John Law’s Money and Trade Considered (1705) – we have witnessed the emergence of numerous arguments claiming that Bitcoin has the potential to become a universal means of payment. Here, I wanted to show, with one picture, how we have tried (and in most cases failed) both to define money and to make it uniform through various instruments, laws, and technologies.

    Vol. 15 No. 1 (2018)

  • 'Illuminating the mysteries of Caledonia', by Israel Cedillo Lazcano, Amongst the mysteries related to the North Sea and the land the Romans called Caledonia, Loch Ness represents the marvels and challenges that Scotland has offered (and continues to offer) to any curious mind looking for inspiration. In this image, the referred inspiration can be associated with the sun illuminating the calm, but charming, surface of one of the most mysterious places on earth (Nikon D3300, 2017).

    Vol. 14 No. 2 (2017)

  • 'Glimpse', by Laurence Diver, The sun glints between the spires of New College on the skyline of Edinburgh’s Royal Mile (film, 2002).

    Vol. 14 No. 1 (2017)

  • Max Mitscherlich, The City of Edinburgh inspired me to take this picture. Right after sunset I was standing on Calton hill and observed the pulsating city life. The diversity between old buildings, nature and modern technology is what fascinates me about this city.

    Vol. 13 No. 3 (2016)

  • 'Jove', by Cameron-Wong McDermott, Santiago Calatrava’s Torre de Comunicacions de Montjuïc stands proudly on the hill of Montjuïc, the principal site of the 1992 Barcelona Olympic Games. It’s easy to marvel at the city’s unique modernist architecture, influenced by Gaudi’s work which intersects with his life’s passions: religion and nature. On the other hand, this image of the city seems to stand as an oxymoron, a more linear and less romantic representation of the city. Whereas Gaudi’s work flows from the principle that: “There are no straight lines or sharp corners in nature”, Calatrav’s interpretation of modernist architecture might be seen as a divergence from Gaudi’s ideals, serving to create an austere portrait of the city. Yet there is something oddly therapeutic about this picture. The over-saturation of the picture stands to emphasise the warmth of the colours.

    Vol. 13 No. 2 (2016)

  • 'Black Hole', by Laurence Diver

    Vol. 13 No. 1 (2016)

  • Christmas tree in Old College quadrangle

    Vol. 12 No. 2 (2015)

  • Ryoji.Ikeda – https://www.flickr.com/photos/rh2ox/

    Vol. 12 No. 1 (2015)

  • 'NOR', by Karen Mc Cullagh, A plaque erected by Norwich Heritage Economic and Regeneration Trust (HEART) on Gentleman’s Walk in Norwich in April 2014, marking the 40th anniversary of the introduction of postcodes in the United Kingdom. Norwich’s role in this project, and its relevance for law and technology today, is discussed in this issue’s editorial by Karen Mc Cullagh and Daithí Mac Síthigh

    Vol. 11 No. 3 (2014)

  • 'System Lock',  by Yuri Samoilov

    Vol. 11 No. 2 (2014)

  • '3 Padlocks (unlocked)', by Nick Benjaminsz

    Vol. 11 No. 1 (2014)

  • 'World Wide Web Analogic', by Anna-Maria Lopez Lopez , A vintage style shot of three old movable type printer characters showing a contemporary concept World Wide Web (WWW). A traditional communication medium with the digital communication concept joined together by the camera.

    Vol. 10 No. 4 (2013)

  • 'Gormley's Iron Man', by Philip Maidens, What inspired me about this image was the contrast between art and machine. As Gormley’s cast iron man looks out onto the sea beyond the windfarm off Crosby Beach this image truly signifies “technology without boundary.

    Vol. 10 No. 3 (2013)

  • 'Matrix Code' by David.Asch, Playing with long exposure zoom.

    Vol. 10 No. 2 (2013)

  • 'Post-mortem Privacy', by Nayha Sethi, The image was inspired by the idea that in an ever-evolving technological world, when we are buried, it is more and more difficult for our secrets and for that which we wish to remain private to be buried and to stay buried with us.

    Vol. 10 No. 1 (2013)

  • 'The @ngel of the Data Era', Anna Maria LopezLopez , I believe that we are never alone in this world, real or digital, that’s why I wanted to represent an angel of digital world with the @ symbol.

    Vol. 9 No. 3 (2012)

  • 'A robot imagines a Big Mac', Josh Byer, What inspires me as an artist – I’ve been painting non-stop since a deathbed conversation I had with my mother.”Don’t wait,” she said. What inspired me for this specific image was that some day soon, silicon “cashiers” will indeed dream of Big Macs. Perhaps it is all they will dream of.

    Vol. 9 No. 2 (2012)

  • 'Circuit Board', by Michelle Andresson, From the author: “The circuit board was photographed using natural light and a macro lens to show the detail. As a photographer, I prefer to use natural light where possible. I’m inspired by everyday images. Seeing something quirky within a normal looking scenario.”

    Vol. 9 No. 1 (2012)

  • 'Crystals'

    Vol. 8 No. 3 (2011)

  • 'Normality', Lasani S Wijetunge, Neuroimaging has become a sophisticated tool that can be used to understand how our brain activities lead to higher order cognitive functions, such as thoughts and perceptions, as well as to examine what happens in the diseased state. In the future, if a neuroimage of your brain were to be used as a signature of you, your thoughts and actions-whose neuroimage would you compare yours against to determine whether your brain activities are ‘normal’?

    Vol. 8 No. 2 (2011)

  • 'Deer III', Jeremy Mayer, Technologies in the hands of people, particularly creators of popular culture, including art, can be used for all manner of things not intended or anticipated by the technology-producer. In this case, the artist has reassembled typewriters. In doing so, he has not used any solder, glue, or welds, nor has he employed any components or means of fastening that do not come from typewriters. (Given the notional association between a deer and a llama, we at SCRIPTed thought this an appropriate cover image to celebrate the work of our longtime Technical Editor, Andres Guadamuz, who is author of the Technollama blog.)

    Vol. 8 No. 1 (2011)

  • 'Fractal Geometric Valley', by Michael Oliveri, This microscape was digitally stitched together from multiple field scans from a Scanning Electron Microscope. The base surface is made of highly aligned, dense zinc oxide nanorods, which were grown inside a tube furnace system by oxidizing zinc foil at high temperatures. The higher, complex structures are also made from zinc oxide, which were grown by absorbing the reactants from the vapor. The nano structures were created by UGA Physics and Engineering Assistant Professor Dr. Zhengwei Pan and his research associates.

    Vol. 7 No. 3 (2010)

  • 'Swine Flu Virus', by Luke Jerram, This detail image of a swine flu virus sculpture, itself one in a series of glass sculptures which includes an HIV virus now displayed at the Wellcome Collection in London, is a reflection on how images of phenomena are represented to the public. Scientific images (of viruses for example) are often taken in black and white on an electron microscope and then coloured artificially by scientists or the press, sometimes for scientific reasons, sometimes for aesthetic reasons (or to to add emotional content, including fear). The public is thus lead to believe there is scientific authenticity or truth in these images, but they are not necessarily accurate, and the limits of imaging technology also leaves a lot of questions unanswered. Because the H1N1 virus is quite amorphous, without one fixed shape, it offered some artistic flexibility, and the intention with this sculpture was to encourage an appreciation of the beauty of virology, but also to highlight the tension between that beauty and the danger that the virus represents, and the terrible impact it could have on humanity.

    Vol. 7 No. 2 (2010)

  • 'Biodiversity Lost', by Shawn H.E. Harmon, Shawn H.E. Harmon While the UN has celebrated (and focused attention on the importance of) biodiversity by designating 2010 as the Year of Biodiversity, this piece laments the loss of biodiversity, depicting a pallid frog before a tropical background that is fading away. It was done with pen and ink, colour pencil and Adobe Photoshop.

    Vol. 7 No. 1 (2010)

  • 'The Future', by Amrita Mishra, This piece, an ashen hand holding a murky crystal ball, draws on lines from the Leonard Cohen song, ‘The Future’, which says, ‘Things are going to slide, slide in all directions. Nothing you can measure any more’. It was done with MS Paint and Adobe Photoshop.

    Vol. 6 No. 3 (2009)

  • 'PWSLineage', by Alex Dragulescu, This is one of a series of digitalised visualizations of worms, viruses, trojans and spyware code (http://www.sq.ro/malwarez.php). Disassembled code, API calls, memory addresses and subroutines were tracked and analyzed, and their frequency, density and groupings mapped onto an algorithm that grew a virtual 3D entity. The patterns and rhythms found in the data drive create the configuration of the artificial organism.

    Vol. 6 No. 2 (2009)

  • '6', by Wiebke Abel, Shawn H.E. Harmon and Yolande Stolte, The number 6 represents the number of years that SCRIPTed has been in existence and publishing quality scholarship. This photo of a human 6 was taken at the SCRIPTed conference, “Governance of New Technologies”, held in Edinburgh on 29-31 March 2009, and shows some of the conference delegates.

    Vol. 6 No. 1 (2009)

  • 'Artificial Intelligence', Rebecca Junkin, Widespread reliance on artificial intelligence, a common theme in speculative fiction, is closer than many might believe.  This rather macabre image – acrylic paint on canvas which has been scanned and photoshopped – depicts an automated manufacturing process for synthetic faces believed to be inert until integration.

    Vol. 5 No. 3 (2008)

  • 'Word Protein', by Eveline Kolijn, Most contemporary art on (human body) bio-engineering is a critical comment on modern research involving genetic manipulation. Word Protein is an example of such comment; it is an artistic investigation of form and pattern in nature, and the dialectic between man and machine. This particular piece is a photograph of a protein that is part of a bacterium chosen by poet Christian Bök to realise the Xenotext Experiment project (see the Editorial).

    Vol. 5 No. 2 (2008)

  • 'Ideograph', by Alistair Gentry, Ideograph is a digital drawing originally commissioned by the ESRC Genomics Forum. With a few small exceptions, it is a single, continuous line depicting the many elements and applications of genomic technologies, which constitute some of the most exciting and controversial technologies of the early 21st century.

    Vol. 5 No. 1 (2008)

  • 'The Two Homes of SCRIPTed', by Wiebke Abel, Shawn H.E. Harmon and Julie Robinson, This image, The Two Homes of SCRIPTed, depicts the foundational and the ethereal, both integral to the journal. The dome of Old College at the University of Edinburgh represents its real-world home and physical anchor. The binary code represents its content and the dynamism inherent in online publishing. The grey background represents the typical leaden skies of Scotland.

    Vol. 4 No. 4 (2007)

  • Vol. 4 No. 3 (2007)

  • Vol. 4 No. 2 (2007)

  • Vol. 4 No. 1 (2007)

  • Vol. 3 No. 4 (2006)

  • Vol. 3 No. 3 (2006)

  • Vol. 3 No. 2 (2006)

  • Vol. 3 No. 1 (2006)

  • Vol. 2 No. 4 (2005)

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SCRIPTed: A Journal of Law, Technology & Society | ISSN: 1744-2567 (Online)
 
SCRIPTed is an Open Access journal. All material is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) licence, unless otherwise stated.

Image credits regarding homepage: University of Edinburgh Old College dome – byronv2

Published by the University of Edinburgh with support from Edinburgh Diamond. Also supported by the University of Edinburgh Law School and SCRIPT Centre.
 
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