[Reader-list] [Announcements] Leonardo Electronic Almanac Supplement - Vol 15 No 7 - 8

[Nisar Keshvani, LEA]

________________________________________________________________



Leonardo Electronic Almanac Volume 15, Number 7 - 8, 2007

http://leoalmanac.org

ISSN #1071-4391

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LEONARDO REVIEWS

----------------



< Organized Networks: Media Theory, Creative Labour, New Institutions
> Reviewed by Geoff Cox



< The Animation of Lists> and < the Archytan Transpositions > Reviewed
by Stefaan Van Ryssen



< Constant, Avant le Départ > Reviewed by Anthony Enns



< Renzo Piano: Work in Progress > Reviewed by Nameera Ahmed



< Leonardo Reviews, May 2007 >





LEONARDO

--------



< Table of Contents: Leonardo Vol. 40, No. 3, 2007 >





LEONARDO NETWORK NEWS

---------------------



< MutaMorphosis: Challenging Arts and Sciences, International Conference >



< Jeffrey Babcock and Greg Harper Elected to Leonardo Governing Board >



< Leonardo Education Forum Elects New Chairs >



< In Memoriam: LeRoy White >



< In Memoriam: Patrick Purcell >





BYTES

-----



< art meets science: Events in Honor of the 80th Birthday of Herbert W.
Franke >



< Research Coordinator Position, Arts Media and Engineering Program, Arizona
State University >



< Call for Submissions: 2nd Annual Conference on the Arts in Society >



< Register for the UCLA Design | Media Arts Summer Institute program 2007 >



________________________________________________________________



LEONARDO REVIEWS, May 2007

________________________________________________________________



This month Leonardo Reviews is featuring four reviews: two of films,
one of an audio CD and another of a book. It is always difficult to
know what to feature since we have a vigorous review panel comprising
experts in their field. Leonardo Reviews is grateful to all for their
support and relentless hard work. Since LEA is published
electronically the choice this month is an indirect reflection on the
kind of media activity that has flourished since the early 90s when
the internet was opened to widespread participation. Of course much
has changed since then,- including Leonardo Reviews.



The full list of reviews is posted below and can be accessed along
with the archive at http://www.leonardo.info/ldr.html



Michael Punt

Editor-in-Chief

Leonardo Reviews

_______________________



Leonardo Featured Reviews, May 2007



< Organized Networks: Media Theory, Creative Labour, New Institutions >



by Ned Rossiter

NAi, Rotterdam 2006

In association with the Institute of Network Cultures, Hogeschool van

Amsterdam

250 pp., illus. 2x b/w, paper

ISBN 90-5662-526-8



Reviewed by Geoff Cox

University of Plymouth



Gcox [at] Plymouth [dot] ac [dot] uk



Organized Networks asserts there is urgent need for new institutional
forms that reflect "relational" processes to challenge existing
systems of governance and outmoded representational structures.
Emergent forms are radically dissimilar to the ways in which social
relations are organized under the "moribund technics" of modern
institutions (such as the university or the state). These older forms,
referred to as "networked organizations," are hierarchical and
centralized despite their pretensions towards fair representation. In
contrast, emergent "organized networks" are horizontal, collaborative
and distributed in character, offering a distinct social dynamic and
transformational potential. The key difference is how institutions
have responded to developments in networked communications technology
and the issue of intellectual property rights: On the one hand,
networked organizations using this as a regulatory mechanism to
enforce or extend existing power structures, and on the other,
organized networks advocating open source culture. If all this sounds
rather too straightforward, Rossiter elaborates on the complexities,
uncertainties and contradictions associated with sociality, labour and
life in general.

 The book is split into three main sections, each with two chapters:
the first, addressing the limits of democracy and organized networks;
the second, tackling the creative industries, precarious labour and
intellectual property; and the third, the virtuosity of general
intellect and "processual democracy." Previous versions of many of the
chapters have been already published but together they make a powerful
interlacing argument for network criticism demonstrating a depth of
research to highlight the key issues for political intervention (a
companion volume might be Tiziana Terranova's Network Culture [Pluto
2004]). Acknowledging the peer intellectual support of the Nettime and
Fiberculture mailing lists, it is perhaps not surprising that Rossiter
demonstrates an impressive but familiar range of sources to
subscribers (including immanent critique and negative dialectics of
the Frankfurt School, the concepts of general intellect and immaterial
labour in Autonomous Marxism, and the constitutive role of the outside
and immanence in Deleuze's philosophy, amongst others); taking a
transdisciplinary approach that he likens to the collective ethos and
protocols of the network itself.



A sense of project is clear, passionate and full of hope:

"It is about conditions of possibility, the immanent relation between
theory and practice . . . and a resolute belief . . . in the concrete
potential of transdisciplinary institutional forms that enlist the
absolute force of labour and life." (p.17)

 The potential to transform social relations is somewhat demonstrated
in the socio-technical dynamics of mailing lists, blogs, wikis,
content management systems, and so on. But it is the institutional
nature of this, as a description of the organization of social
relations, that makes it thoroughly political. An example is the
section on the creative industries, where the instrumental ways in
which creativity has been exploited in the realm of policy are mapped
against "a concept of communications media that acknowledges the
constitutive role of the outside" (p. 103). For the argument of the
book, the creative industries indicate two aspects: antagonism in the
form of the exploitation of creative labour power underpinned by the
increasing regulation of intellectual property as a consequence of the
drive to commodify collective and communicative knowledge (the
appropriation of general intellect, in other words); and also, the
affirmation of creative labour that holds potential for
self-organisation through its networked capacity (where organized
networks emerge). By focussing on the exploitation of immaterial
labour-power, or what Rossiter refers to as "disorganized labour
power," the underlying conditions are exposed but so too are new forms
of agency. Organized networks represent relative institutional
autonomy but do so not in isolation; they are also required to operate
tactically, engaging horizontal and vertical modes of interaction:
"The tendency to describe networks in terms of horizontality results
in the occlusion of the 'political', which consists of antagonisms
that underpin sociality. It is technically and socially incorrect to
assume that hierarchical and centralizing architectures and practices
are absent from network cultures." (p. 36)

 Networks are clearly not limitless or without borders, but are far
more complex, for "while networks in many ways are regulated
indirectly by the sovereign interests of the state, they are also not
reducible to institutional apparatuses of the state. And this is what
makes possible the creation of new institutional forms as expressions
of non-representational democracy." (p. 39)

 This is one of the interventions of the book: far from arguing
against institutions, the limits of democracy and the discourse of
neo-liberalism in general is taken as the available means to rethink
politics within network cultures - and this is what is referred to as
"non-representational democracy" to describe democracy decoupled from
sovereign power (citing Virno's The Grammar of the Multitude, New
York: Semiotext(e) 2004). For Rossiter, organized networks offer such
an opportunity to develop strategies and techniques of better
organization. Indeed, "transformation is conditioned by a capacity to
become organized." (p. 215)

_______________________



< The Animation of Lists > and < The Archytan Transpositions >



by Warren Burt

XI Records, New York, 2006

2 audio CDs. 63'29" and 64'48"

XI 130



Reviewed by Stefaan Van Ryssen

Hogeschool Gent

Jan Delvinlaan 115, 9000 Gent, Belgium



Stefaan [dot] vanryssen [at] hogent [dot] be



Warren Burt has a history of exploring the very edges of what is
technically possible with new and old instruments. He has been using
the mechanical gates of the earliest generation of synthesizers as
percussion instruments, thereby changing would-be electronic
instruments into acoustical ones. He has traveled the most remote
regions of what is possible with the human vocal apparatus and
redefined the borders between digital and analogous. With a solid
background in musical and organological analysis and an ongoing
interest in psycho-acoustics, he seems to be able to take any
established practice just one step further, creating fuzzy no-man's
lands where entirely new aesthetics can be created, enjoyed and used
to reassess old ones.



For this double CD Burt has been using a set of tuning forks precisely
tuned to a just intonation. One would wonder how a tuning fork could
not be precisely tuned, but the expression "just intonation" refers to
the actual frequencies the forks are tuned to and not the fact that
they vibrate at one frequency only. Our traditional tuning forks fit
in a system of 'tempered scales' where certain tones are slightly off
from what they should be in a perfect, just-intonation scale. Under
Pythagorean assumptions, all notes in a scale should be,- I emphasize
"should" because Pythagoras and his followers soon discovered that
reality isn't as ideal is they hoped it to be, -ordered in a series of
ratio's of integers: _ for the octave, 2/3 for the fifth etc. However,
if one moves through the scale and tries to find the ratios necessary
to construct all intervals in this way, the system runs into serious
trouble. It gets even messier when you go beyond the octave or when
you move from major to minor and more exotic scales. Numerous schemes
have been proposed to solve these problems before Western music
settled for the "tempered" scale, where one instrument is supposed to
be able to perform any scale. The tempered scale, however, trades
harmonic integrity for practical ease and loses a lot of aesthetic
qualities in the deal. I apologise for this long digression and you
will certainly find a better explanation in any good book on harmony
and the mathematical basis of music, but it is necessary to explain
what the otherwise cryptic "Archytan Transpositions" refer to.



In the first four pieces, Burt uses a series of sounds played on his
tuning forks and manipulates that series to create a cycle of four
equal-length variations. He digitally shifted the pitches of his
series up and down and combined the manipulated recordings into highly
intricate fabrics of very pure sounds. The sound of bass forks with a
decay time of up to thirty seconds combine with the clear and crisp
bell-like sounds of the treble ones. Their harmonics merge, melt,
create unexpected chords and seem to play a game of their own. Nothing
new-agey here, simply pure and almost Pythagorean effectless music.



In The Archytan Transpositions, Burt does something similar with
digitally retuned forks. The Greek mathematician Archytas of Tarentum
proposed a variation on the Pythagorean scale, where a certain
interval is taken to be 28/27. To our modern ears, this results in a
weird scale, but using this interval to transpose the pitches of some
of his forks, Burt succeeded in creating a combined virtual/real
instrumentarium of 53 forks with harmonics that are more interesting
than the ones in his first series of variations. The second cycle,
called "And the Archytan Transpositions 1 to 4," has more colourful
harmonies and at times even more drive because of the "beating"
interferences we hear between certain pitches. But don't expect
anything like a drum 'n base record. The music is absolute. The
harmony is most intriguing and yet unimaginably pleasing, but it takes
a lot of effort to enjoy this record, or should we say, this perfect
example of what "research in music" could mean.

_______________________



< Constant, Avant le Départ >



by Maarten Schmidt and Thomas Doebele

First Run / Icarus Films, Brooklyn NY, 2006

VHS / DVD, 81 minutes, b/w, col.

Sale, $398; Rental, $100

Distributor Website: http://www.frif.com.



Reviewed by Anthony Enns

Department of English

University of Iowa



anthony-enns [at] uiowa [dot] edu



The latest documentary by Dutch filmmakers Maarten Schmidt and Thomas
Doebele marks a significant departure from their previous work. Their
1995 documentary I Have a Problem, Madam, which won the Golden Calf
Award for best short documentary at the Dutch Film Festival, examined
the struggles faced by Ugandan women in a male-dominated society, and
their 2002 film Made in Holland Wordt Dutch Design focused on labor
issues and globalization. Constant, Avant le Départ, on the other
hand, is an intimate portrait of Dutch painter Constant Anton
Nieuwenhuys, who died on August 1, 2005. The film chronicles the last
months of his life, as he contemplates death and reflects on his life
and work.



In 1948 Constant founded the Experimentele Groep Holland with
Corneille, Karel Appel, and his brother Jan Nieuwenhuys. In November
1948 they joined Christian Dotremont, Joseph Noiret, and Asger Jorn to
form the CoBrA group. Tensions developed between Constant and Jorn in
the summer of 1949, however, when they vacationed together with their
wives on the island of Bomholm and Jorn started an affair with
Constant's wife Matie, whom he later married. Constant relates this
story in the film, noting that Matie took two of their three children
with her when she left. He subsequently resigned from the group and
abandoned painting altogether, claiming it "had nothing new to
offer."[1]



In the 1950s Constant became increasingly interested in urban space,
and he began constructing sculptures to express the dynamic experience
of the modern city. In December 1956 Giuseppe Pinot-Gallizio took him
to a Gypsy camp, and Constant's models of this encampment became the
first in a series of maquettes of an ideal city called "New Babylon
where, under one roof, with the aid of moveable elements, a shared
residence is built; a temporary, constantly remodeled living area; a
camp for nomads on a planetary scale." [2] According to Constant, the
modern city ignores the psychological needs of its inhabitants, and
New Babylon was designed to meet those needs by infusing creativity
and play into the experience of urban life. This theory led Constant
to become a founding member of the Situationist International in 1957,
and later that year he collaborated with Guy Debord on "The Amsterdam
Declaration," a manifesto that emphasizes the need for "collective
creativity" in urban planning. [3] Constant remained in the group
until 1960, when he was expelled by Debord. Although Debord rejected
Constant's New Babylon designs, claiming that he was nothing more than
"a public-relations man for integrating the masses into capitalist
technological civilization," [4] Henri Lefebvre argues that this
action was merely a political move to help Debord cement his own
authority. [5] Constant discusses his theories of urbanism in the film
as he watches his son Victor filming his New Babylon designs, and he
adds that this city was never intended to be a prediction of the
future but only to show that urban space should be playful, like a
game. There is evidence, however, that he was firmly committed to the
realization of this project until 1966, when he gradually became aware
that automation would not result in "freedom from slavery and
toiling," but rather in "poverty and boredom." [6]



Constant subsequently returned to painting, and the film primarily
focuses on this part of his career. Constant's work from this period
frequently deals with political subjects, like the Vietnam War, famine
in Africa, and refugees from Kosovo, and in the film he discusses both
his theories of art and his working methods. He describes how he
stares at the blank canvas until an image gradually emerges and how he
always begins painting the edges of the frame before moving towards
the center. The film also shows Constant putting the finishing touches
on his final painting, Le Piège (The Trap), and it follows his last
visit to see Titian's La Pietà at the Gallerie dell'Accademia in
Venice, a painting which he greatly admires and which he once studied
for days at a time. Looking over his own oeuvre, Constant discusses
his favorite works and claims that the best paintings "with great
simplicity illustrate maximum expression"--something that few painters
ever accomplish. Although he hesitates to say whether any of his works
achieve this goal, it appears that a similar aesthetic also informs
Schmidt and Doebele's film. While their approach is extremely simple
and straightforward, the end result is a profoundly moving portrait of
the artist at the end of a long and successful life.



References



1. J.-C. Lambert, "Constant and the Labyrinth," Situationists: Art,
Politics, Urbanism, ed. Libero Andreotti and Xavier Costa, trans.
Elaine Fradley et al. (Barcelona: Museu D¹Art Contemporani, ACTAR,
1996) p. 100.



2. C. Nieuwenhuys, "New Babylon," Constant: New Babylon (Den Haag:

Gemeentemuseum, 1974), rpt. in Theory of the Dérive and Other
Situationist Writings on the City, ed. Libero Andreotti and Xavier
Costa, trans. Paul Hammond and Gerardo Denís (Barcelona: Museu D'Art
Contemporani, ACTAR, 1996) p. 154.



3. C. Nieuwenhuys and G. Debord, "The Amsterdam Declaration,"
Internationale Situationniste Vol. 2 (December 1958), rpt. in Theory
of the Dérive and Other Situationist Writings on the City, ed. Libero
Andreotti and Xavier Costa, trans. Paul Hammond and Gerardo Denís
(Barcelona: Museu D'Art Contemporani, ACTAR, 1996) p. 80.



4. G. Debord, A. Kotányi, and J. Nash, "Critique of Urbanism,"

Internationale Situationniste Vol. 6, 3-11 (August 1961), rpt. in
Theory of the Dérive and Other Situationist Writings on the City, ed.
Libero Andreotti and Xavier Costa, trans. Paul Hammond and Gerardo
Denís (Barcelona: Museu D'Art Contemporani, ACTAR, 1996) p. 109.



5. K. Ross, "Lefebvre on the Situationists: An Interview," October
Vol. 79, 69-83 (Winter 1997) p. 76.



6. S. Sadler, The Situationist City (Cambridge, MA: MIT Press, 1998) p. 153.



_______________________



< Renzo Piano: Work in Progress >



by Marc Petitjean, Director

First Run/Icarus Films, Brooklyn, New York, 1999

Video-DVD, 52 mins., col.

Sales, video-DVD: $390; rental, video: $75

Distributor's website: http://www.frif.com



Reviewed by Nameera Ahmed

Pakistan



Nameeraa [at] gmail [dot] com



"In a sense the process of construction is never complete. I believe
that buildings, like cities, are factories of the infinite and the
unfinished." Renzo Piano [1]



Resting on this ideology of Renzo Piano, the film Renzo Piano: Work in
Progress not only showcases Piano's finished projects but portrays the
process out of which his architectural masterpieces are born, almost
acting as his audio-visual logbook. By taking the viewer to Piano's
building sites, through his two offices in Paris and Genoa and inside
the brain-storming sessions with clients, it seeks to provide a window
into the architecture of this contemporary giant. Renzo Piano follows
four of Piano's current projects at their different stages of
progress: the Paul Klee Museum in Bern, the reconstruction of the
Potsdamer Platz in Berlin, the NOLA Cultural and Commercial Centre in
Naples, and the Padre Pio Pilgrimage Church in Foggia, Italy. By
examining them, the filmmaker subtly reveals the artist and the
philosophy behind his monumental projects.



The film starts in the Renzo Piano Building Workshop, Paris, with a
voice over by Piano. We see a young man carrying a maquette and, then,
we find ourselves in a meeting for the Paul Klee Museum Project, Bern
in its initial stages. "The museum would first appear as a movement":
Piano is presenting his design concept that has been inspired by the
topographical movement of the surrounding hills. Being site-specific,
a lot of the concept in Piano's design is developed from the
surrounding terrain while also giving importance to the morphology and
structure. He studies the organic rhythmic patterns of his terrain
well, unifying his design with them.



We arrive in Genoa, Piano's hometown, where he tells us he "especially
remember(s) the building sites." They are part of Piano's memories of
where he grew up with his father. "My origins are those of a handyman,
a craftsman. My father was a builder as (was) my grandfather." Even
though he makes his past live on with him, his approach to
architecture and space is not totally nostalgic but contemporaneous.
"Architecture is not alone; it is always the result of a combination
of things that live together--art, science, technology, sociology,
anthropology, all are mixed together, kind of like a stew."



Punta Nave, Near Genoa: The viewer is taken up on an inclined plane,
corresponding to a hill. Here we arrive at the Renzo Piano Building
Workshop, Genoa, where his designers are preparing for an exhibition
of Piano's own works at the Pompidou Centre, which aims to present
"not merely models of the finished building. On the contrary, they
present the process and especially its sources." At the Potsdamer
Platz, Berlin, one finds a sudden burst of excited activity: Piano is
at the inauguration of the new neighbourhood, amongst a group of
people. Up to now, we have been following Piano through his different
designing and building processes; this scene brings them to fruition.



His other finished pieces are showcased through intertitles as we get
an idea of the extent of his projects: the San Nicola Stadium, Bari;
Kansai Airport, Osaka; International City, Lyon; Beyeler Foundation
Museum, Basel; Tijibaou Centre, Noumea; Potsdamer Platz, Berlin; Paul
Klee Museum Project, Bern; G. Pompidou Centre, Paris; De Menil Museum,
Houston, partly exhibiting the vastness of his monumental and
technologically sophisticated portfolio.



The film comes closest to the observational mode of documentary where
there is unobtrusive camera-work following the action. Piano does not
engage directly with the camera, rather the camera observes him,
traveling with him on his jet and in Father Gerardo's car, with whom
Piano is working on the Padre Pio Church. Unlike the voice-over
tradition of the expository mode, where the narrative voice dictates
its own truth with a voice-of-God narration, Renzo Piano forms the
narrative through Piano's own voice representing his world. The
non-diegetic music employed is composed of unobtrusive musical
elements that may resemble the environmental noises in a workplace or
remind us of the hammering of a craftsman. Rhythmic percussions
reflect the process of Piano's current work, representing the
acoustics of his architecture. In effect, they build a soundscape that
helps us to stay within the architectural world of Piano.



Even though this working portrait of Renzo Piano gives us an idea of
the extent of Piano's work, it remains wanting in the kind of creative
treatment that would do justice to, and reflect the genius of, Piano
in a more exciting way for the viewer.



Reference:

[1] Piano, Renzo. The Renzo Piano Logbook. London: Thames and Hudson Ltd., 1997.



_______________________



Leonardo Reviews, May 2007



< The Animation of Lists And the Archytan Transpositions >
by Warren Burt
Reviewed by Stefaan Van Ryssen

< Art: Key Contemporary Thinkers >
by Diarmuid Costello and Jonathan Vickery, Editors
Reviewed by Rob Harle (Australia)



< Constant, Avant le Départ >
by Maarten Schmidt and Thomas Doebele
Reviewed by Anthony Enns



< Full Metal Apache: Transactions between Cyberpunk Japan and Avant-Pop
America >
by Takayuki Tatsumi
Reviewed by Michael R. (Mike) Mosher



< Ghosthunter: A Journey through Haunted France >
by Simon Marsden
Reviewed by Allan Graubard



< Making Easy Listening, Material Culture and Postwar American Recording >
by Tim J. Anderson
Reviewed by Stefaan Van Ryssen



< The Material Image: Art and the Real in Film >
by Brigitte Peucker
Reviewed by Jan Baetens



< Musimathics. The Mathematical Foundations of Music, Vol. 1 >
by Gareth Loy
Reviewed by Stefaan Van Ryssen



< Renzo Piano: Work in Progress >
by Marc Petitjean, Director
Reviewed by Nameera Ahmed



< Salvador Allende >
by Patricio Guzmán, Director
Reviewed by Michael R. (Mike) Mosher



< Scientific Pluralism (Minnesota Studies in the Philosophy of Science >
by Stephen H. Kellert, Helen E. Longino, and C. Kenneth Waters, Editors
Reviewed by Amy Ione



< Sensorium: Embodied Experience, Technology, and Contemporary Art >
by Caroline A. Jones, Editor
Reviewed by Craig Hilton



< Too Beautiful to Picture: Zeuxis, Myth, and Mimesis >
by Elizabeth C. Mansfield
Reviewed by Amy Ione



< YLEM Journal: Artists Using Science and Technology >
by Loren Means, Editor; Gregg Rickman, Guest Editor
Reviewed by Rob Harle (Australia)





To read all the reviews posted for May 2007, visit Leonardo Reviews at: <
http://www.leonardo.info/ldr.html>.



______________________________________________________



LEONARDO, VOL. 40, No. 3 (MAY 2007)
TABLE OF CONTENTS AND SELECT ABSTRACTS
______________________________________________________



Editorial



< Celebrating the Art, Science and Technology Community > by Amy Ione

_______________________



After Midnight



< Media Art in Beijing > by Li Zhenhua



_______________________



Gallery: Lines of Flight, curated by Celina Jeffery



< Stop Motion Studies > by David Crawford



< Triptych: Motion Stillness Resistance > by Peter Horvath



< Surface Tension > by Rafael Lozano-Hemmer



< Weather Gauge > by Jon Thomson and Alison Craighead



_______________________



Artist's Article



< Gathered from Coincidence: Reflections on Art in a Time of Global Warming
> by George Gessert



ABSTRACT: How will global warming affect art? The author proposes that the
effects will be continuous with other human-caused threats to civilization
such as nuclear weapons. Such threats have already contributed to
devaluation of the human figure. In many different times and places, the
primary focus of art, with the notable exception of Western art, has been on
nonhuman imagery. Global warming will give this new significance. Questions
of permanence and impermanence in art are also likely to become more
relevant.



_______________________



General Note



< Games of Pain: Pain as Haptic Stimulation in Computer-Game--Based Media
Art > by Pau Waelder Laso



ABSTRACT: The text describes several media-art projects that introduce pain
as a form of interaction within the context of a two-player game: *PainStation
*(2001--2003) and *LegShocker *(2002) by Tilman Reiff and Volker
Morawe, *Tekken
Torture *(2001) by C-Level and *Tazer Tag *(2005) by Randy Sarafan. By
presenting these examples and briefly analyzing the nature of pain and
games, this text offers an overview of the implications of incorporating
pain into a computer game and presents an approach to the motivations that
lead players to perceive a painful experience as fun and addictive.



_______________________



General Articles



< The Non-Realistic Nature of Photography: Further Reasons Why Turner Was
Wrong > by Richard Latto and Bernard Harper



ABSTRACT: The authors discuss the limitations of photography in producing
representations that lead to the accurate perception of shapes. In
particular, they consider two situations in which the photographic
representation, although an accurate reproduction of the geometry of the
two-dimensional image in the eye, does not capture the way human vision
changes this geometry to produce a three-dimensionally accurate perception.
When looking at a photograph, the viewer's uncertainty of the
camera-to-subject distance and the fact that, unnaturally, a photograph
presents almost exactly the same view of an object to the two eyes result in
substantially distorted perceptions. These most commonly result in a
perceived flattening and fattening of the 3D shape of the object being
photographed.





< *SwarmArt*: Interactive Art from Swarm Intelligence > by Christian Jacob,
Gerald Hushlak, Jeffrey E. Boyd, Paul Nuytten, Maxwell Sayles and Marcin
Pilat



ABSTRACT: Swarms of bees, colonies of ants, schools of fish, flocks of
birds, and fireflies flashing synchronously are all examples of highly
coordinated behaviors that emerge from collective, decentralized
intelligence. Local interactions among a multitude of agents or "swarmettes"
lead to a variety of dynamic patterns that may seem like choreographed
movements of a meta-organism. This paper describes *SwarmArt*, a
collaborative project between several computer scientists and an artist,
which resulted in interactive installations that explore and incorporate
basic mechanisms of swarm intelligence. The authors describe the scientific
context of the artwork, how user interaction is provided through video
surveillance technology, and how the swarm-based simulations were
implemented at exhibitions and galleries.



_______________________



Special Section: ArtScience: The Essential Connection



< Dorothy Crowfoot Hodgkin: Structure as Art > by Robert Root-Bernstein



< The Study of Patterns Is Profound > by Trudy Myrrh Reagan



ABSTRACT: The author has studied natural patterns both by drawing them and
by finding analogs for them in crafts materials and processes, including
batik, shibori, wrinkled paper painting, paper marbling, moiré, painting and
engraving on Plexiglas. She discusses the generation of patterns in nature
and how scientists' understanding of them has expanded during the period of
her own explorations. She recommends this study for enhancing one's
connection to the natural world and the cosmos. The author also explains how
she has found patterns useful as metaphors for philosophical ideas.



< Fractal Reactor: Re-Creating the Sun > by Todd Siler



ABSTRACT: The author recounts his quest to design an alternative plasma
fusion device that could generate limitless energy through nuclear fusion.
The proposed Fractal Reactor is based on fractal geometry rather than the
Euclidean geometry used in the designs for the containment systems of plasma
fusion devices. Fusion energy systems might become more effective if they
more closely embody the geometry and physics of stars, nature's "fractal
reactors." The author aims to work with nature and not against it in
controlling the forces that govern burning plasmas. Instead of jamming the
square peg of Euclidean geometry into the round hole of fractal geometry,
the author considers exerting intense forces on plasmas that approximate the
gravitational forces in a star.



_______________________



Theoretical Perspectives



< The Perception of Nonmaterial Objects and Events > by William H. Ittelson



ABSTRACT: All animals receive light and sound from the surrounding world and
use this input to provide information about the material properties of that
world. Humans, in addition, are able to utilize information in light and
sound that has nothing to do with its material source but is about objects
and events that are not materially present and may have no material
existence at all*.* The author argues that this perceptual capacity is a
necessary condition for the development of the arts, humanities, science and
all that is considered uniquely human.





< The Nature and Functions of Synesthesia in Music > by B.M. Galeyev



ABSTRACT: The author considers the phenomenon of synesthesia, defining it as
intersensory association formed by similarity or "contiguity" of heteromodal
perceptions. The results of this associative process (occurring mainly at
the subconscious level), when coming to the light of consciousness, may be
fixed either in verbal form or directly in the sensuous material of the
nonverbal arts (most significantly music). Synesthesia calls forth such
notions as "melody line," "the hearing space" and "tone color," and makes it
possible to perceive sounds and chords as "sharp," "dull" or "high."
Synesthesia (and the particular case of "color hearing") is the essential
component of musical thinking, first of all, in music intended to evoke
images.



_______________________



Leonardo Reviews



Reviews by Fred Andersson, Wilfrid Niels Arnold, Jan Baetens, Roy R.
Behrens, Allan Graubard, Rob Harle, Amy Ione, Martha Patricia Niño Mojica,
Kathleen Quillian, Eugene Thacker, Stefaan Van Ryssen, Jonathan Zilberg



______________________________________________________



LEONARDO NETWORK NEWS
______________________________________________________



< MutaMorphosis: Challenging Arts and Sciences, International Conference >



Organized by CIANT and co-organized by Leonardo, Hexagram, and Pépinières
Européenes pour Jeunes Artistes, the MutaMorphosis conference will be held
in Prague, Czech Republic, November 8-10, 2007.



Partners of the event include Center for Global Studies at Charles
University, CYPRES, Czech Academy of Sciences, French Institute in Prague,
MARCEL and UQAM.


Registration is available beginning June 1, 2007 through the MutaMorphosis
website: www.mutamorphosis.org.


Associate Members of Leonardo (paying subscribers, members of Leonardo
Boards and Committees) get a 20% discount on registration. Please contact
Roger Malina at rmalina at prontomail.com.  Space is limited.



Leonardo Associate Members are also invited to Leonardo Day to be held in
Prague on Sunday, November 11, 2007 at Euro RSCG Europe HQ (www.eurorscg.cz
).

_____________________________



< Jeffrey Babcock and Greg Harper Elected to Leonardo Governing Board >



The Leonardo Governing Board elected two new members at the April 2007
Governing Board meeting. The new members, elected to serve through 2009, are
Jeffrey Babcock and Greg Harper.



Jeffrey Babcock is a composer, producer, consultant and arts executive with
a special interest and expertise in creative technologies that are
expanding, even redefining the creative process and significantly
influencing the role of the arts in society. As Executive Director San
Francisco State University's International Center for the Arts, he leads a
multidisciplinary team of distinguished artists and innovators who pursue a
variety of entrepreneurial initiatives that focus on the creative process
and the advancement of gifted emerging artists through research projects,
performances and exhibitions. Babcock co-founded the Los
AngelesPhilharmonic Institute with artistic directors Leonard
Bernstein and Michael
Tilson Thomas and the New World Symphony with Tilson Thomas; he served as
the latter organization's first president and CEO. He led the
creative/technology team that developed the innovative Pianocorder
Reproducing System for Superscope/Marantz, directed the Clarice Smith Center
for the Performing Arts at the University of Maryland, served as dean of
Fine Arts at Boston University and general director and CEO of Boston
Ballet, and owned Cultural Strategies, Inc., a nonprofit consulting, event
and new media production company.



Greg Harper is an attorney and a politician. His formal education consists
of a B.S. in electrical engineering and computer science and B.A. in
economics, both from the University of Illinois. His graduate work at San
Jose State University focused on artificial intelligence and culminated with
a J.D. from the University of California at Hastings. He is the principal of
Harper & Associates, a law firm specializing in contract and land use law.
Since 2000, Harper has served in the elected political position of director
of the Alameda-Contra Costa County Transit District for Ward 2, representing
approximately 300,000 citizens of Berkeley, Emeryville, Oakland and Piedmont,
California. Currently he is president of that board as well. He is also a
member of the Berkeley's Measure G Global Warming Task Force. His numerous
political positions and appointments include the position of Mayor of
Emeryville from 1990 to 1991.

_____________________________



< Leonardo Education Forum Elects New Chairs >



Leonardo is pleased to welcome Nina Czegledy and Victoria Vesna as co-chairs
of the Leonardo Education Forum (joining Eddie Shanken, Chair and Andrea
Polli, Co-Chair) and Justin Cone (joining Mariah Klaneski and Josh Levy) as
Co-Chair of the Graduate/Young Professional Committee of Leonardo Education
Forum.



The Leonardo Education Forum (LEF) promotes the advancement of artistic
research and academic scholarship at the intersections of art, science and
technology.  Serving practitioners, scholars, and students who are members
of the Leonardo community, LEF provides a forum for collaboration and
exchange with other scholarly communities, including the College Art
Association of America (CAA), of which it is an affiliate society.

The Leonardo Education Forum is open to all individuals in the Leonardo
and/or CAA communities.



Visit the Leonardo Education Forum web site for more information on LEF
members, events and activities: <http://fm.hunter.cuny.edu/lef/>.



Join the LEF discussion list: <http://groups.google.com/group/leoeduforum>.



Nina Czegledy, media artist, curator and writer, has collaborated on
international projects, produced time-based and digital works, and
participated in workshops, forums and festivals worldwide. She has exhibited
her work with the ICOLS group and toured with  the Girls&Guns
collective in East
Europe. *Resonance,* the *Electromagnetic Bodies Project, Digitized Bodies
Virtual Spectacles* and the *Aurora Projects* reflect her
art-science-technology interest. These projects focus on the changing
perception of the environment and the human body and are presented via
on-line and on-site events. The *Aurora Feast Public Art Collaborative
Project* has premiered at the Finnish science center Heureka and was
presented at Govett-Brewster Gallery, New Plymouth, New Zealand and the
Waves Festival, Riga, Latvia.  Lately, Czegledy curated Code Zebra, Sifting
Time, Shifting Space, for the Women Arts Resource Center, Toronto (2005) and
the Reconnaissance, Finnish exhibition InterAcces,Toronto (2006). Czegledy
curated over 35 digital art/video programs presented in more than 25
countries and initiated Points of Entry, the first Canadian/Australian/New
Zealand digital arts collaboration. Her academic lectures and international
conference presentations lead to numerous publications in books and journals
worldwide. Czegledy is the president of Critical Media, a Canada-based
knowledge institute. She is also a member of the Leonardo SpaceArt Network.
An advisor to the UNESCO DigiArts Portal and a Yasmin group moderator, Nina
Czegledy is a senior fellow at KMDI, University of Toronto, an adjunct
associate professor at Concordia University, Montreal and the outgoing chair
of the Inter Society for the Electronic Arts (ISEA).



Victoria Vesna is a media artist, professor and chair of the department of
Design | Media Arts at the UCLA School of the Arts. She is also director of
the recently established UCLA Art|Sci center and the UC Digital Arts
Research Network. Her work can be defined as experimental creative research
that resides between disciplines and technologies. She explores how
communication technologies affect collective behavior and how perceptions of
identity shift in relation to scientific innovation. In her most recent
installations she is concerned with the environment -- "Mood Swings" deals
with the environmental effects on mental health and was exhibited in
University of Washington, in a festival in Berlin and Castellon, Spain.
"Water Bowls" aims to raise consciousness around the issues of pollution of
our global life source and was exhibited in Beijing, Los Angeles and is
currently at the Laboral gallery in Gijon, Spian. Other notable works
are *Bodies
INCorporated*, *Datamining Bodies*, *n0time* and *Cellular Trans_Actions*.
Victoria has exhibited her work in 18 solo exhibitions, over 70 group shows,
published 20+ papers and gave a 100+ invited talks in the last decade. She
is recipient of many grants, commissions and awards, including the Oscar
Signorini award for best net artwork in 1998 and the Cine Golden Eagle for
best scientific documentary in 1986. Vesna's work has received notice in
numerous publications such as *Art in America*, *National Geographic*, the *Los
Angeles Times*, *Spiegel* (Germany), *The Irish Times* (Ireland), *Tema
Celeste* (Italy), and *Veredas* (Brazil) and appears in a number of book
chapters on media arts. She is the North American editor of AI & Society and
editor of Database Aesthetics to be published by Minnesota Press in August,
2007.



Justin Cone is a student in the MFA program in Motion Graphics and Broadcast
Design at the Savannah College of Art and Design. Justin is also a freelance
writer and editor interested in the intersection between technology
(especially audio/visual authoring systems), art and design. He has written
for *ID* magazine and Print, in addition to curating and judging various
international design showcases and competitions. His blog,
Motionographer.com, is the leading source for motion graphics news and
inspiration worldwide.



_____________________________



< In Memoriam: LeRoy White >



LeRoy White, an early adopter of digital art-making, died unexpectedly on 28
February 2007.  He was 71 years old and had taught at the Rhode Island
School of Design for over 40 years.

With a history of exhibitions in sculpture and conceptual art, White began
investigating digital imaging in the mid-1980s.  At the Rhode Island School
of Design, he was director of the BM/RISD Fine Arts Imaging Research
Project, focusing on how issues of composition and design could be explored
with the computer.

White exhibited and spoke about his digital images in the first and second
Arts and Technology Symposia held at Connecticut College 1986 and 1989
(curated by Cynthia Beth Rubin and David Smalley), and was included in the
1986 exhibition The Artist and the Computer in Louisville (curated by
Roberta Williams), the 1987 exhibition Hypergraphics VIII and several other
early digital imaging exhibitions.

Working with his colleague Bert Beaver, he organized the first digital
imaging exhibition in Rhode Island in 1988 at the Bannister Gallery of Rhode
Island College. Through this exhibition and his teaching efforts, White was
instrumental in bringing the new field of computer art to a large number of
colleagues and paved the way for the integration of computers into the
sphere of fine art.

At the time of his death, LeRoy White was working on a series of digital
photographs, subtly manipulated and masterfully printed in his own studio.
 His digital photographs are in the collections of the Cincinnati Art Museum,
the Worcester Art Museum, the Rhode Island School of Design Art Museum, the
Herbert F. Johnson Museum of Art at Cornell University, and the Dayton Art
Institute.  He is a graduate of the University of Dayton and the Rochester
Institute of Technology.



_____________________________



< In Memoriam: Patrick Purcell (1929--2007) >



By George Mallen



(Originally published on the e-list of the Computer Arts Society, a British
Computer Society Specialist Group founded in 1968; reprinted with
permission.)



Patrick Purcell died after a short illness on 9 February 2007. Patrick had
polymathic interests and was an important early contributor to the founding
of the Computer Arts Society. He had early recognized the potential
importance of computing and computer graphics to the art and design world
and used his position as Senior Research Fellow in the Design Research Unit
at the Royal College of Art with great flair to bridge the two cultures gap.
He was one of that rare breed, a conduit for ideas and a selfless enabler of
action. Sensitive to the needs of creative individuals and the
institutional challenges of channeling that creativity he built a
substantial portfolio of Science Research Council funded projects, no mean
feat, at the RCA. I had the good fortune to work with him on these projects
throughout the 1970s.



Patrick's invaluable contribution to CAS was as enabler of the Society's
inaugural exhibition, Event One, at the RCA in 1969. He was the interface
for both the RCA and Imperial College. Heroically, Patrick persuaded Bill
Elliot at IC to loan, and the RCA to accept for a weekend, a PDP7 computer
that had to be loaded onto a truck at Imperial College, driven 500 yards to
the RCA, unloaded and installed in the Event One exhibition hall. I cherish
the memory of Patrick, as always elegant of waistcoat and patrician of
demeanor, marshalling the truck driver up the very narrow Jay Mews to the
College back entrance. I suspect this was the first computer to
penetrate the RCA---and the rest is history. Patrick's remarkable diplomatic
skills were further tested when the polystyrene tiles announcing Event One
on the outside walls of the College left marks on the stone facade.  Oh, the
tantrums! Patrick, however, smoothed it all out.



Besides helping at the birth of CAS, he midwifed many other major
innovations at the RCA. The list includes bringing the DTI's Computer Aided
Design Centre's London office into the College. Similarly he brought in the
Department of Environment's CEDAR computer-aided building design projects
and encouraged the development of the Natural Environment Research Council's
Digital Cartography unit.  He built strong bridges to Imperial College, so
that when an Internet link was established there it was used to download
artwork from Harold Cohen's Aaron drawing system. Joint courses on computing
were subsequently established with IC. He provided links to Nicholas
Negroponte's Architecture Machine Group at MIT and then went to work with
Negroponte in the Media Lab, where he continued to pursue his many
interdisciplinary interests before coming back to his final years at
Imperial College.



Looking back we can see that Patrick's influence on these seminal projects
helped change the culture of the time and hastened the coming of the IT
revolution. He is sorely missed.



The following website has reminiscences:



<http://sunnybains.typepad.com/patrick_purcell/2007/02/patrick_purcell.html
>.



_____________________________





LEONARDO NETWORK NEWS COORDINATOR: Kathleen Quillian
kq [@] leonardo [dot] info

______________________________________________________



BYTES

______________________________________________________



< art meets science: Events in Honor of the 80th Birthday of Herbert W.
Franke >



Herbert W. Franke, expert in media theory, pioneer of computer art, and
co-founder of the Ars Electronica festival, will celebrate his 80th birthday
in May 2007. On this occasion, a cycle of several events, themed art meets
science and dedicated to Herbert W. Franke's life's work, will take place at
various locations in Germany and Austria from May through July 2007.



Within the scope of the art meets science events on the occasion of his
anniversary, Herbert W. Franke will conduct science talks with scientists of
very different backgrounds - physicists, computer scientists, Artificial
Intelligence experts, psychologists and philosophers - on topics such as the
future of man or the origin of art, and discuss questions like what does it
mean to be a human being or such subjects as artificial intelligence,
reality and cyberspace. The events will also feature Mr. Franke reading and
interpreting some of his utopian short stories with plots in line with the
mentioned issues.  A collection of his stories will also be republished in a
best-of edition by Phantastische Bibliothek, Wetzlar, on the occasion of his
anniversary.



Subsequent to the science talks, an exhibition of his works of computer art
or a multimedia arts event are planned, as Kunsthalle Bremen (arts
exhibition hall) for instance, has acquired Mr. Franke's collection of
computer art. It has been gathered over fifty years and contains his own
works as well as some of the works of nearly every recognized pioneer in
computer art worldwide. A selection from this internationally unique
collection will be on display to the public for the first time, in a special
exhibition at Kunsthalle Bremen in June 2007. Also, Karlsruhe's ZKM Zentrum
für Kunst und Medientechnologie (center for art and media technology) will
show again his Hommage à E.M., a multimedia performance for a dancer and an
interactive picture designer, first enacted in 1989.



Venues and topics:



Berlin, Archenhold-Sternwarte:
Mankind - accident, coincidence or purpose of nature?

Bremen, Kunsthalle Bremen:
The human being - an automaton: the self, the emotion and the art.

Karlsruhe, ZKM | Zentrum für Kunst und Medientechnologie:
The universal roller coaster - within the net of illusion.

Dresden, T-Systems Multimedia Solutions:
Man playing God - learning automata are advancing fast.

Vienna, Künstlerhaus Wien:
Leonardo digital - art between logic and emotion.

Munich, Akademie der Bildenden Künste:
God does play dice! Coincidence and necessity in the universe.



Another highlight will be the world premiere of a puppet play in the
Marionettentheater (string puppet theatre) in Bad Toelz (Southern Bavaria)
on 7 July 2007. Scripted by Herbert W. Franke, *The Crystal Planet* will be
staged by Albert Maly-Motta and Karl-Heinz Bille, who are both renowned
artists of puppet making and puppeteering. This will probably be not only
the first puppet play whose plot is set in the future, but it will also
combine for the first time traditional stage effects with the most advanced
puppeteering technology. Together with established animation techniques,
very special micro-animation and computer animation techniques will be
applied.



Professor Herbert W. Franke, honorary editor of *Leonardo* for quite some
years, began to generate works of art using computers in the 1950s. A
physics PhD, he was fascinated by the possibilities of machine-supported
graphical creation. At the same time he gave much attention, right from the
start, to aspects of information and reception theory that are relevant in
the borderland of art and science. This is how he made an important
scientific contribution to the understanding of the aesthetic mechanisms. In
addition, Mr. Franke ranges among the most renowned German-speaking authors
of utopian literature and has acquired great merits in the field of cave and
karst exploration.



For more information on Herbert W. Franke please see:

www.zi-biologie.uni-muenchen.de/~franke



Events and venues can be found under the web address:

www.art-meets-science.info  <amalymotta at aol.com>



For pictures or additional information please contact:



Susanne Paech

mce GmbH

Bavariafilmplatz 3

82031 Grünwald

Germany



Phone: +49 (171) 600 44 22

sp [at] mce-gmbh [dot] de

www.mce-gmbh.de



_____________________________



< Research Coordinator Position, Arts Media and Engineering Program, Arizona
State University >



The Arts, Media and Engineering Program (AME) (http://ame.asu.edu) at
Arizona State University is announcing an opening for a research
coordinator.



AME is a nationally leading program in transdisciplinary research and
education for experiential media. The program has established a diverse
graduate interdisciplinary curriculum which includes AME concentrations in
Electrical Engineering, Computer Science and Informatics, Dance, Music,
Theater and Film, Visual Arts, Design, Psychology, Bioengineering,
Education, as well as a PhD in Media Arts and Sciences awarded through AME.
Ten AME faculty and 30 affiliated faculty from the participating departments
work collaboratively with over 50 graduate students supported by research
assistantships for the creation of innovative media systems and
applications. AME has state of the art media facilities.



The appointee will:

- Coordinate the promotion and presentation of AME research activities

- Coordinate the production of AME promotional material

- Coordinate an annual program of visiting speakers and researchers

- Coordinate scheduling of Department events and large AME research
activities

- Participate actively in tours and demos of the program (including leading
tours and visits when appropriate)

- Give summary presentations of AME research when needed

- Coordinate the production of AME promotional materials

- Coordinate work on mailing lists and electronic announcements

- Assist in grant preparation and reporting

- Other program coordination duties as needed



To better perform their duties, the appointee will need to stay well
informed of AME research and education activities and have current knowledge
of other media arts and sciences graduate programs nationally and
internationally and of developments and trends in the digital media
industry.



Minimum qualifications:  Bachelors degree in a field appropriate to the area
of assignment and three years of related experience.



Desired qualifications: Masters degree in related field. Experience in:
media; arts; computing; communications; design. Experience with: MS Office
applications (e.g. Word, Excel). Research, creative and/or educational
experience in digital media, arts, computing and/or design. Experience with
media arts/digital design software (e.g. Photoshop, Flash, Dreamweaver).
Experience with online scheduling system(s). Experience with grant
administration and/or development. Experience in public relations or
communications.



This is a 12 month position renewable annually, contingent upon performance,
for an initial term of 3 years.



ASU conducts pre-employment screening for all positions which includes a
criminal background check, verification of work history, academic
credentials, licenses, and certifications.



Close Date: June 6, 2007



Salary: Competitive and commensurate with experience



Application Instructions:  Please reference Job ID # 11107 at:
www.asu.edu/asujobs/ for application instructions and to submit an
application for the position.



For more information regarding this position, please write to:
ameresearchcoord [at] asu [dot] edu



Arizona State University is an Equal Opportunity/Affirmative Action Employer

_____________________________



< Call for Submissions: 2nd Annual Conference on the Arts in Society >



On behalf of LEF and other collaborating participants, the International
Conference on the Arts in Society would like to announce the following for
posting and circulation:

The 2nd Annual Conference on the Arts in Society will take place August 22 -
24th in conjunction with the Documenta 12 at the University of Kassel,
Germany. The next Call for Presentation Abstracts (for papers, performances,
workshops, colloquia) is being accepted through June 30, 2007 via the online
submission process at www.arts-conference.com. For further information,
contact tressa [at] commongroundconferences [dot] com

_____________________________



< Register for the UCLA Design | Media Arts Summer Institute program 2007 >



Information on this year's summer program on web, game, video and/or graphic
design in the Design | Media Arts Summer Institute program 2007 is available
at: http://www.dma.ucla.edu/summerinstitute/



UCLA Design | Media Arts Summer Institute program is designed for high
school students who are interested in exploring their creative potential by
learning techniques using the most current software and working with trained
and experienced instructors and professionals in the field. Students not
only develop pieces that can be submitted for applications to college but
also earn one unit of college credit for attending class. In a short time
they will taste the excitement of being a part of a cutting edge department
that will help motivate them during their last years of high school and
prepare them for college life. At the end of class students will have the
ability to create their own online portfolio to show friends and family, as
well as to use in high school and college arts admission applications.



During the time students are enrolled in the D|MA Summer Institute, students
will be in the newly renovated Broad Art Center building and have access to
UCLA facilities, just like current undergraduate students. Students can also
stay in the UCLA residence halls to fully experience campus life. For
details, visit: http://www.summer.ucla.edu

Although workshops are designed to last a week, it is recommended that
students enroll in all three weeks to gain as many skills as possible and
incorporate work from other modules. All workshops meet every day with hands
on instruction in the lab for two sessions per day, totalling 32.5 hours of
instruction. Class size is limited to 20 students. Each class has two highly
skilled instructors from the Department of Design | Media Arts teaching
college level skills.



The UCLA Design | Media Arts Summer Institute 2007 begins June 24th! If you
have other questions, please contact Carolyn Ramirez-La Faso at cramirez[at]
arts [dot] ucla [dot] edu or call 310-267-4907.



________________________________________________________________



* ~ * ~ * ~ * ~ * ~ * ~ * CREDITS * ~ * ~ * ~ * ~ * ~ * ~ *

________________________________________________________________



Nisar Keshvani: LEA Editor-in-Chief

Natra Haniff: LEA Editor

Nicholas Cronbach: LEA Editor

Kathleen Quillian: LEA e-news Digest Coordinator

Michael Punt: LR Editor-in-Chief

Andre Ho: Web Concept and Design Consultant

Roger Malina: Leonardo Executive Editor

Stephen Wilson: Chair, Leonardo/ISAST Web Committee

Craig Harris: Founding Editor



Editorial Advisory Board:

Irina Aristarkhova, Roy Ascott, Craig Harris, Fatima Lasay,

Michael Naimark, Julianne Pierce



Gallery Advisory Board:

Mark Amerika, Paul Brown, Choy Kok Kee, Steve Dietz, Kim Machan



fAf-LEA Corresponding Editors:

Lee Weng Choy, Ricardo Dal Farra, Elga Ferreira, Young Hae-

Chang, Fatima Lasay, Jose-Carlos Mariategui, Marcus Neustetter,

Elaine Ng, Marc Voge



________________________________________________________________



* ~ * ~ * ~ * ~ * LEA PUBLISHING INFORMATION * ~ * ~ * ~ * ~ *

________________________________________________________________





Editorial Address:

Leonardo Electronic Almanac

PO Box 850
Robinson Road
Singapore 901650

keshvani [@] leoalmanac [dot] org



________________________________________________________________



Copyright (2007), Leonardo, the International Society for the

Arts, Sciences and Technology

All Rights Reserved.



Re-posting of the content of this journal is prohibited without permission
of Leonardo/ISAST, except for the posting of news and events listings that
have been independently received. Leonardo/ISAST and the MIT Press give
institutions permission to offer access to LEA within the organization
through such resources as restricted local gopher and mosaic services. Open
access to other individuals and organizations is not permitted.



________________________________________________________________



< Ordering Information >



Leonardo Electronic Almanac is a free supplement to subscribers of Leonardo
and Leonardo Music Journal.



To subscribe to Leonardo Electronic Almanac e-news digest, visit:
http://mailman.mit.edu/mailman/listinfo/leon_e_almanac



To subscribe to Leonardo, visit: http://www.mitpressjournals.org/leon



To subscribe to Leonardo Music Journal, visit:
http://www.mitpressjournals.org/lmj



For Leonardo and LMJ subscription queries contact:

journals-orders [@] mit [dot] edu



________________________________________________________________



* ~ * ~ * ~ * ~ * ~ * ADVERTISING * ~ * ~ * ~ * ~ * ~ *

________________________________________________________________



Leonardo Electronic Almanac is published monthly -- individuals and
institutions interested in advertising in LEA, either in the distributed
text version or on the World Wide Web site should contact:



Leonardo - Advertising

211 Sutter Street, suite #501

San Francisco, CA 94108



phone: (415) 391-1110

fax: (415) 391-2385

E-mail: kq [@] leonardo [dot] info

More Info: http://leonardo.info/isast/placeads.html#LEAads



________________________________________________________________



* ~ * ~ * ~ * ~ * ~ * ACKNOWLEDGMENTS * ~ * ~ * ~ * ~ * ~ *

________________________________________________________________





LEA acknowledges with thanks the Rockefeller and Ford Foundations for their
support to Leonardo/ISAST and its projects.



________________________________________________________________



< End of Leonardo Electronic Almanac >

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