[Reader-list] [Announcements] Resend - Leonardo Electronic Almanac Supplement Volume 15, Number 9 - 10, 2007

[Nisar Keshvani, LEA]

Please ignore earlier email - the correct version of LEA Supplement Vol 15,
No 9-10 is included in this email below.
Sincere apologies.

________________________________________________________________

Leonardo Electronic Almanac Volume 15, Number 9 - 10, 2007
http://leoalmanac.org
ISSN #1071-4391
________________________________________________________________


LEONARDO REVIEWS
----------------

< Introduction by Michael Punt >

< Camouflage and Art: Design for Deception in World War 2, by
Henrietta Goodden > Reviewed by Roy R. Behrens

< Cartographic Cinema, by Tom Conley > Reviewed by Jan Baetens

< Much Ado About Almost Nothing: Man's Encounter with the
Electron, by Hans Camenzin > Reviewed by John F. Barber

< New Leonardo Reviews, September and October, 2007 >

LEONARDO
--------

< Table of Contents: Leonardo Vol. 40, No. 5, 2007 >


LEONARDO ABSTRACT SERVICE
--------------------------

< Expressive Processing: On Process-Intensive Literature and
Digital Media > by Noah Wardrip-Fruin

< Generative Music and Cellular Automata > by David Burraston

< Aquabatics as new works of Live Art > by Sarah Jane Pell

< Interactive Technologies for the Public Sphere: Towards a
Theory of Critical Creative Technology > by Pamela Jennings

< Landscape Denatured: Digitizing the Wild > by Eric Kabisch

< This is not here: Connectedness, remote experiences and
immersive telematic art > by Michael Hohl


LEONARDO NETWORK NEWS
---------------------

< Meredith Tromble Elected Secretary of Leonardo Governing
Board >

< Transactions Section Offers Rapid Publication Forum in
Leonardo Journal >

< Leonardo in Argentina: CEIArtE Lecture and Workshop series
(2007--2008) >

< Recent Events and Projects of the Leonardo Scientists Working
Group >


BYTES
-----

< Digital Humanities Chair Position available at Dartmouth
College >
________________________________________________________________

LEONARDO REVIEWS, October 2007
________________________________________________________________

< Introduction >

One of the great pleasures of editing Leonardo Reviews (and I
hope reading them) is the unexpected and the appearance of the
difficult to see. In this selection I want to draw attention to
a few items that have a particular fascination, a sort of
compulsive attraction. For example Roy R. Behren's review of
Camouflage and Art: Design for Deception in World War 2 by
Henrietta Goodden takes us into a rather specialised world of
camouflage in such a way that one wonders what other connections
there are to be made behind the drab daubs on military hardware
that are designed for us to ignore. Jan Baetens' discussion of
Tom Conley's new book Cartographic Cinema also deals with the
scarcely visible. Conely, always a provocative thinker, turns
his attention to some aspects of the cinema that might simply be
running in the background to our normal engagement with a movie.
As Baetens points out, in these he finds considerable
significance and argues for their status with great compulsion.
In doing so he claims a special place for all cinema- not just
the landmark art house productions. Finally John Barber turns
his attention to the invisible in Much Ado About Almost Nothing:
Man's Encounter with the Electron, by Hans Camenzind. As Barber
points out the cultural invisibility of electricity (as distinct
from its effects) is underpinned by a long and fascinating
history. Driven by a heterogeneous collection of oddballs and
eccentrics the "taming" of the electron, as he puts it, has
provided the scenario for Camenzind's comprehensive narrative
which reveals to us a depth and complexity of an invisible
entity that we all use but few of us acknowledge. These reviews
and others which conceal equally fascinating treasures can be
found at Leonardo Reviews along with the archive.

Michael Punt
Editor-in-Chief
Leonardo Reviews

Camouflage and Art: Design for Deception in World War 2
by Henrietta Goodden
London: Unicorn Press, 2007
192 pp. 120 illustrations, color and b&w. Trade, $55.00
ISBN: 978-0-906290-87-3.

Reviewed by Roy R. Behrens
Department of Art, University of Northern Iowa, USA.
http://www.bobolinkbooks.com, ballast at netins.net

The current heightened interest in camouflage can be at least
partly attributed to Charles Darwin. In The Origin of Species,
first published in 1859, he hypothesized that the evolution of
species occurs not through divine intervention but by autonomous
natural selection, and that the likelihood of survival is
weighted in favor of those that are better fitted than others.
By the turn of the century, the study of natural camouflage
(known then as "protective coloration") became a research
theatre for the confirmation of Darwin's theories. Knowing that,
it is of additional interest to find (as this book ably
documents) that one of the chief participants in wartime British
camouflage was Robin Darwin (1910-1974), a painter and
descendent of the famous naturalist.

During World War II, Robin Darwin became secretary to the
British Camouflage Committee, where he spoke in favor of using
artists as camouflage experts, along with architects, engineers
and scientists. Later, a few years after the war, when the Royal
College of Art was reopened and reorganized, Robin Darwin was
appointed its director. One of the achievements of this book is
to reveal the surprising extent to which artists associated with
the college (whether before or after the war) were also directly
connected with the development of camouflage: indeed, in the
years that followed the war, nearly all the school's faculty in
graphics, printmaking, industrial and furniture design, and
jewelry, along with a number of tutors and guest artists, had in
some way served as camouflage advisors.

A further purpose of the book is more inclusive: divided into
10 chapters (with specific subject areas as Civil Camouflage,
RAF Camouflage, Army Camouflage, Desert Camouflage, Admiralty
Camouflage and so on), it provides a more generalized overview
of the whole of British camouflage during World War II, as
undertaken by a wide range of artists, not just those with
direct links to the RCA. The roster of camouflage artists is
lengthy and includes (among numerous others) such more or less
familiar names as artists Frederick Gore, Stanley Hayter, Roland
Penrose, Edward Wadsworth, David Pye, Edward Seago and Julian
Trevelyan; architects Hugh Casson and Basil Spense; stage
designers Robert Medley and Oliver Messel; fashion designer
Victor Stiebel; and zoologist (and scientific illustrator) Hugh
B. Cott.

Few people are better suited for putting this book together
than is Henrietta Goodden, a British authority on fashion
design, who currently teaches at the Royal College of Art and
who is the daughter of the late Robert Goodden, one of the RCA
teachers who also served as a naval camouflage advisor.

At the moment there is a frenzy of on-going research about
camouflage, both natural and military, much of it still in the
interests of understanding natural selection. Anyone who knows
the existing literature will appreciate the significance of this
book: It provides us for the first time with a tirelessly
researched, well-written account of a slice of the oddball
connection between Modern-era art and camouflage (especially
British Modernism), a part that was there but not fully
explored. Plentifully supplemented by camouflage-related
artwork, historic wartime photographs, government documents, and
hand-drawn field instructions (many of which appear in print for
the first time), this book is a rich, indispensable source for
future work within this field.

(Reprinted by permission from Ballast Quarterly Review, Volume
21 Number 1, Autumn 2007.)

Cartographic Cinema
by Tom Conley
University of Minnesota Press, Minneapolis, MN, 2007
264 pp. illus., 40 b/w. Trade, $75.00; paper, $25.00
ISBN: 0-8166-4357-1; ISBN: 0-8166-4356-3.

Reviewed by Jan Baetens
University of Leuven
jan.baetens at arts.kuleuven.be

In the steadily growing literature on maps and mapping in the
fields of literary theory, visual studies, and critical
thinking, Tom Conley's book can be called a major achievement,
both for the clarity and profoundness of its theoretical
insights and the exceptional brio of its close readings.
Moreover, Cartographic Cinema is not just a book that makes a
strong plea for close-reading but succeeds in demonstrating the
theoretical necessity of this approach, provided it is
articulated with strong theoretical perspectives. As such, Tom
Conley has written a book that is a major contribution to film
studies (and other related fields) as well as an exciting
collection of essays on the history of 20th Century cinema,
starting from René Clair's Paris qui dort (The Crazy Ray, 1923)
to Ridley Scott's Gladiator (2000).

How does Conley define the notions of "map" and "mapping"? A
specialist of cartography himself, on which he has widely
published, inside and outside the field of film studies, Conley
argues first of all that maps are not just items or images that
can be shown or mentioned in movies, but that movies themselves
have to be considered maps (in the rest of Cartographic Cinema,
this two-sidedness will be the leading thread of each analysis),
i.e. visual structures that shape the imagination of the
spectator and can be used as tools for the deciphering of the
world that is referred to by the movie. The meaning of maps and
mapping is, therefore, much broader than mere geography (a map
offers or imposes also a worldview), while it cannot be reduced
to a linguistic approach of the world (maps do not transcribe
speech, even if they happen to include many verbal and written
elements). As a matter of fact, it is not only the film seen as
a whole that can function as a map, but also each of its images,
as they gradually unfold and change before the eyes of the
spectator. For Tom Conley (and almost all the close readings of
the book will provide evidence of the rightness of this
conviction), "everything" can obtain a cartographic dimension:
the logo of the film company, the credits and intertitles, the
very images (with or without visible maps), and so on. In all
these occasions, movies do function as actual maps, by showing
"where" we are and by linking our identities to that
cartographic issue ("who" we are cannot be separated from
"where" we are), and just like maps this showing function is not
only referential but also ideological, for maps and movies
disclose relationships that go otherwise unnoticed. In that
regard, it would be unfair to reduce the cartographic function
of maps to the appropriative, controlling, and administrative
functions they are generally associated with.

Conley's theoretical preferences and convictions go clearly
into the direction of the singular and the event. Claiming that
film studies should follow the hypothesis "to each film its
map", Cartographic Cinema builds mainly on the work of two other
major theoreticians, André Bazin (who had already developed a
theory of movies as maps) and Gilles Deleuze (whose writings on
Deleuze remain an essential contribution to the modern theory of
mapping). From Bazin's defence of neo-Realism and his ideal of
film as representation of the real, Conley uses the idea of the
"image-field" which is not the (secondary) background for what
really matters, namely the action, but an existential space in
which all places are as important as any other and which is
shifting itself through time. From Deleuze's ideas on the work
as "open totality", Conley borrows the suggestion that the
spatial field on screen is capable of producing events that
modify our perception of the world itself. This openness to what
may happen on screen, instead of being statically reproduced by
the images, makes that Conley's focus--following in this also
the majors beliefs of Deleuze and Bazin--is actually less on the
map than on mapping, less on the display than on the making of
history, less on the map (and the film) as representation than
on the map (and the film) as becoming.

It is this active dynamic that is foregrounded in the close-
readings of the book, which are often breathtaking. In 10
chapters, Conley makes clear that the choice of the map as a
privileged reading tool of cinema can be extremely illuminating
and that the selection of films including maps is a very
original and profound way to inscribe the reading of movies into
the larger process of cognitive mapping, which is, for Conley
and Jameson whom the author is following here, a way of linking
the close-reading of often tiny details with contextual,
historical, and political issues. The reader of Cartographic
Cinema will, therefore, always hesitate between two types of
admirations, appreciating both the cleverness and hermeneutic
power of the reading of so many details linked with maps (or
made visible thanks to the emphasis put on fragments containing
maps or fragments read as maps) and the author's capacity to
link these details with a larger inquiry on the historical and
ideological positioning of the analyzed movies. In particular,
one should mention here the exciting rereading of Renoir's La
Règle du jeu, Rossellini's Roma, città aperta, Truffaut's Les
400 Coups (three films one thought to know by heart, but which
Conley manages to "reinvent" completely) or Kassovitz's La Haine
(whose dialogues and various inscriptions the author decodes
with the same love and intelligence as did Stanley Cavell with
the allegedly insignificant screwball comedies in The Pursuit of
Happiness, a book which I think has quite some analogies with
Cartographic Cinema). But all analyses by Conley are convincing
and rewarding, and since the author happily mixes "art movies"
and "commercial movies" (from film noir to post-cinema neo-
cinema of attractions movies) it is no exaggeration to hope that
his cartography may became a major paradigm in critical film
studies.

Much Ado About Almost Nothing: Man's Encounter with the Electron
by Hans Camenzind
BookLocker.com, Bangor, ME, 2007
240 pp., illus. 59 b/w. Trade, $14.95
ISBN: 978-0-615-13995-1.

Reviewed by John F. Barber
Digital Technology and Culture
Washington State University Vancouver
jfbarber at eaze.net

Electricity, available on demand, is so much a part of our
everyday lives as to be transparent, nondescript, seemingly
without a story. But, as Hans Camenzind makes clear in his new
book, Much Ado About Almost Nothing: Man's Encounter with the
Electron, the history of electricity, electrical invention, and
the application of electricity in a myriad of contexts, is both
long and interesting.

Camenzind, a microchip designer, has an affinity for the
oddballs and eccentrics who discovered and tamed electricity.
Scientists, engineers, inventors, self-promoters, professors,
visionaries, speculators, moguls, geniuses, politicians, venture
capitalists, and con artists all receive coverage.

There are the well-known historical figures: Benjamin Franklin,
Michael Faraday, Samuel F. B. Morse, Alexander Graham Bell,
Nikola Tesla, Thomas Edison, and Guglielmo Marconi, as well as
the lesser-known but still important contributors like Lee de
Forest (the self-proclaimed "Father of Radio") and John Baird,
who built the first television set in his attic in 1923.
Camenzind briefly sketches the lives, education, achievements,
fortunes and misfortunes of these and dozens of other electrical
explorers. The results are (to pun) illuminating.

For example, Benjamin Franklin's experiments with electricity
are well known. Less known is that following his famous
experiment flying a kite into an electrical storm, Franklin
championed lightning rods to protect buildings and people from
lightning strikes. But Puritan church leaders rallied against
the rods, calling them the devil's instrument, until they
realized their churches, with their high steeples, were favorite
targets for lightning bolts.

Lee de Forest helped invent the vacuum tube, a component
instrumental in the development of radio broadcasting. Calling
himself "Father of Radio," de Forest rode the entrepreneurial
wave of fortune before settling down with a Hollywood starlet.

Using an old tea chest, a biscuit box, darning needles, wood
scrap, secondhand vacuum tubes, a bicycle lamp lens, and a used
motor, John Baird built the first television set in his attic in
1923, which he then demonstrated in London's Selfridge's
department store for £25 a week. He presided over the first
trans-Atlantic television broadcast in February 1928. In quick
order afterwards he got rich building and selling his television
sets, but went broke in the late 1930s when a competing system
was chosen by the BBC as the basis for their television
broadcasts.

Augustus H. Garland, neither scientist nor inventor, but rather
Attorney General under President Grover Cleveland, used his
office to wage an 11-year challenge against the patents of the
Bell Telephone Company, all while holding a 10% "gift" stake in
a competing telephone company.

It is these stories, and others, that make Much Ado About
Almost Nothing a rich and informative read. Camenzind bounces
like a charged electron through the history of electronic
discovery, discussing topics like electricity, magnetism,
electromagnetism, X-rays, cathode rays, subatomic particles,
transmitters, receivers, amplifiers, vacuum tubes, transistors,
integrated circuits, telegraph, telephone, radio, television,
microchips, calculators, and computers.

Camenzind's historical overview shows how the electron at first
bothered those that discovered or knew of its existence and
implications. But, as more and more of the electron's secrets
were discovered, the power and potential of electricity became
desired and useful. Today, electricity dominates our lives, far
more so than fuel for our automobiles.

Like the invisible electron, its subject, Much Ado About Almost
Nothing speaks to a story much deeper and richer than might be
first realized. Requiring no prior knowledge of technology, the
end result of this book is to provide an understanding of
electricity and the technology it has wrought.


New Leonardo Reviews

October 2007

The Democratic Revolutionary Handbook
First Run/Icarus Films, Brooklyn, New York, 2005
Reviewed by Jonathan Zilberg

The Exiles of Marcel Duchamp
by T. J. Demos
Reviewed by Kieran Lyons
Eye Contact: Photographing Indigenous Australians
by Jane Lydon
Reviewed by Brook Andrew

Felix Werder: The Tempest
by Felix Werder
Reviewed by Stefaan Van Ryssen

Forever
by Heddy Honigmann
Reviewed by Rob Harle (Australia)

Freedom of Expression: Resistance and Repression in the Age of
Intellectual Property
by Kembrew McLeod
Reviewed by Hugo de Rijke

Looking for an Icon
by Hans Pool & Maaik Krijgsman, Directors
Reviewed by Amy Ione

Pop Art Book
by Corinne Miller, Nadine Monem and Margaret Nugent, Editors
Reviewed by Fred Andersson

Residual Media
by Charles R. Acland, Editor
Reviewed by John F. Barber

Tambogrande: Mangos, Murder, Mining
by Ernesto Cabellos & Stephanie Boyd
Reviewed by José-Carlos Mariátegui

Thousand Year Dreaming / floating world
by Annea Lockwood
Reviewed by Stefaan Van Ryssen

T:BA:07
Sponsored by The Portland Institute for Contemporary Art
Reviewed by Dene Grigar

(Un)common Ground: Creative Encounters between Sectors and
Disciplines
by Cathy Brickwood, Bronac Ferran, David Garcia, Tim Putnam,
Editors
Reviewed by José-Carlos Mariátegui

September 2007

Art for a House of Mathematics
by Anna Campbell Bliss
Reviewed by Rob Harle

The Big Fish. Consciousness as Structure, Body and Space
by Anna Bonshek
Reviewed by Rob Harle

The Blind Spot
by Alec K. Redfearn and the Eyesores
Reviewed by Michael R. (Mike) Mosher
Camouflage and Art: Design for Deception in World War 2
by Henrietta Goodden
Reviewed by Roy R. Behrens

Can't Do It In Europe
by Charlotta Copcutt, Anna Weitz and Anna Klara Åhrén
Reviewed by Kathryn Adams

Cartographic Cinema
by Tom Conley
Reviewed by Jan Baetens

Collectivism after Modernism: The Art of Social Imagination
after 1945
by Blake Stimson and Gregory Sholette, Editors
Reviewed by Jan Baetens

Descartes. The Life and Times of a Genius
by Anthony C. Grayling
Reviewed by Martha Patricia Niño M.

For
by The Claudia Quintet
Reviewed by Michael R. (Mike) Mosher

For
by The Claudia Quintet
Reviewed by Stefaan Van Ryssen

Gods in the Bazaar
by Kajri Jain
Reviewed by Stefaan Van Ryssen

Henry Cow: Concerts
by Henry Cow
Reviewed by Stefaan Van Ryssen

The Image in French Philosophy
by Temenuga Trifonova
Reviewed by Jan Baetens

I Am a Strange Loop
by Douglas R. Hofstadter
Reviewed by Richard Kade

Much Ado About Almost Nothing: Man's Encounter with the Electron
by Hans Camenzind
Reviewed by John F. Barber

Museum Frictions: Public Cultures/Global Transformations
by Ivan Karp, Corrine Kratz, Lynn Szwaja and Tomas Ybarra-
Frausto, Editors
Reviewed by Jonathan Zilberg

Stots
by Lukas Simonis
Reviewed by Stefaan Van Ryssen

Surviving Death/Alive Why?
by Bill Brovold and Larval
Reviewed by Stefaan Van Ryssen

The Topography of Chance
by Stewart Lee, Curator
Reviewed by Stefaan Van Ryssen

Tribulation 99: Alien Anomalies under America
by Craig Baldwin
Reviewed by Stefaan Van Ryssen

Tube Mouth Bow String
by Nick Didkovsky
Reviewed by Stefaan Van Ryssen

Vali Myers: A Memoir
by Gianni Menichetti
Reviewed by Allan Graubard

To read all new and archived reviews, visit Leonardo Reviews
at: <http://www.leonardo.info/ldr.html>.
______________________________________________________

LEONARDO, VOL. 40, No. 5 (September 2007)
TABLE OF CONTENTS AND SELECT ABSTRACTS
______________________________________________________

Editorial

< The Electroacoustic Music Studies Network > by Marc Battier
_______________________

Historical Perspective

< Computer Graphic--Aesthetic Experiments between Two Cultures
> by Christoph Klütsch

ABSTRACT: The author presents a summary of his work on the
Stuttgart School and information aesthetics as developed by Max
Bense in the 1950s and 1960s. Three artists, Frieder Nake, Georg
Nees and Manfred Mohr, adopted the use of information aesthetics
in computer graphics. The author investigates the relation
between artistic practice and aesthetic theory.
_______________________

Artist's Note

< The Teleporter Zone: Interactive Media Arts in the Healthcare
Context > by Paul Sermon

ABSTRACT: The author discusses the recent development and
implementation of The Teleporter Zone, a permanent interactive
art installation commissioned by Guy's and St Thomas' Charity
for the new Evelina Children's Hospital in London. The article
places the production and conception of this installation in the
context of the author's research in telematic and telepresent
art over the past 15 years, alongside current research reports
on the effects and influences of the arts on healthcare. The
author also draws upon personal experiences in order to provide
practical insights into the objectives and outcomes of this work
in the healthcare context.
_______________________

Artists' Articles

< Meaning without Borders: likn and Distributed Knowledge > by
Ben Syverson

ABSTRACT: This paper serves as a narrative companion to likn,
an artware application about the nature of knowledge, ideas and
language. According to the advocates and engineers of the
"knowledge representation" project known as the Semantic Web,
electronic ontologies are "a rationalization of actual data-
sharing practice"; but where do artists and intellectuals fit
into this data-oriented model of discourse? likn critiques the
Semantic Web from a postmodern perspective. This account
describes how postmodern theory was scrutinized, interpreted and
ultimately expressed as "features" in likn.
_______________________

Special Section: Lovely Weather: Art and Climate Change

< O-24 Licht: A Project Combining Art and Applied Research > by
Andrea van der Straeten and Angelo Stagno

< Between Reason and Sensation: Antipodean Artists and Climate
Change > by Janine Randerson

ABSTRACT: The author, drawing on her experience as a New
Zealand artist who has collaborated with meteorologists,
suggests that artists may enter climate change discourse by
translating (or mis-translating) scientific method into sensory
affect. She examines three recent art projects from Australasia
that draw on natural phenomena: her own Anemocinegraph (2006--
2007), Nola Farman's working prototype The Ice Tower (1998) and
Out-of-Sync's ongoing on-line project, Talking about the
Weather. The author cites Herbert Marcuse's 1972 essay "Nature
and Revolution," which argues that sensation is the process that
binds us materially and socially to the world.
_______________________

Color Plates
_______________________

Extended Abstract

< The Singing Shamail: A Computer Sound Installation > by Bulat
M. Galeyev
_______________________

Special Section: In the Light of History: Papers from the 2005
Refresh! Conference

< Special Section Introduction > by Sean Cubitt

< Peter Donebauer, Richard Monkhouse and the Development of the
EMS Spectron and the Videokalos Image Processor > by Chris Meigh-
Andrews

ABSTRACT: The author details the development of two early color
video synthesizers, the EMS Spectron and the Videokalos Image
Processor, and examines their influence on video-based art. The
Spectron, developed by Richard Monkhouse for Electronic Music
Studios, influenced both its creator and various artists in the
development of video-based art and images. Artist Peter
Donebauer collaborated with Monkhouse to produce the Videokalos,
leading to several artworks and a series of live performances.

< Re-Writing the History of Media Art: From Personal Cinema to
Artistic Collaboration > by Ryszard Klusczcynski

ABSTRACT: The author reinterprets the artistic phenomena that
composed historical avant-garde art. His method of
interpretation is an intertextual strategy that approaches the
historical artifacts through recent phenomena. The first case
study is of structural film; its most important attributes
appear to be artistic strategies questioning the
structural/material integrity, durability and permanence of the
film work. The second case study is of the avant-garde strategy
of collective work, reinterpreted through the open-source work
and interactive art of today. The author identifies three steps
in the development of the 20th-century concept of joint creative
work: avant-garde general strategies of artistic collaboration;
avant-garde film works oriented toward creative collectivism;
and collaborative artistic practices that manifest themselves in
non-hierarchical strategies of contemporary interactive art.
_______________________

Theoretical Perspective

< Toward Other Epistemologies of Interface Culture: Dependent
Origination, Tantra and Relational Being in an Age of Digital
Reproduction > by Ajaykumar

ABSTRACT: The author formally and thematically reconsiders the
Buddhist philosophical concept of dependent origination in the
context of technological practice. In this context, he discusses
historical attempts in Tantric art to develop an integrated
practice and conceive a dynamic "entity" of the body (that of
the artist or the spectator), science, technology, art,
architecture, philosophy, space-time and nature; and the
veracity of such concepts in the context of particular new
scientific insights. Furthermore, he reconsiders notions of
relational being and nonanthropocentric being, and a polyphonic
"I." The article aims to interrogate new ways of evolving
current practice and thinking on themes related to the
socialization and mediatization of "difference."
_______________________

Special Section: ArtScience: The Essential Connection
Robert Root-Bernstein: Certain of Heisenberg's Arts

< Looking Beneath the Surface: The Radial Spread of Ink in
Water > by Pery Burge

ABSTRACT: The author discusses her use of ink in water to
create three-dimensional radial spreads (outward movements of
liquid about a central point). The radial spreads form patterns
as the ink moves across and in the water. The patterns have both
scientific and aesthetic aspects and form the basis for
speculation in both areas. They also provide an exciting new
dimension to the artist's work relating to fluid flow: Unique
patterns, often seen only by the eye of the camera, can be
generated and preserved within one photograph or a photographic
sequence.
_______________________

General Note

< Governing Artistic Innovation: An Interface among Art,
Science and Industry > by Jean-Paul Fourmentraux

ABSTRACT: The author presents an analysis of the workings and
tensions involved in the integration and articulation of
academic research, artistic creation and industrial production.
He makes use of the results of a study conducted among creator-
researchers of a Canadian prototype for the organization of
these relationships: the Montreal, Canada-based interuniversity
consortium Hexagram.
_______________________

From the Leonardo Archive

< Introduction > by Michele Emmer

< Scalebound or Scaling Shapes: A Useful Distinction in the
Visual Arts and in the Natural Sciences > by Benoit B.
Mandelbrot (Reprinted from Leonardo Vol. 14, No. 1, 1981)
_______________________

Leonardo Reviews

Reviews by Kathryn Adams, Jan Baetens, John F. Barber, Geoff
Cox, Rob Harle, Amy Ione, Mike Leggett, Michael R. Mosher,
Michael Punt, Stefaan Van Ryssen, Jonathan Zilberg
_______________________

Transactions

Andrew Johnston and Benjamin Marks: Partial Reflections
_______________________

Leonardo Network News
______________________________________________________

LEONARDO ABSTRACT SERVICE
______________________________________________________

Leonardo/The International Society for the Arts, Sciences and
Technology is pleased to announce the publication of the top-
rated abstracts in the Leonardo Abstracts Service Databases
during the 1st half of 2007.

Leonardo Abstracts Service (LABS), consisting of the English-
language, Spanish-language and Chinese-language databases, is a
comprehensive collection of Ph.D., Masters and MFA thesis
abstracts on topics in the emerging intersection of art, science
and technology. Individuals receiving advanced degrees in the
arts (visual, sound, performance, text), computer sciences, the
sciences and/or technology that in some way investigate
philosophical, historical or critical applications of science or
technology to the arts are invited to submit abstracts of their
theses for consideration.

Top-rated abstracts in both the English and Spanish language
databases are chosen twice annually by peer-review panels under
the guidance of Sheila Pinkel, Pau Alsina and Kenneth Fields and
published in the Leonardo Electronic Almanac.

The top-rated abstracts in the English-language database for
the 1st half of 2007 are Noah Wardrip-Fruin, David Burraston,
Sarah Jane Pell, Pamela Jennings, Eric Kabisch and Michael Hohl.
Abstracts by these authors are included below. To access
abstracts in all of the databases, and for more about the
project, visit:
http://www.leonardo.info/isast/journal/calls/labsprojectcall.html

< Expressive Processing: On Process-Intensive Literature and
Digital Media > by Noah Wardrip-Fruin

ABSTRACT: Most studies of digital media focus on elements
familiar from traditional media. For example, studies of digital
literature generally focus on surface text and audience
experience. Interaction is considered only from the audience's
perspective. This study argues that such approaches fail to
interpret the element that defines digital media --
computational processes. An alternative is proposed here,
focused on interpreting the internal operations of works. It is
hoped that this will become a complement to (rather than
replacement for) previous approaches. The examples considered
include both processes developed as general practices and those
of specific works. A detailed survey of story generation begins
with James Meehan's Tale-Spin, interpreted through "possible
worlds" theories of fiction (especially as employed by digital
media theorists such as Marie-Laure Ryan). Previous
interpretations missed important elements of Tale-Spin's fiction
that are not visible in its output. Other story generation
systems discussed include Minstrel, Universe, Brutus, and
Terminal Time. These reveal the inevitably authored nature of
simulations of human behavior. Further, the persistently
anthropomorphizing approach to computational processes present
in traditional artificial intelligence (and many critiques) is
contrasted with authorship. Also discussed is Christopher
Strachey's love letter generator for the Manchester Mark I --
likely the first work of digital literature, and arguably the
first digital art of any kind. As with Tale-Spin, an
interpretation of its processes offers more than output-focused
approaches. In addition, this study considers works with
algorithmic processes carried out by authors and audiences
(rather than within the works) created by Raymond Queneau,
Tristan Tzara, and Claude Shannon. Prior theoretical concepts
are engaged, including Espen Aarseth's "cybertext," Michael
Mateas's "expressive AI," and Chris Crawford's "process
intensity." A set of concepts and vocabulary are proposed,
beginning with the simple distinction between "surface," "data,"
and "process." Further chapters introduce the terms "implemented
processes," "abstract processes," and "works of process." The
most unfamiliar new term, "operational logics," names behavioral
elements of systems that can be as elemental as gravity or as
high-level as a quest structure. The computer game Fable
embodies the strengths and weaknesses of using the same logics
to drive graphical and linguistic behavior.

< Generative Music and Cellular Automata > by David Burraston

ABSTRACT: Complex systems such as Cellular Automata (CA)
produce global behaviour based on the interactions of simple
units (cells). They are fascinating objects, producing more
pattern than a single human is capable of observing within their
own lifetime. Their evolution is specified by local interaction
rules that generate some form of ordered, complex or chaotic
behaviour. This wide variety of behaviour represents an
important generative tool for the artist. However, chaotic
behaviour dominates rule space, which has serious implications
for application and investigation. The main contribution of this
thesis is a new perspective into a recognised key problem, the
structure of rule space. This is achieved through empirical
observation of a fundamental connection between state space and
rule space. The methodology combines experimental music
composition and reflective practice in its approach. The
techniques are based on recent perspectives of CA theory, called
global dynamics, and music composition practice. The significant
problem of identifying rule space structure is approached from
an artists perspective to obtain mixtures of behaviour, which
differs from the traditional method of grouping together similar
dynamics. A detailed account exposes the main process of
creating mixed, but related groups of CA rules. The approach
taken provides an interesting and alternative method of studying
CA rule spaces in general, independent of musical application.
Further contributions are made throughout the thesis and provide
a significant foundation for the main contribution relating to
rule space structure. An extensive review of CA and their
application in music presents a balanced view of the field to
set the work in context. The methodology proposes criteria for
evaluation of this new approach to rule space structure.
Important concepts of global dynamics are utilised in
composition practice for the first time, enabling the key
observations on the state and rule space connection. Fundamental
connections between well known rules and music composition
technology are introduced to establish links between the fields.
This approach to produce generative music is fundamentally
different from previous work and several descriptions of CA
music mappings are presented in a practice-based context. New
generative music compositions, a significant amount of CA data
and an electronic copy of the thesis are included on the CD-ROM.
The state/rule space connection identified in this thesis has
the potential to open new directions, in both science and music.

< Aquabatics as new works of Live Art > by Sarah Jane Pell

ABSTRACT: This practice-based thesis (comprising of an
exegesis, exhibition, performances and their documentation)
traces a myriad of cognitive and sub cognitive processes that
converge towards a complex practice referred to as 'Aquabatics'.
In broad terms, Aquabatics describes the research nexus of
occupational diving and contemporary performance.  The purpose
of this body of research has been to explore underwater
performance, behaviour and boarders, in order to both devise new
works of live art and to develop new methodologies and
approaches to art-making.  Aquabatics, as a performance
strategy, seeks to critique, contest and explore the liminal
natures of human performance, and the role and context of live
artists, in contemporary life.

The exegesis attempts to underscore the complex process of
semiosis and the dissemination of experiential knowledge in, and
through, human performance activities, behaviours and biotech
fission engagements with, in, and related to, an underwater
environment. The theoretical framework is best described as
liquid and consequently the rationale for the exegesis is
explained as one that traverses a multitude of 'borrowed'
pedagogies to contextualise a knowledge system of newly proposed
faculties*. Part One discusses the nature and condition of
Aquabatics in terms of biological, ecological, technological,
metaphysical, political and societal factors.  Throughout, these
natures are described as an active tool to suggest treatments
for looking at, and understanding the acts/actions/activisms
themselves and their possible functions to point towards
liminality.  The more complex issue of the inherent aqueous
nature in/of/for performance is proposed as the vital link
connecting Aquabatics to existing cultural texts and contexts.
The multi-medial texts function to make sense of the aesthetic
and utilitarian performance described by examining the
intersections of performance praxis, theorem and the functional
operations of occupational diving through a series of original
live(d) engagements, hypothesis and proposals in Part Two.

In undertaking and discussing these works, I propose that I
enter into a zone of irreducibility; a permanently spirally
vortex of forms, dissolving and evolving into an absent-present
state of existence as the performer/ inhabitant/ pilot of this
research.  By documenting and re-membering this process herein,
the notion of 'performance' along with liberty, identity,
culture, art and politics also regularly collapses in meaning,
status, form and function.  Finally, considering Aquabatics, pre
and post performance, offers insight into the spatial and
temporal factors, beliefs and actions leading to, and arising
from, this research.  It introduces a new episteme that
transgresses traditional transgressions and proposes a liminal
juncture of research, and performance behaviours that
constitutes an awareness of where, at depth, underwater, the
self collapses into its priori opposite.

< Interactive Technologies for the Public Sphere: Towards a
Theory of Critical Creative Technology > by Pamela Jennings

ABSTRACT: Digital media cultural practices continue to address
the social, cultural and aesthetic contexts of the global
information economy, perhaps better called ecology, by inventing
new methods and genres that encourage interactive engagement,
collaboration, exploration and learning.  The theoretical
framework for critical creative technology evolved from the
confluence of the arts, human centered computing, and critical
theories of technology. Molding this nascent theoretical
framework from these seemingly disparate disciplines was a
reflexive process where the influence of each component on each
other spiraled into the theory and practice as illustrated
through the Constructed Narratives project. The traditional
reductionist approach to research requires that all confounding
variables are eliminated or silenced using methods of
statistics. However, that noise in the data, those confounding
variables provide the rich context, media, and processes by
which creative practices thrive. As research in the arts gains
recognition for its contributions of new knowledge, the
traditional reductive practice in search of general principles
will be respectfully joined by methodologies for defining living
principles that celebrate and build from the confounding
variables, the data noise.  The movement to develop research
methodologies from the noisy edges of human interaction have
been explored in the research and practices of ludic design and
ambiguity (Gaver, 2003); affective gap (Sengers et al., 2005b;
2006); embodied interaction (Dourish, 2001); the felt life
(McCarthy & Wright, 2004); and reflective HCI (Dourish, et al.,
2004).

The theory of critical creative technology examines the
relationships between critical theories of technology, society
and aesthetics, information technologies and contemporary
practices in interaction design and creative digital media. The
theory of critical creative technology is aligned with theories
and practices in social navigation (Dourish, 1999) and community-
based interactive systems (Stathis, 1999) in the development of
smart appliances and network systems that support people in
engaging in social activities, promoting communication and
enhancing the potential for learning in a community-based
environment.  The theory of critical creative technology amends
these community-based and collaborative design theories by
emphasizing methods to facilitate face-to-face dialogical
interaction when the exchange of ideas, observations, dreams,
concerns, and celebrations may be silenced by societal norms
about how to engage others in public spaces.  The Constructed
Narratives project is an experiment in the design of a critical
creative technology that emphasizes the collaborative
construction of new knowledge about one's lived world through
computer-supported collaborative play (CSCP). To construct is to
creatively invent one's world by engaging in creative decision-
making, problem solving and acts of negotiation.  The metaphor
of construction is used to demonstrate how a simple artifact - a
building block - can provide an interactive platform to support
discourse between collaborating participants. The technical goal
for this project was the development of a software and hardware
platform for the design of critical creative technology
applications that can process a dynamic flow of logistical and
profile data from multiple users to be used in applications that
facilitate dialogue between people in a real-time playful
interactive experience.

Rorty's persona of the liberal ironist is presented as the
spirit by which this text and research has been approached.
Shear and Varela's concept of first person methodology as a
viable place from which to cultivate scientific research is
discussed and followed with the description of a travel
experience by the author which instigated the development of the
theory of critical creative technology. The critical social
cartography that informs the theory and the Constructed
Narratives includes the following philosophical premises.
Thompson's theory of enactive cognition and empathy set the
foundation from which inquiry into the role of empathy,
intentionality and intersubjectivity in supporting discourse,
initiated from the author's person story, evolves to a theory of
research and practice in digital media.  Habermas's models of
the theories of society, in particular his fourth model for
communicative theories founded on intersubjective experiences
sets the stage for the development of the theory of universal
pragmatics and ideal speech acts.  Alternative theories of
communication and society that fit the specifications of the
fourth model, which Habermas does not address, are discussed
including Wittgenstein's "language games," Bakhtin's "speech
genres," and Vygotsky's "constructivism.  A metaphor for
visualizing the polemic theoretical positions on the nature of
discourse from Habermas's validity claims to Rorty's liberal
ironist stance based on Davidson's concept of "passing theories"
is presented.

Models and theories of the public sphere are examined. Dewey's
concept of the public sphere as the locus of political decisions
is followed by Broeckmann's argument for engaging the public
domain. Habermas's infamous theory on the bourgeois public
sphere is addressed along with comments from several of his
critics.  Alternatives to the bourgeois public sphere are
explored including Mouffe's agonistic democracy and Negt and
Kluge's proletarian public sphere. Habermas' reprieve to his
critics and an enlightened view to the nature and potentialities
of the public sphere as a place to influence policy in a "siege-
like manner" leads the text to consider Feenberg's theory of
critical technology.  Feenberg's analysis of the two main camps
of critical theories of technology, instrumental and
substantive, is examined.  Instrumental theory is illustrated
with an analysis of Vannevar Bush's article "As We May Think",
Englebart's HLAM/T theory, Weiner's cybernetics, and Weiser's
ubiquitous computing framework. The substantive theoretical
platform is supported with Heidegger and Habermas's concerns, or
lack of concern, on the impact of technology on society.
Feenberg's position on the critical theory of technology his
elaborations on the bias and neutrality factors of technology
leads to discussion about and elaboration on his dialectics of
technology. Feenberg's dialectics of technology and its four
core components; concretization; vocation; aesthetics; and
collegiality, are explored, dissected and augmented with
examples from contemporary digital media, interaction design,
human computer interaction and pedagogical practices. Among the
theories and practices brought forth in support of his theory is
the New London Groups theory of multiliteracies, Fuller's
critical software, Fogg's persuasive computing, Dourish's
embodied interaction, Ascott's behaviorist art; Rokeby's
transforming mirror; Fischer's metadesign, and digital divide
community empowerment efforts. The discussion leads to the
connection of Feenberg's dialectics of technology to the theory
of critical creative technologies proposed in this dissertation.

From this academic exercise, three main principles in the
design of applications in the spirit of critical creative
technologies are described. Principle 1: Place as Connected
Space is supported by theories that differentiate the terms
space and place as one that defines logistics and the other
which defines contextual attributes.  Research methods, such as
Hillier's space syntax, designed to analyze and assign
attributes of quality to the quantified data are examined in
comparison to Deleuze and Guattari's rhizome as a metaphor for
place.   Principle 2: Empathetic Intersubjective Experience
takes its lead from the discussion on Thompson to further
elaborate on situational requirements for an empathetic
experience. Principle 3: Discourse and Play seeks to define a
notion of "deep play," by examining the important western
historical and philosophical platforms in which play was
relegated as an important element of society or treated as an
unnecessary distraction to rational discourse. The principles
lead to the main goals involved in developing applications for
critical creative technology in the form of tangible social
interfaces (TSI). The Constructed Narratives project was
initiated as an experiment in the design of tangible social
interfaces for facilitating communication between people in
public spaces.

< Landscape Denatured: Digitizing the Wild > by Eric Kabisch

ABSTRACT: This paper presents motivation and documentation of
four technologically enabled artworks. These artworks explore
ways in which digital technologies impact society and culture,
focusing particularly on the impacts of information technologies
on physical and cultural geography. A framework is provided for
analyzing these works of art. This framework addresses the
impacts of technology as a three-part cyclical process that
includes (1) sensing elements of the environment, (2) analyzing
and creating narratives from the captured data, and (3) the
propagation of these methods and representations back into the
world. SignalPlay is an interactive installation that employs
wireless sensors to control a spatialized sound environment,
allowing participants to explore a distributed collaborative
system. Unexceptional.net is a web-based application for
visualizing and sonifying network, database and player
information of a multi-modal online role-playing game. Sonic
Panoramas utilizes image sonification, immersive projection and
camera-based machine vision to allow users to create an
interactive musical experience from panoramic landscape imagery.
Datascape is a periscope-like system for the visualization of
geographic information. This system allows users to explore a 3D
topography and musical soundtrack that are generated from
geospatial information such as marketing demographics. In
addressing the impacts of digital technologies on culture, these
artworks employ the very technologies being investigated.
Through the production and exhibition of this work, I hope to
engage the public with these important issues and to help shape
the ways that technological methodology embeds itself in our
world and in our daily experience.

< This is not here: Connectedness, remote experiences and
immersive telematic art > by Michael Hohl

ABSTRACT: This practice-based enquiry engages in the
disciplines of Art and Computer Science. It explores
participants experience of live data from remote locations,
especially experiences of global consciousness or global
awareness. The vehicle for the research is a software
application called Radiomap. This photorealistic interactive map
is used to listen to a selection of live radio programs from all
over the planet. The research was conducted in two iterative
studies, one with a screen-based application, the other with an
immersive, telematic environment. Methods and Methodologies were
informed by Human Computer Interaction, Art History and the
Social Sciences.
______________________________________________________

LEONARDO NETWORK NEWS
______________________________________________________

< Meredith Tromble Elected Secretary of Leonardo Governing
Board >

Meredith Tromble was elected secretary of the Leonardo
Governing Board in April of 2007. Her duties as Board secretary
include keeping track of the paperwork for Leonardo/ISAST and
helping make decisions as part of the Board Executive Committee.
Meredith was a member of the Leonardo Advisory Board from 2005
to 2007. In January 2007 she was elected to the Leonardo
Governing Board. More about Meredith can be found on the
Leonardo Electronic Directory: <www.leonardo.info/led.index.html>

< Transactions Section Offers Rapid Publication Forum in
Leonardo Journal >

Transactions is a new section in the print journal Leonardo
that publishes fully refereed papers on a fast track to
dissemination of key new results, ideas and developments in
practice.

Papers are solicited under the stated aims and scope of
Leonardo, but are restricted to two pages of published material.
A rapid refereeing process is employed in which the result is
restricted to acceptance or rejection. If a submission is
rejected, the submission of a revised version will be treated as
a new paper.

The announcement of results or developments in a Transactions
paper will not exclude that work from subsequent publication as
a full Leonardo paper. However, any such submission will be
considered by Leonardo, in the normal way, as a new paper.

Papers should be submitted electronically, in final camera-
ready form, according to Leonardo's editorial guidelines.
Incorrectly formatted papers will be rejected, so take great
care. Refer both to the general editorial guidelines and also to
the specific guidelines for Transactions papers.

Visit the Transactions web site to review guidelines, submit a
paper and sign up to receive updates and announcements:
<www.leonardo-transactions.com>.

< Leonardo in Argentina: CEIArtE Lecture and Workshop series
(2007--2008) >

We are pleased to announce a Leonardo collaboration with the
Electronic Arts Research and Experimenting Center in Buenos
Aires, Argentina as part of the Leonardo 40th Anniversary
celebration.

The Electronic Arts Research and Experimenting Centre (CEIArtE)
at the National University of Tres de Febrero in Buenos Aires,
Argentina, is organizing the "Research and the Arts" series of
lectures and workshops running through 2007 and 2008 and is
joining Leonardo in its 40th anniversary celebration.

For information on current and upcoming events on this series,
check the CEIArtE's web site at: <www.ceiarte.untref.edu.ar>

< Recent Events and Projects of the Leonardo Scientists Working
Group >

The Leonardo Scientists Working Group (SWG) was initiated in
2005 by Leonardo Board member Tami Spector to further Leonardo's
mission of bridging "the two cultures" of arts and sciences with
projects, events and collaborations of mutual interest to both
communities. One of the first projects was to compile a database
of nearly 100 scientists who have shown a strong commitment to
the arts. About 20 of these members from the San Francisco Bay
Area were brought together in April 2007 for an event organized
by Spector, Christian Simm and Piero Scaruffi and hosted at
swissnex in San Francisco. Here they began discussions about
current interests and future activities, collaborations and
events with the group. At the event it was discovered that there
was a particular interest in bringing science/art connections to
younger people in schools, universities and other community
settings. The SWG is also currently working on a special
project, "Nanotechnology, Nanoscale Science and Art" under the
direction of Spector and Exploratorium artist-in-residence Tom
Rockwell. Leonardo, in collaboration with the Exploratorium
under the auspices of the Nanotech Informal Science Education
Network (NISE), will publish a special section in periodic
installments over the next several years exploring the
intersections of nanotech/science and art. Further information
about the Leonardo Scientists Working Group can be found on the
Leonardo web site: <www.leonardo.info/isast/sci-workgroup.html>.

< Leonardo Organizational Membership Program Flourishes >

The Leonardo/ISAST Organizational/Corporate Membership Program,
initiated in 2004, is one way that Leonardo seeks to strengthen
its engagement with educational institutions and corporations
committed to the art, science and technology field. We work with
faculty, students and researchers in these organizations on
projects of mutual interest including publication projects,
internships and special events.

Current members of the Leonardo Organizational Membership
program include the Center for Digital Arts and Experimental
Media at the University of Washington; the Digital + Media
Department at Rhode Island School of Design; the Daniel Langlois
Foundation; Ontario College of Art & Design; School of the Art
Institute of Chicago; the Art & Technology Department at the
University of Texas, Dallas; California Institute of the Arts
School of Music; UCLA Art|Sci Center; swissnex; UTS Creativity &
Cognition Studios; OMF-MINT at University of Paris IV-Sorbonne;
and University of Plymouth.

Leonardo/ISAST Organizational Membership benefits include
participation in the Leonardo Organizational and Corporate
Member Advisory Group moderated by Leonardo Executive Editor
Roger Malina, full-page ads in Leonardo and Leonardo Music
Journal, opportunities to collaborate with Leonardo on special
projects and events, plus a number of other benefits.
Memberships are by invitation only to educational and corporate
organizations involved in the intersection of art, science and
technology with projects of mutual interest. If you would like
to become an organizational member of Leonardo/ISAST, please
contact Roger Malina <rmalina at prontomail.com> with your
suggestions of areas for collaboration.
_____________________________

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

BYTES
______________________________________________________

< Digital Humanities Chair Position available at Dartmouth
College >

Dartmouth College invites applications for a newly endowed
chair in the Digital Humanities. The successful candidate should
be committed to interdisciplinary collaboration, technological
innovation, and creating curricular links within the Humanities
and across divisions. The position offers the opportunity to
define a new area of research and teaching, and to build on
Dartmouth's existing strengths in the Humanities and Computing.

The field of research and teaching is open; we seek candidates
with practical and/or theoretical expertise in one or several of
the following fields in the Arts and Humanities: visual arts,
visual culture, new media, screen studies, performance arts,
music and sound, film, TV/Video, literature, and human-computer
interaction. Expertise in computer hardware and/or software will
be welcome but is not essential.

The role of the Chair in Digital Humanities is intended to be
broad in scope, potentially incorporating current or future
initiatives in cyber-culture and the creation, performance, and
critical study of digital arts, including a consideration of the
socio-political and theoretical implications of new artistic
technologies. The endowment for this Chair provides additional
funds for projects involving research, teaching, and program
building in the Digital Humanities.

Our intention is to hire at the rank of associate or full
professor with tenure. The successful candidate will be located
in a single Dartmouth department or program, or jointly
appointed to one or more departments or programs. Considerable
flexibility exists regarding joint appointments, which may cross
departmental or even divisional boundaries.

Dartmouth College combines a commitment to innovative
scholarship, creative practice, and excellent teaching,
primarily but not only of undergraduate students. One of the
most diverse institutions of higher education in New England,
Dartmouth College is an equal opportunity/ affirmative action
employer and has a strong commitment to diversity. In that
spirit, we are particularly interested in receiving applications
from a broad spectrum of people, including women, persons of
color, persons with disabilities, and veterans.

The Search Committee will begin reviewing applications after
October 1, 2007. Applications will be considered until the
position is filled.

Applications should be submitted in digital form. Please send
letter of application, CV, and the names of three references to:
digital.search at dartmouth.edu

Please contact Mark Williams, Chair of the Search Committee
with any questions

Mark Williams (Mark.J.Williams at Dartmouth.edu)
Dept. of Film and Television Studies
317 Wilson Hall
Dartmouth College
Hanover, NH  03755 USA
________________________________________________________________

* ~ * ~ * ~ * ~ * ~ * ~ * 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
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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

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For Leonardo and LMJ subscription queries contact:
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________________________________________________________________

* ~ * ~ * ~ * ~ * ~ * 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
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________________________________________________________________

* ~ * ~ * ~ * ~ * ~ * 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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