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________________________________________________________________<br>
Leonardo Electronic Almanac volume 12, number
4, April 2004<br>
http://lea.mit.edu<br>
________________________________________________________________<br>
ISSN #1071-4391<br>
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<span
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<br>
________________________________________________________________<br>
<br>
INTRODUCTION<br>
-------------<br>
<br>
<br>
FEATURE<br>
-------<br>
< 10 Years Ago in LEA - Metavirtue and Subreality or "The<br>
Involuntary Walker as Virtuous Subject Yet Only Semi-Intelligent<br>
Agent" or "Birds or No-Ledge to Stand On", by David
Blair ><br>
<br>
<br>
LEONARDO REVIEWS<br>
----------------<br>
< Animal, Vegetable, Video, reviewed by Luisa Paraguai Donati
><br>
<br>
< Sex, Time and Power: How Women's Sexuality Shaped Human<br>
Evolution, reviewed by Dene Grigar ><br>
<br>
< Painted Love: Prostitution in French Art of the Impressionist<br>
Era, reviewed by Wilfred Niels Arnold ><br>
<br>
< Windows and Mirrors: Interaction Design, Digital Art, and the<br>
Myth of Transparency, reviewed by Rob Harle ><br>
<br>
<br>
LEONARDO JOURNAL<br>
----------------<br>
< LEONARDO table of contents and selected abstracts -<br>
Vol. 37, No. 3 (June 2004) ><br>
<br>
<br>
LEONARDO ABSTRACTS SERVICE<br>
--------------------------<br>
< A Procedural Model for the Integration of Physical and<br>
Cyberspaces in Architecture, by Peter Anders ><br>
<br>
<br>
OPPORTUNITIES<br>
-------------<br>
< RE:SEARCHING OUR ORIGINS: Critical and Archival<br>
Histories of the Electronic Arts ><br>
<br>
< Critiquing Regional Strategies for Digital Arts and<br>
Electronic Music in Asia and the Pacific ><br>
<br>
< From the Extraordinary to the Uncanny:<br>
the persistence of a parallel universe ><br>
<br>
< New Media Designer: School of the Art Institute of Chicago
><br>
<br>
________________________________________________________________<br>
<br>
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<span
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| INTRODUCTION |<br>
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<br>
________________________________________________________________<br>
<br>
<br>
In this issue of the Leonardo Electronic Almanac, we delve into<br>
our archives to present an excerpt from an article first<br>
published 10 years ago in LEA.<br>
<br>
The text, by David Blair, explores the effects of navigating in<br>
immersive environments, a subject still relevant to readers<br>
today.<br>
<br>
Also in this issue, readers will find the complete index of<br>
articles published in LEA last year. We continue encouraging<br>
authors to<br>
submit abstracts, articles and artist statements to our upcoming<br>
special issues on digital histories in the electronic arts,<br>
critiquing Asia Pacific strategies in the digital arts and from<br>
the extraordinary to the uncanny. Check out the
opportunities</font></div>
<div><font face="Courier" size="+1" color="#000000">section for
details.</font></div>
<div><font face="Courier" size="+1" color="#000000"><br>
In Leonardo Reviews, we feature Michael Punt's selection of<br>
four reviews: "Animal, Vegetable, Video" is reviewed by
Luisa<br>
Paraguai Donati, Dene Grigar reviews "Sex, Time and Power:
How<br>
Women's sexuality Shaped Human Evolution", Wilfred Niels
Arnold<br>
looks at "Painted Love: Prostitution in French Art of the<br>
Impressionist Era" and "Windows and Mirrors: Interaction
Design,<br>
Digital Art, and the Myth of Transparency is reviewed by Rob<br>
Harle.<br>
<br>
In the Leonardo Abstracts Service, read about Peter Anders'<br>
thesis: "A Procedural Model for the Integration of Physical
and<br>
Cyberspaces in Architecture", and a taste of things to come
in<br>
the *Leonardo* Journal, Vol. 37, No. 3.<br>
<br>
________________________________________________________________<br>
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FEATURE
|<br>
<span
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|______________________________|<br>
<br>
________________________________________________________________<br>
<br>
ONE FROM THE VAULT - 10 YEARS AGO IN LEA<br>
<br>
This month, we introduce a new LEA feature (although<br>
technically speaking, it is really an old feature!).<br>
<br>
>From this issue, LEA subscribers can easily access backissues<br>
in our recently modified archives section which dates back to<br>
the inaugural September 1993 issue.<br>
<br>
To give you a sense of what is available online, we are<br>
reprinting partial text of an article published in the Leonardo<br>
Electronic Almanac Vol.2 No.4 (April 1994) issue, when LEA was in<br>
its infancy: "Metavirtue and Subreality" or "The
Involuntary<br>
Walker as Virtuous Subject Yet Only Semi-Intelligent Agent"
or<br>
"Birds or No-Ledge to Stand on," by David Blair.<br>
<br>
The full article, as well as many others, can be viewed in its<br>
entirety at: http://mitpress2.mit.edu/e-journals/LEA/archive.html<br>
<br>
METAVIRTUE AND SUBREALITY OR "THE INVOLUNTARY WALKER AS<br>
VIRTUOUS SUBJECT YET ONLY SEMI-INTELLIGENT AGENT" OR<br>
"BIRDS OR NO-LEDGE TO STAND ON"<br>
by David Blair, New York, U.S.A.<br>
<br>
1 DISNEYLAND<br>
<br>
It's 9:45 PM, and I'm walking through New Orleans Square at<br>
Disneyland-Anaheim. The water show is in full swing, with<br>
miraculous sudden set changes... the giant pirate boat with 50<br>
actors has turned and completely hidden behind a corner too<br>
small for it and multiple 30-foot evil magic-mirror faces hang<br>
on mist screens above the water. I decide to take a sudden turn<br>
myself, to visit the Pirates of the Caribbean ride. A few feet<br>
down the path, the crowd is gone, and the water show almost<br>
inaudible. The ride is a narrow water way with flat bottom boats<br>
inexorably driven forwards through the artificial landscape by a<br>
fearsome chain and gear mechanism hidden by the water. I'm in my<br>
seat, and 20 seconds later we are underground, on a river in a<br>
cave system somewhere beneath Disneyland, somewhere in the<br>
Caribbean, probably near the storage space of that missing water-<br>
show pirate ship. And, simultaneous with all this, I am almost<br>
back in the Carlsbad Caverns National Monument, true wonder of<br>
the underworld, alone, after midnight, during the production of<br>
my film "WAX or the discovery of television among the
bees".<br>
Floating on a boat attached by bottom chains to an artificial<br>
underground Disney- Caribbean river is not that much different<br>
from walking alone, at midnight, through the unbelievable<br>
underground and path-determined space of Carlsbad Caverns,<br>
moving in half-light among giant rock forms. That afternoon,<br>
deeper in the cave, I'd had a beekeeper's suit on and been<br>
standing around the corner of the one-way path from a cameraman,<br>
almost leaning on a fractionally detailed limestone formation.<br>
On the cameraman's cue, I was supposed to suddenly create a<br>
material wipe by walking around the corner, but we had to keep<br>
delaying the shot as tourists kept appearing behind me on the<br>
one-way path... surprising me, but not themselves. I was just<br>
part of the landscape, and several even said: "The Moon,
huh?",<br>
before turning the next corner and finding the camera. I was<br>
part of their ride, but they knew I was also a thousand feet<br>
underneath the moon, maybe somewhere in France on the set of
a</font></div>
<div><font face="Courier" size="+1" color="#000000">Melies movie, or
perhaps back at Disneyland, back at Pirates of<br>
the Caribbean.<br>
<br>
An interesting and vital part of navigation in immersive<br>
environments is the effect of sudden mode change.... often,<br>
turning a corner, you are instantly in another environment, as<br>
if you had just passed through the spatial equivalent of a soft-<br>
edged wipe. What is shocking is that these mode changes can<br>
often take you to an environment which contradicts the one you<br>
just came from, both in appearance, and in meaning and use...<br>
like turning a smooth corner at the base of the Matterhorn at<br>
Disneyland, and ending up at the end of a row of urinals.<br>
<br>
The first effect of this spatial mode change, I believe, is<br>
that one becomes more susceptible to association. In other<br>
words, free navigation in an immersive environment leads to mode<br>
changes, and mode changes lead to an increase in association. ..<br>
sometimes internal, and sometimes external. The latter we call<br>
coincidence.<br>
<br>
[THIS TEXT CAN BE VIEWED IN ITS ENTIRETY BY LEA/LEONARDO<br>
SUBSCRIBERS AT:<br>
http://mitpress2.mit.edu/e-journals/LEA/archive.html]<br>
<br>
________________________________________________________________<br>
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| <span
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|
LEONARDO ELECTRONIC ALMANAC |<br>
| CONTENT INDEX
2003 |<br>
|_____________________________________|<br>
<br>
________________________________________________________________<br>
<br>
<br>
JANUARY 2003 - VOL. 11, NO. 1<br>
SPECIAL ISSUE - *LEONARDO MUSIC JOURNAL*, VOL. 12<br>
<br>
Editorial<br>
---------<br>
Nicolas Collins (Chicago, U.S.A.)<br>
Not Necessarily "English" Music: Britain's Second Golden
Age<br>
<br>
<br>
Articles<br>
--------<br>
Nicolas Collins (Chicago)<br>
Thoughtful Pleasures<br>
Introduction to Leonardo Music Journal, Vol. 12<br>
<br>
Christian Scheib (Vienna, Austria)<br>
Pleasure from Gdansk till Dawn (LMJ CD Companion)<br>
<br>
Abstracts<br>
---------<br>
Ricardo Arias (Jersey City, NJ, U.S.A.)<br>
I Know It's Only Noise but I Like It: Scattered Notes on<br>
the Pleasures of Experimental Improvised Music<br>
<br>
Frieder Butzmann (Berlin, Germany)<br>
That's Comish Music! Mutant Sounds<br>
<br>
David Byrne (New York, NY, U.S.A.)<br>
Machines of Joy: I Have Seen the Future and It Is Squiggly<br>
<br>
Arthur Elsenaar and Remko Scha (Groningen, Netherlands)<br>
Electric Body Manipulation as Performance Art:<br>
A Historical Perspective<br>
<br>
Reinhold Friedl (Berlin, Germany)<br>
Some Sadomasochistic Aspects of Musical Pleasure<br>
<br>
Ben Neill (New York, NY, U.S.A.)<br>
Pleasure Beats: Rhythm and the Aesthetics of<br>
Current Electronic Music<br>
<br>
Bob Ostertag (San Francisco, CA, U.S.A.)<br>
Human Bodies, Computer Music<br>
<br>
Leonardo Peusner (Argentina)<br>
A Graph Topological Representation of Melody Scores<br>
<br>
Dave Soldier (New York, NY, U.S.A.)<br>
Eine Kleine Naughtmusik: How Nefarious Nonartists<br>
Cleverly Imitate Music<br>
<br>
Gil Weinberg (Cambridge, MA, U.S.A.)<br>
Playpens, Fireflies and Squeezables: New Musical<br>
Instruments for Bridging the Thoughtful and the Joyful<br>
<br>
<br>
<br>
FEBRUARY 2003 - VOL. 11, NO. 2<br>
SPECIAL ISSUE - ART, SCIENCE AND CONSCIOUSNESS<br>
<br>
Editorial<br>
---------<br>
Patrick Lambelet (Pisa, Italy)<br>
Art, Science and the Contemplative Study of Consciousness<br>
<br>
<br>
Articles<br>
--------<br>
Kok Kee Choy (Singapore)<br>
Project *Amala*: An Artistic Vision of Consciousness in Buddhism<br>
<br>
Nina Czegledy<br>
On Audience Awareness: The "Empathy Factor" in the<br>
Work of Nell Tenhaaf<br>
<br>
William Magee (U.S.A.)<br>
Materialism and the Immaterial Mind in the Ge-luk<br>
Tradition of Tibetan Buddhism<br>
<br>
Robert C. Morgan (New York, NY, U.S.A.)<br>
Samadhi: The Contemplation of Space<br>
<br>
B. Alan Wallace (Santa Barbara, CA, U.S.A.)<br>
The Scientific and Contemplative Exploration of Consciousness<br>
<br>
<br>
MARCH 2003 - VOL. 11, NO. 3<br>
<br>
Editorial<br>
---------<br>
Douglas A. Vakoch (Mountain View, CA, U.S.A.)<br>
Language, Art and Science in Interstellar Communication<br>
<br>
<br>
Articles<br>
--------<br>
Oliver Grau (London, U.K.)<br>
Introduction to *Virtual Art: From Illusion to Immersion*<br>
<br>
Geert Lovink (London, U.K.)<br>
Introduction to *Uncanny Networks: Dialogues with<br>
the Virtual Intelligentsia*<br>
<br>
<br>
APRIL 2003 - VOL. 11, NO. 4<br>
SPECIAL ISSUE - THE ART AND SCIENCE OF INTERSTELLAR<br>
MESSAGE COMPOSITION (PART I)<br>
<br>
Abstracts<br>
---------<br>
Mauro Annunziato (Rome, Italy)</font></div>
<div><font face="Courier" size="+1" color="#000000">Hybrid Ecosystems:
Searching for a Language<br>
<br>
John B. Campbell (Queensland, Australia)<br>
Archaeology of Symbolic Communication: Antiquity and Evidence<br>
for Altruism<br>
<br>
Vladimir Ivkovic (Zagreb, Croatia)<br>
Cybernetic Models and Interstellar Message Composition:<br>
Sociobiology of Altruism Revisited<br>
<br>
Colin Johnson (Canterbury, U.K.)<br>
Altruism, the Evolution of Language and Interstellar<br>
Communication<br>
<br>
Dominique Lestel (Paris, France)<br>
Animal Communications and SETI: Are Humans Universal Locutors?<br>
<br>
Sundar Sarukkai (Bangalore, India)<br>
Universality, Emotion and Communication in Mathematics<br>
<br>
Diana Slattery (New York, NY, U.S.A.)<br>
The Glide Model: Communicating Intention through<br>
Gestural Language<br>
<br>
Dan Werthimer (San Francisco, CA, U.S.A.) and<br>
Mary Kate Morris(San Francisco)<br>
Are We Alone? The Search for Extraterrestrial Civilizations<br>
<br>
<br>
Article<br>
-------<br>
Istvan Hargittai (Budapest, Hungary)<br>
Something Has Doubled: The 15th Anniversary of the<br>
Discovery of DNA<br>
<br>
<br>
MAY 2003 - VOL. 11, NO. 5<br>
<br>
Article<br>
-------<br>
Brett Stalbaum (San Jose, CA, U.S.A.)<br>
Software Development Platforms for Large Datasets:<br>
Artists at the API<br>
<br>
<br>
JUNE 2003 - VOL. 11, NO. 6<br>
<br>
Article<br>
-------<br>
Jean-Louis Lhermitte (Paris, France)<br>
Sculpting Ionized Plasma<br>
<br>
Abstract<br>
--------<br>
Bill Seaman (Los Angeles, CA, U.S.A.)<br>
OULIPO |VS |Recombinant Poetics<br>
<br>
<br>
JULY 2003 - VOL. 11, NO. 7<br>
SPECIAL ISSUE - THE ART AND SCIENCE OF INTERSTELLAR<br>
MESSAGE COMPOSITION (PART II)<br>
<br>
<br>
Editorial<br>
---------<br>
Douglas A. Vakoch (Mountain View, CA, U.S.A.)<br>
Intention, Interaction and Communication with<br>
Extraterrestrial Intelligence<br>
<br>
<br>
Abstracts<br>
---------<br>
William H. Edmondson (Birmingham, U.K.)<br>
Constraints on Message Construction for Communication<br>
with Extraterrestrial Intelligence<br>
<br>
Tomislav Janovic (Zagreb, Croatia)<br>
Communicative Intention and Interstellar Message Composition<br>
<br>
Michael P. Matessa (U.S.A.)<br>
Modeling Reciprocal Altruism and Forgiveness in<br>
Interstellar Messages: A Population-Based Approach<br>
<br>
Brian S. McConnell (San Francisco, CA, U.S.A.)<br>
Algorithmic Communication with ETI and Mixed-Media<br>
Message Composition<br>
<br>
David Rosenboom (Santa Clarita, CA, U.S.A.)<br>
The Imperative of Co-Creation in Interstellar Communication:<br>
Lessons from Experimental Music<br>
<br>
<br>
AUGUST 2003 - VOL. 11, NO. 8<br>
<br>
<br>
Article<br>
-------<br>
Sundar Sarukkai (Bangalore, India)<br>
Praying to Machines<br>
<br>
<br>
SEPTEMBER 2003 - VOL. 11, NO. 9<br>
SPECIAL ISSUE - ART AND WEIGHTLESSNESS<br>
<br>
Editorial<br>
---------<br>
Annick Bureaud (Paris, France)<br>
Art and Weightlessness: The MIR Campaign 2003 in Star City<br>
<br>
<br>
Articles<br>
--------<br>
Alex Adriaansens (Rotterdam, Netherlands)<br>
May the Force Be with You<br>
<br>
Marcel.li Antunez Roca (Barcelona, Spain)<br>
Transpermia - Dedalo Project<br>
<br>
Annick Bureaud (Paris, France)<br>
Art Critic in Microgravity<br>
<br>
Ewen Chardronnet<br>
Open Sky and Microgravity<br>
<br>
Richard Couzins (London, U.K.)<br>
Filming in Microgravity<br>
<br>
Kodwo Eshun, Richard Couzins, Anjalika Sagar (London, U.K.)<br>
Initial Report on the Pilot Study on the Military and<br>
Behavioral Preconditions for Permanent Habitation in<br>
Microgravity<br>
<br>
Vadim Fishkin, Livia P·ldi (Ljubljana, Slovenia)<br>
Kaplegraf 0g (Drops Orbits)<br>
<br>
Stefan Gec (Yorkshire, England)<br>
The Celestial Vault<br>
<br>
Rob LaFrenais (London, U.K.)<br>
An Artist in Space - An Achievable Goal?<br>
<br>
Roger Malina (Marseille, France)<br>
Contextualizing Zero-Gravity Art<br>
<br>
Marko Peljhan (U.S.A.)<br>
Projekt Atol Flight Operations and the MIR Network<br>
<br>
Nicola Triscott (London, U.K.)<br>
The Multidisciplinary Research Laboratory<br>
<br>
<br>
OCTOBER 2003, VOL. 11, NO. 10<br>
SPECIAL ISSUE - TECHNOLOGY AND DIFFERENCE (PART I)<br>
<br>
Editorial<br>
---------<br>
Irina Aristarkhova (Singapore)<br>
Technology and Difference<br>
<br>
<br>
Articles<br>
--------<br>
Robert Bodle (Los Angeles, CA, U.S.A.)<br>
Online Activist Media Collectives in Los Angeles:<br>
An Argument against the Dematerialization View of Cyberspace<br>
<br>
Diana Mccarty (Berlin, Germany)<br>
Resonant Culture<br>
<br>
Gunalan Nadarajan (Singapore)<br>
Phytodynamics and Plant Difference<br>
<br>
Keith Obadike (Hamden, CT, U.S.A.)<br>
Blackness for Sale<br>
<br>
Mendi Obadike (Hamden, CT, U.S.A.)<br>
Keeping up Appearances<br>
<br>
Mendi Obadike and Keith Obadike (Hamden, CT, U.S.A.)<br>
The Interaction of Coloreds<br>
<br>
Faith Wilding (Chicago, IL, U.S.A.)<br>
Biotech Bodies/Difference/Resistance</font></div>
<div><font face="Courier" size="+1" color="#000000"><br>
<br>
NOVEMBER 2003, VOL. 11, NO. 11<br>
SPECIAL ISSUE - TECHNOLOGY AND DIFFERENCE (PART II)<br>
<br>
Editorial<br>
---------<br>
Irina Aristarkhova (Singapore)<br>
Technology and Difference II<br>
<br>
<br>
Articles<br>
--------<br>
Radhika Gajjala (Bowling Green, OH, U.S.A.)<br>
Traveling along Data's Highway: Who Gets Mapped Out?<br>
<br>
Seda Gyrses (Berlin, Germany)<br>
Exploring the Question of Race in Feminist Critique of<br>
Computing at the FiNuT<br>
<br>
RAQS Media Collective (New Delhi, India)<br>
Machines Made to Measure: On the Technologies of Identity<br>
and the Manufacture of Difference<br>
<br>
Eugene Thacker (Atlanta, GA, U.S.A.)<br>
Genetic Difference in the Global Genome<br>
<br>
<br>
DECEMBER 2003, VOL. 11, NO. 12<br>
SPECIAL ISSUE: WOMEN, ART AND TECHNOLOGY<br>
<br>
Editorial<br>
---------<br>
Judy Malloy (San Francisco, CA, U.S.A.)<br>
Women, Art and Technology<br>
<br>
<br>
Articles<br>
--------<br>
Jennifer Hall and Blyth Hazen<br>
Laboratory for Ephemeral Investigations -<br>
Interactive Robotic Sculptures<br>
<br>
Kathy Rae Huffman (Manchester, U.K.)<br>
Face Settings: An International Co-cooking and<br>
Communication Project<br>
<br>
Nancy Paterson (Toronto, Canada)<br>
Stock Market Skirt and New Directions<br>
<br>
Valerie Soe (San Francisco, CA, U.S.A.)<br>
Video Arte Povera: Lo-Fi Rules!<br>
<br>
Dawn Stoppiello and Mark Coniglio (U.S.A.)<br>
FleshMotor<br>
<br>
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| LEONARDO
REVIEWS |<br>
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2004.04 <span
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________________________________________________________________<br>
<br>
This month, Leonardo Reviews has slipped back into synch with<br>
the LEA publishing cycle and offers ten reviews of books,<br>
websites and exhibitions. We are particularly pleased to welcome<br>
a new reviewer, John Knight, who is a designer working on issues<br>
of usability of websites, among other things. It seems<br>
appropriate then that this month we also have another review<br>
from Luisa Paraguai Donati of Sam Easterson's website. We also<br>
welcome contributions from our loyal supporters, Roy R. Behrens,<br>
Wilfred Niels Arnold and Rick Mitchell. To compliment these,<br>
Aparna Sharma reviews an interesting publishing project from<br>
India and Rob Harle takes a look at Jay David Bolter and Diane<br>
Gromala's new book from MIT Press. Finally a special thanks this<br>
month to Dene Grigar, who has not only filed a fascinating<br>
review but has also managed a new team of interns to produce<br>
"camera-ready" copy for the website.<br>
<br>
These reviews and our archive can be found at<br>
http://leonardoreviews.mit.edu.<br>
<br>
Michael Punt<br>
Editor-in-Chief<br>
Leonardo Reviews<br>
<br>
_____________________________<br>
<br>
<br>
Reviews Posted April 2004:<br>
<br>
Animal, Vegetable, Video, by Sam Easterson<br>
Reviewed by Luisa Paraguai Donati<br>
<br>
The Art of Looking Sideways, by Alan Fletcher and Beware Wet<br>
Paint, by Alan Fletcher<br>
Reviewed by Roy R. Behrens<br>
<br>
Emotional Design: Why We Love (Or Hate) Everyday Things, by<br>
Donald Norman<br>
Reviewed by John Knight<br>
<br>
Mehmet G„lery„z. Forty Years of Drawing: Retrospective Drawing<br>
Exhibition 1963-2003, by Nihal Elvan, Ed.<br>
Reviewed by Aaris Sherin<br>
<br>
Painted Love: Prostitution in French Art of the Impressionist<br>
Era, by Hollis Clayson<br>
Reviewed by Wilfred Niels Arnold<br>
<br>
The Puppet and the Dwarf: The Perverse Core of Christianity, by<br>
Slavoj Zizek<br>
Reviewed by Rick Mitchell<br>
<br>
Sarai Reader 03: Shaping Technologies, by Ravi Vasudevan, Ravi<br>
Sundaram, Jeebesh Bagchi, Monica Narula, Shuddhabrata, Sengupta<br>
[Sarai], Geert Lovink, Marleen Stikker [Waag], Eds.<br>
Reviewed by Aparna Sharma<br>
<br>
Science, Not Art: Ten Scientists' Diaries, Jon Turney, Ed.<br>
Reviewed by Rob Harle<br>
<br>
Sex, Time and Power: How Women's Sexuality Shaped Human<br>
Evolution, by Leonard Shlain<br>
Reviewed by Dene Grigar<br>
<br>
Windows and Mirrors: Interaction Design, Digital Art, and the<br>
Myth of Transparency, by Jay David Bolter and Diane Gromala<br>
Reviewed by Rob Harle<br>
<br>
_____________________________<br>
<br>
<br>
ANIMAL, VEGETABLE, VIDEO<br>
Website by Sam Easterson, http://www.anivegvideo.com/<br>
<br>
Reviewed by Luisa Paraguai Donati, Department of Multimedia,<br>
Institute of Arts, Unicamp, Brazil<br>
luisa@iar.unicamp.br</font></div>
<div><font face="Courier" size="+1"
color="#000000">http://wawrwt.iar.unicamp.br<br>
<br>
<br>
This website is part of a larger project called *Animal,<br>
Vegetable, Video*, on which video artist Sam Easterson has been<br>
working for the last five years. In 1988, he was commissioned by<br>
the Walker Art Center in Minneapolis to create a new video<br>
project. For that project, he outfitted a flock of sheep with a<br>
helmet-mounted video camera. Since then, he has been designing<br>
such cameras to be attached to animals and plants of all kinds.<br>
Micro video cameras are also placed deep inside the animals and<br>
plant habitats showing how they live, behave and move in their<br>
own environments. Therefore, the project has produced an<br>
extensive collection of video footage and created a network of<br>
artists and scientists by developing video exhibitions for art<br>
centers and working with researchers in different scientific<br>
institutions.<br>
<br>
The web design is simple, clean and entirely based on screens<br>
and windows with an animated movement of colored squares on a<br>
white background to aesthetically formalize the idea of these<br>
video experiments. Web users can easily browse to get<br>
information and video footage by clicking on the names of<br>
animals or choosing specific habitats.<br>
<br>
Watching some of the videos, it is clear that the author is<br>
interested in "looking and in the process of looking" in<br>
conducting his process of creation. The viewer can get different<br>
references of the environment according to each animal and its<br>
characteristic rhythm, body movement and sounds, such as a<br>
scorpion, an alligator or a wolf. The perspective of captured<br>
images creates a specific visual experience by linking the<br>
perceiver and different views, the individual and the landscape.<br>
The viewer is thus not only an observer of the scene but also<br>
the first person in the video narrative.<br>
<br>
By thinking about new technologies and the possibility of<br>
having different perspectives to approach the world, we can<br>
mention another concept here - that of "mediated presence"
[1],<br>
in which it is possible for participants to phenomenologically<br>
experience the "sense of being there." In some way, the<br>
participants' presence can be projected, extended into a<br>
physical remote space through other spatial references.<br>
According to the interface used, the participants can provoke,<br>
more or less, interferences with it.<br>
<br>
Another interesting point to me personally in this project is<br>
the use of head-mounted technology inserted in the animal's body<br>
spatiality. This reminds me of the idea of the wearable computer<br>
and its use for specific tasks [2], by which the
"wearer"<br>
becomes capable of enhancing physical activities and/or bodily<br>
limits. The technological mediation in the communication process<br>
has increasingly allowed a redefinition of the limits of our<br>
action and perception and a (re) modeling of the realities of<br>
our body.<br>
<br>
<br>
NOTES<br>
<br>
1. Marvin Minsky mentioned the term "telepresence" for
the<br>
first time in 1980, inspired by Robert Heinlein's novel,<br>
*Waldo*. He thought of "remote presence" as those
occurrences<br>
when participants can influence the form and/or content of the<br>
mediated presentation or experience as in definition. Since<br>
then, the concept of mediated presence has been extensively<br>
discussed and for Biocca (1997) can be briefly presented as<br>
consisting of two interrelated phenomena: "telepresence - the<br>
phenomenal sense of 'being there' and mental models of mediated<br>
spaces that create the illusion, and social presence - the sense<br>
of 'being together with another' and mental models of 'other<br>
intelligences' that help us simulate 'other minds.'"<br>
<br>
2. Bass (1997) suggests five characteristics in defining a<br>
wearable computer: "it may be used while the wearer is in<br>
motion; it may be used while one or both hands are free, or<br>
occupied with other tasks; it exists within the corporeal<br>
envelope of the user, i.e., it should be not merely attached to<br>
the body but becomes an integral part of the person's clothing;<br>
it must allow the user to maintain control; it must exhibit<br>
constancy, in the sense that it should be constantly
available."<br>
<br>
<br>
BIBLIOGRAPHY<br>
<br>
F. Biocca, "The Cyborg's Dilemma: Progressive Embodiment
in</font></div>
<div><font face="Courier" size="+1" color="#000000">Virtual
Environments," in *Journal of Computer-Mediated<br>
Communication*, Vol.3, No. 2.<br>
<br>
M. Minsky, "Telepresence," in *OMNI* Magazine (May 1980) pp.
45-<br>
52.<br>
<br>
L. Bass, Conveners report of CHI '97 Workshop on Wearable<br>
Computers, Personal communication to attendees (1997).<br>
<br>
L. Santaella, "Culturas e artes do pæs-humano, da cultura
das<br>
mðdias " cibercultura" (S"o Paulo: Editora Paulus,
2003).<br>
<br>
_____________________________<br>
<br>
<br>
SEX, TIME AND POWER: HOW WOMEN'S SEXUALITY SHAPED HUMAN EVOLUTION<br>
by Leonard Shlain, Viking Press, New York, 2003. 420 pp.,<br>
illus. 41 b/w. Trade, $25.95. ISBN: 0-67003-233-6.<br>
<br>
Reviewed by Dene Grigar, Texas Woman's University.<br>
dgrigar@twu.edu<br>
<br>
<br>
When encountering a book concerning a subject like the<br>
anthropology of sexual attraction and social evolution published<br>
by a non-academic press and written by an author with no<br>
discernible training in the field, an educated reader knows to<br>
approach the ideas advanced in that book as interesting if<br>
fanciful. When the publisher in question is a large popular<br>
press with a vast marketing department and the author appears to<br>
be a charming and fascinating story-teller, then it is likely<br>
that some readers may allow themselves to be seduced by the<br>
flight of fancy and be taken on a wild goose chase - and end up<br>
the goose.<br>
<br>
This is precisely the problem with *Sex, Time, and Power: How<br>
Women's Sexuality Shaped Human Evolution*, by Leonard Shlain. A<br>
cursory search on the Web reveals the extent of the damage such<br>
whimsy can produce. From "Why Your Wife Won't Have Sex With
You"<br>
to a delineation of the brain power of Biblical characters in<br>
"Time, Menses, Left Brain" to "promoting intimacy and
other-<br>
centered sexuality" among a group called "Liberated
Christians,"<br>
this book does not merely strike a chord with its readers; it<br>
verifies all of the preconceived notions of gender difference<br>
some readers could ever hope to come across for pushing their<br>
own political, social and religious agendas.<br>
<br>
Let us be clear: *Sex, Time, and Power* is neither hard science<br>
nor is it anthropology. It is, instead, mythology. And because<br>
the narrative is highly engaging, it can be, on the surface,<br>
amusing mythology at that.<br>
<br>
The book was generated from a question the author had pondered<br>
when he was a young medical student - "Why do women
menstruate?"<br>
- and has as its premise the idea that women's need for iron<br>
drove many, if not all, of "human cultural innovations"
(p.<br>
xii), in particular the knowledge of time, which ultimately<br>
resulted in the loss of her power. With this idea in mind,<br>
Shlain looks at such issues as incest, homosexuality, courting<br>
practices, marriage and death, to name a few. Along the way he<br>
gives us dialogues with Adam, Eve and members of their tribe;<br>
recountings of schemes made by campfires in 40,000 BC; and a<br>
worldview organized in a recognizable dualism (man, left-<br>
brained, sex-crazed; woman, right-brained, uses sex to get what<br>
she wants from man). He tells us in the preface that the book is<br>
meant for "both generalists and specialists" and that he
avoids<br>
the "standard academic practice of citing the pedigree of a<br>
particular idea" (p. xiii). Lucky thing, too, since some of
his<br>
logic would never pass the review process of a reputable science<br>
journal or scientific board of an academic press. This reviewer<br>
counted no less than 39 instances where faulty logic and gross<br>
generalizations were used to make a point.<br>
<br>
Some of the most pernicious of these include the idea that<br>
early homo sapiens women, "after a lifetime of lovemaking ...<br>
would have spent hours discussing the sexual idiosyncrasies of<br>
their diverse male partners and comparing their experiences."
He<br>
then comes to the conclusion that these women would have been<br>
responsible for promoting male circumcision as a way of delaying<br>
their lovers' orgasms (p. 93) - an interesting idea that flies<br>
in the face of the fact that circumcision rites are performed by<br>
older men upon younger ones. Another is his adopted view of the<br>
relations between genders that reduces men's value to their<br>
ability to provide meat and women's to their ability to give
sex</font></div>
<div><font face="Courier" size="+1" color="#000000">(p. 113). While
some may look around at today's couples and<br>
agree with this assertion, this theory disregards man's need to<br>
satisfy his own hunger and woman's interest in her own orgasm<br>
that could have also shaped our social development. And hadn't<br>
he claimed that circumcision came about because women wanted<br>
better sex?<br>
<br>
But truly the most awful claims remain in his discussions about<br>
rape and pornography. In terms of the former, he asserts that<br>
"speech affords a woman the chance to determine in advance . .
.<br>
whether her suitor has the predisposition or intention to harm<br>
her" (p. 205). How many women who have been date-raped would<br>
agree that they could have known their suitors had darker<br>
intentions in mind by simply talking to these men? In the<br>
latter, he tells us that "pornography would disappear
tomorrow<br>
if women were as eager to have sex and behaved sexually as<br>
indiscriminately as men" (p. 352). From that standpoint,<br>
pornography is women's fault. Rest assured, there are 35 more of<br>
these jewels in this tome, and these do not address the major<br>
problem with his chronology: that all of these innovations<br>
regarding sex, time and power occurred in 40,000 BC, an idea<br>
<br>
<br>
that stands against the discoveries of birth goddess artifacts<br>
by Marija Gimbutas and others.<br>
<br>
Anyone who seeks to end misogyny and who questions the<br>
inequities of power between the genders rates our attention. And<br>
as stated previously, when that person has a gift for story-<br>
telling, we may not even mind wading through the mire of<br>
misinterpretation of data to hear out the teller. But in the<br>
end, the most discriminating of readers should realize that the<br>
stories told are simply that, stories. The problem lies in that<br>
they are presented as The Truth. This is the point where the<br>
stories cease to be amusing and become insidious and we can say<br>
that the book is seriously flawed.<br>
<br>
_____________________________<br>
<br>
<br>
PAINTED LOVE: PROSTITUTION IN FRENCH ART OF THE IMPRESSIONIST ERA<br>
by Hollis Clayson, Getty Trust Publications, Los Angeles, 2003.<br>
202 pp., illus. 64 b/w, 29 col. Trade, $24.95; paper<br>
(Yale, 1991). ISBN: 0-89236-729-6.<br>
<br>
Reviewed by Wilfred Niels Arnold<br>
warnold@kumc.edu<br>
<br>
The sketchbooks of visual artists are often of considerable<br>
interest in revealing evolutions into final drawings or<br>
paintings. They may also expose more spontaneous sides, date<br>
novel views and offer clues to individual professional<br>
developments. The same is true for preliminary paintings,<br>
unfinished works and things that fall behind the piano. But some<br>
of us worry a bit about the extent of posthumous interpretation<br>
that these artists would have wished for and, given the<br>
opportunity, whether they would have preferred tossing out<br>
immature or unsuccessful creations. Not so Hollis Clayson, who<br>
seems to have assembled under one cover everything she found -<br>
she gives Degas, Cezanne and Manet particularly exotic trips.<br>
<br>
In several cases the themes and goals behind the art are more<br>
ambiguous than *Painted Love* would have us believe. For<br>
example, the story behind Cezanne's *A Modern Olympia*, his<br>
attempt to impress Dr. Paul Gachet by whipping off a match to<br>
Manet's *Olympia*, is not properly developed. I was disappointed<br>
in the lack of definition of the title subjects and came away<br>
wondering if some of the images were really of prostitution, as<br>
claimed, or rather of something more flirtatious and less<br>
commercial. Readers who might reasonably expect some comparisons<br>
(visual or narrative) with "wholesome painted love" (from
the<br>
same era in Paris, or from London) will search in vain.<br>
<br>
Although the title gives great weight to the impressionists,<br>
the book's coverage is not restricted to this less than<br>
homogeneous group or to their era. Manet, for instance, who is<br>
featured on the cover, has a special relationship to the<br>
impressionists that is not properly explained. Likewise, the<br>
post-impressionists should at least have been identified as<br>
such. Including Pablo Picasso is a bit much, especially since<br>
Toulouse-Lautrec is mentioned en passant as early as page 3, but<br>
never illustrated.<br>
<br>
In general, the paper and print quality are quite
reasonable</font></div>
<div><font face="Courier" size="+1" color="#000000">although the
number of color plates is a bit mean and some<br>
editorial decisions such as a black and white reproduction for<br>
Manet's *Olympia* are hard to fathom. The index concentrates on<br>
names and neglects subjects - a quick survey found many<br>
omissions. This is a picture book with a titillating title that<br>
will find its way to more coffee tables than desks. <br>
<br>
_____________________________<br>
<br>
<br>
WINDOWS AND MIRRORS: INTERACTION DESIGN, DIGITAL ART, AND THE<br>
MYTH OF TRANSPARENCY<br>
by Jay David Bolter and Diane Gromala,<br>
MIT Press, Cambridge MA, 2003.<br>
208 pp., 59 illus. Trade, $29.95. ISBN: 0-262-02545-0.<br>
<br>
Reviewed by Rob Harle, Australia<br>
recluse@lis.net.au<br>
<br>
Is your computer simply a tool that allows you to create a<br>
document or graphic image and, in so doing, remains transparent<br>
(a window) to the creation? Or is the digital environment,<br>
including peripherals, the medium (a mirror) itself? This<br>
excellent book critically analyzes this concept. It is most<br>
timely as computer technologies, like many other things we<br>
humans do, we do without any planning. Computers and associated<br>
software and networks have in a sense evolved in a higgledy-<br>
piggledy fashion with little critical comprehensive planning.<br>
<br>
*Windows and Mirrors* challenges the predominant view, espoused<br>
by computer engineers and programmers, that this marvelous<br>
digital tool should be transparent to the information it<br>
processes and displays. As an example, these engineers, who<br>
Bolter and Gromala call the "structuralists," believe that
web<br>
pages should convey information in the most straightforward and<br>
clear manner possible. "Bell and whistle" creations,
using<br>
programs such as Flash, are at best wasteful and at worst<br>
actually distort the real purpose of communication.<br>
<br>
In contrast to the "structuralists'" view that,
"computers are<br>
information appliances" (p. 2), the "interaction
designers"<br>
would argue that if a person is not attracted to the medium<br>
through well-designed graphic interfaces in the first place,<br>
they will never get to the information anyway: "I believe
design<br>
drives the user's experience" (p. 4). The book provides a
well-<br>
presented and thoughtful treatment of this challenging debate.<br>
<br>
Whilst the book is specifically about digital art, it says that<br>
"it is written for digital designers and technologists in<br>
general: Web designers, educational technologists, graphic<br>
designers working with and in digital forms, interface designers<br>
and human-computer interaction (HCI) experts" (p. 2).<br>
<br>
*Windows and Mirrors* looks specifically at the SIGGRAPH 2000<br>
Art Show. This "carnival for the twenty-first century" (p.
10)<br>
is an academic conference as well as trade show, with the latest<br>
releases of software packages such as Photoshop and OpenGL.<br>
Perhaps most importantly, it presents the very latest creations<br>
of digital art featuring the work of 60 leading digital artists.<br>
A selection of their work is included and discussed throughout<br>
the book, together with black-and-white photographs. I found the<br>
work, "Wooden Mirror" (p. 32) especially fascinating.<br>
<br>
Chapter 9 starts with the following statement: "Designers<br>
cannot afford to ignore the need for transparency, but they can<br>
show the Structuralists how sites can be reflective as well as<br>
transparent" (p. 151). It appears that a compromise between
the<br>
"byte wasting" of visual designers and the deadly dull
"pure<br>
content" in one boring typeface of the "Structuralists"
may be<br>
happening.<br>
<br>
It annoys me somewhat that these extreme dichotomist views<br>
waste so much unnecessary time and energy, like the so-called<br>
"mind-body" problem in philosophy. The problem only
exists<br>
because of the incorrect way of posing the question. Similarly,<br>
there really should be no need for a book such as this because<br>
in essence there can be no absolute structuralist or designer<br>
position; it is only a question of how much design and<br>
interaction is the optimum for a total user experience and this<br>
is a question especially relevant to psychological<br>
investigation. Even the staunchest structuralist philosophy<br>
still uses fonts and text layout dictated by ASCII standards.<br>
For those that are old enough to remember, the
artistically</font></div>
<div><font face="Courier" size="+1" color="#000000">inclined amongst
us developed clever graphic images using only<br>
<br>
ASCII characters to communicate visually - like the dog banner<br>
of FidoNet. This demonstrates in a small way the intrinsic need<br>
for an artistic component in all things we create, from bridges<br>
to kitchen sinks to clothes.<br>
<br>
This book goes a long way in helping to bridge this unnecessary<br>
tension that has shades of the architectural "form versus<br>
function" dichotomy. Having done this successfully, it then<br>
provides inspiring examples, especially through the SIGGRAPH<br>
art, for all concerned in extending or implementing our digital<br>
future.<br>
<br>
________________________________________________________________<br>
<br>
<span
></span>
______________________________<br>
<span
></span>
| <span
></span
> <span
></span> |<br>
<span
></span>
| LEONARDO
JOURNAL |<br>
<span
></span>
|______________________________|<br>
<br>
________________________________________________________________<br>
<br>
<br>
LEONARDO, VOL. 37, NO. 3 (JUNE 2004) - TABLE OF CONTENTS AND<br>
SELECTED ABSTRACTS<br>
<br>
_____________________________<br>
<br>
EDITORIAL<br>
<br>
< Sundar Sarukkai: Beauty in the Beast ><br>
<br>
< After Midnight ><br>
<br>
< Phil Ross: SFO: It's All Good ><br>
<br>
ARTIST'S NOTE<br>
<br>
< Sonya Rapoport: *Smell Your Destiny*: Web Interaction with<br>
the Fifth Sense ><br>
<br>
STATEMENTS<br>
<br>
< Nikolaus Bezruczko and Ambra Borgognoni Vimercati: Advances<br>
in Measuring Artistic Judgment Aptitude ><br>
<br>
< Brian Carroll: The Electromagnetic Internetwork ><br>
<br>
< *Herland Elias*: Net Work on Network ><br>
<br>
< J.W. Fost: Toward the Glass Bead Game: A Rhetorical Invention
><br>
<br>
SPECIAL SECTION: ISEA 2002<br>
<br>
< Peter Anders: Introduction: ISEA 2002: Orai: At the<br>
Crossroads of Meaning ><br>
<br>
< Roy Ascott: *Orai*, or How the Text Got Pleated: A Genealogy<br>
of *La Plissure du Texte: A Planetary Fairytale* ><br>
<br>
< Michael Punt: *Orai* and the Transdisciplinary *Wunderkammer*
><br>
<br>
< Anne-Sarah Le Meur: *Into the Hollow of Darkness*: Realizing<br>
a 3D Interactive Environment ><br>
<br>
< Nancy Nisbet: Resisting Surveillance: Identity and<br>
Implantable Microchips ><br>
<br>
GENERAL ARTICLES<br>
<br>
< Loe Feijs: Divisions of the Plane by Computer: Another Way of<br>
Looking at Mondrian's Nonfigurative Compositions ><br>
<br>
< Diogo Queiros-Conde: The Turbulent Structure of *Sfumato*<br>
within *Mona Lisa* ><br>
<br>
< Oded Ben-Tal and Jonathan Berger: Creative Aspects of<br>
Sonification ><br>
<br>
< Alice V. James, David A. James and Loukas N. Kalisperis: A<br>
Unique Art Form: The Friezes of Pirgð ><br>
<br>
THEORETICAL PERSPECTIVE<br>
<br>
< Marc-Williams Debono: From Perception to Consciousness: An<br>
Epistemic Vision of Evolutionary Processes ><br>
<br>
LEONARDO REVIEWS<br>
<br>
LEONARDO NETWORK NEWS<br>
<br>
_____________________________<br>
<br>
<br>
LEONARDO 37:3 - ABSTRACTS<br>
<br>
_____________________________<br>
<br>
<br>
*SMELL YOUR DESTINY*: WEB INTERACTION WITH THE FIFTH SENSE<br>
by Sonya Rapoport<br>
<br>
*Smell Your Destiny* is a fishy tale that parodies the quest<br>
for success exhibited in the 21st-century cyber-personality.<br>
This article is adapted from the author's web project, where<br>
traits formerly considered undesirable and now considered<br>
desirable for achieving success are administered to the populace<br>
by means of aromatherapy. Play-on-word medications, derived from<br>
the names of actual pharmaceuticals, are prescribed in pill form<br>
for ingestion by fish that swim in community gene pools. The<br>
pills induce curative fish fragrances that are exuded by the<br>
fish into the environment. Trait changes occur when residents<br>
breathe in the fumes, which are prescribed to accommodate<br>
current societal values. URLs and links within the work provide<br>
access to virtual smelling sites.<br>
<br>
_____________________________<br>
<br>
<br>
*ORAI*, OR HOW THE TEXT GOT PLEATED: A GENEALOGY OF *LA<br>
PLISSURE DU TEXTE: A PLANETARY FAIRYTALE*<br>
by Roy Ascott<br>
<br>
<br>
This paper is an attempt to make sense of the Japanese word<br>
orai and to consider in what way the author's own "comings
and<br>
goings" across artistic, literary and esoteric pathways led
to<br>
the formulation of his practice, later to be theorized as<br>
telematic art and to be understood as a form of associative<br>
connectivism. The paper focuses on La Plissure du Texte, his<br>
first project involving distributed authorship.<br>
<br>
_____________________________</font></div>
<div><font face="Courier" size="+1" color="#000000"><br>
<br>
*ORAI* AND THE TRANSDISCIPLINARY *WUNDERKAMMER*<br>
by Michael Punt<br>
<br>
<br>
The inevitable realization in scientific circles that the<br>
reality of the imagined has an equivalent epistemological<br>
significance to the material raises fascinating questions, as it<br>
invites a skeptical reconsideration of the essential basis of<br>
knowledge. While this dramatic shift provides a moment of<br>
profound satisfaction for those artists, designers and<br>
scientists who have long argued for a transdisciplinary<br>
worldview, it also provides a moment of the greatest challenge<br>
as we begin to consider how knowledge might be extended,<br>
codified and distributed in a multiverse of collaborative<br>
realities.<br>
<br>
_____________________________<br>
<br>
<br>
*INTO THE HOLLOW OF DARKNESS*: REALIZING A 3D INTERACTIVE<br>
ENVIRONMENT<br>
by Anne-Sarah Le Meur<br>
<br>
<br>
The author considers the meaning of interactivity and the<br>
potentials of virtual environments, in particular in the<br>
exploration of the total visual field and its periphery. She<br>
presents her artistic project, the aim of which is to cause<br>
viewers to become more sensitive to their own perceptions,<br>
respecting images and indistinct sensations that may arise.<br>
<br>
_____________________________<br>
<br>
<br>
RESISTING SURVEILLANCE: IDENTITY AND IMPLANTABLE MICROCHIPS<br>
by Nancy Nisbet<br>
<br>
<br>
Surveillance technologies and centralized databases are<br>
threatening personal privacy and freedom. Radio Frequency<br>
Identification (RFID) microchip technology is one of several<br>
potential human tracking and authentication systems. The<br>
author's interactive art installation, *Pop! Goes the Weasel*,<br>
aims to explore opportunities for resisting surveillance by<br>
altering underlying assumptions concerning identity. Viewers are<br>
encouraged to experiment with resistance by avoiding access<br>
control, intervening in the database and subverting notions of a<br>
stable or single identity. The author is planning a future<br>
project to develop an interface between the author's two<br>
implanted microchips and her computer in order to track her<br>
computer usage as it relates to her technology-induced shifting<br>
sense of self.<br>
<br>
_____________________________<br>
<br>
<br>
DIVISIONS OF THE PLANE BY COMPUTER: ANOTHER WAY OF LOOKING AT<br>
MONDRIAN'S NONFIGURATIVE COMPOSITIONS<br>
by Loe Feijs<br>
<br>
The article discusses a novel way of looking at Mondrian's<br>
nonfigurative paintings. Different periods of Mondrian's life<br>
correspond to distinct types of nonfigurative compositions, but<br>
can the distinction be formalized? How many bits or numbers are<br>
needed to characterize a typical composition? Can the rules of a<br>
composition type be expressed in the language of the computer?<br>
If distinct composition types require different computer<br>
programs, can these be based on a common framework, a mechanism,<br>
perhaps? The findings presented here are only tentative, but it<br>
is interesting to note that some characteristics can be modeled<br>
reasonably well, whereas others still resist formalization in<br>
the presented framework. The author's approach borrows<br>
principles from genetic programming. Employing a built-in random<br>
number generator, it can be used to explore a large space of<br>
"compositions."<br>
<br>
_____________________________<br>
<br>
<br>
THE TURBULENT STRUCTURE OF *SFUMATO* WITHIN *MONA LISA*<br>
by Diogo Queiros-Conde<br>
<br>
The author describes a particular way of looking at the *Mona<br>
Lisa* whereby evidence of a turbulent structure (based on<br>
underlying *sfumato*) that reveals an infinity of hidden faces<br>
behind the famous figure can be seen. When light is<br>
progressively reduced by a "squinting process," the effect
is<br>
especially striking in the last face on the edge of the<br>
painting's dark areas. The author interprets this visual<br>
phenomenon in the context of *entropic skins geometry*, which he<br>
has developed to describe the geometry and statistics of<br>
turbulent flows. Finally, the author argues that the form just<br>
under Mona Lisa's left shoulder can be interpreted as a human<br>
skull anamorphosis, as a kind of ironic signature by Leonardo.<br>
<br>
_____________________________<br>
<br>
<br>
CREATIVE ASPECTS OF SONIFICATION<br>
by Oded Ben-Tal and Jonathan Berger<br>
<br>
A goal of sonification research is the intuitive audio<br>
representation of complex, multidimensional data. The
authors</font></div>
<div><font face="Courier" size="+1" color="#000000">present two facets
of this research that may provide insight<br>
into the creative process. First, they discuss aspects of<br>
categorical perception in nonverbal auditory scene analysis and<br>
propose that these characteristics are simplified models of<br>
creative engagement with sound. Second, they describe the use of<br>
sonified data in musical compositions by each of the authors and<br>
observe aspects of the creative process in the purely aesthetic<br>
use of sonified statistical data.<br>
<br>
_____________________________<br>
<br>
<br>
A UNIQUE ART FORM: THE FRIEZES OF PIRG<br>
by Alice V. James, David A. James and Loukas N. Kalisperis<br>
<br>
In the village of Pirgð on the Greek island of Chios, the<br>
faÞades of hundreds of buildings are completely covered with<br>
gray and white friezes. Circles, squares, triangles and<br>
rhomboids are used to create a lively geometry, ranging from the<br>
straightforward to the complex, to give each house its<br>
distinctive identity, its own unique face to display to the<br>
world. While analyzing the frieze designs, the authors<br>
discovered that the frieze artists intuitively obey a unique set<br>
of color-reversing rules. The goal of the project was to explain<br>
this powerful art form and to discover the essential<br>
mathematical structure underlying these color-reversing friezes.<br>
<br>
_____________________________<br>
<br>
<br>
FROM PERCEPTION TO CONSCIOUSNESS: AN EPISTEMIC VISION OF<br>
EVOLUTIONARY PROCESSES<br>
by Marc-Williams Debono<br>
<br>
The concept of plasticity provides a unifying hypothesis to<br>
account for the natural properties of living systems as well as<br>
the different levels of perception and information associated<br>
with these systems. Are the metadynamics of evolutionary<br>
processes able to describe the nature of consciousness as a<br>
whole? The close study of the link between the coherence of<br>
emerging objects and the way we think they appear allows us to<br>
use the metaphor of a discontinuous bridge linking primitive<br>
perceptions to consciousness just as brain plasticity is linked<br>
to art.<br>
<br>
________________________________________________________________<br>
<br>
<span
></span>
______________________________<br>
<span
></span>
| <span
></span
> <span
></span> |<br>
<span
></span>
| LEONARDO
ABSTRACTS |<br>
<span
></span>
|
SERVICE
|<br>
<span
></span>
|______________________________|<br>
<br>
________________________________________________________________<br>
<br>
The Leonardo Abstracts Service (LABS) is a listing of Masters<br>
and Ph.D. theses in the art/science/technology field, for the<br>
benefit of scholars and practitioners.<br>
<br>
LEA also maintains a discussion list open only to faculty in<br>
the field. Students interested in contributing and faculty<br>
wishing to join this list should contact lea@mitpress.mit.edu<br>
<br>
_____________________________<br>
<br>
<br>
AUTHOR<br>
Peter Anders<br>
ptr@mindspace.net<br>
<br>
LANGUAGES FAMILIAR TO THE AUTHOR<br>
English and German<br>
<br>
THESIS TITLE<br>
A Procedural Model for the Integration of Physical and<br>
Cyberspaces in Architecture<br>
<br>
<br>
ABSTRACT<br>
Research suggests that environments which hybridize<br>
technologies call for a conception of space as information, as a<br>
tool for and product of cognition. This moots the differences<br>
between *real* and *virtual* experience. The thesis proposes
a<br>
model whereby architecture may employ this concept of space in<br>
the creation of hybrids that integrate physical and cyberspaces.<br>
Further, it articulates opportunities offered by architectural<br>
computation, in particular the digital simulation of space known<br>
as virtual reality (VR) and its networked, social variant<br>
cyberspace.<br>
<br>
The dissertation presents important developments in<br>
architectural computation that disclose concepts and values that<br>
contrast with orthodox practice. Virtual reality and cyberspace,<br>
the foci of this inquiry, are seen to embody the more<br>
<br>
<br>
problematic aspects of these developments. They also raise a<br>
question of redundancy: If a simulation is good enough, do we<br>
still need to build? As technology matures and simulations<br>
become more realistic the challenge posed by VR/cyberspace to<br>
architecture only becomes more pressing. If the case for virtual<br>
idealism seems only to be strengthened by technological
and</font></div>
<div><font face="Courier" size="+1" color="#000000">cultural trends,
it would seem that a virtual architecture<br>
should have been well established in the decade since its<br>
introduction.<br>
<br>
After reviewing the history of design computation the<br>
dissertation pursues an assessment that reveals latent, accepted<br>
virtualities in design methodologies, instrumentation, and the<br>
notations of architectural practices. Of special importance is a<br>
spatial database that now pervades the design and construction<br>
processes. The unity of this database, effectively a project's<br>
cyberspace, and its material counterpart is the subject of the<br>
remainder of the dissertation. Such compositions of physical and<br>
cyberspaces are herein called *cybrids*. The dissertation<br>
examines current technologies that cybridize architecture and<br>
information technology, and proposes their integration within<br>
cybrid wholes. The concept of cybrids is articulated in
seven<br>
principles that are applied in a case study for the design for<br>
the Planetary Collegium. The project is presented and
critiqued<br>
on the basis of these seven principles. The dissertation<br>
concludes with a discussion of possible effects of cybrids upon<br>
architecture and contemporary culture.<br>
<br>
KEYWORDS<br>
cyberspace, virtual reality, mixed reality, cybrid,<br>
architecture, design, hybrid, Planetary Collegium, design<br>
computing, CAD, CAAD<br>
<br>
YEAR PUBLISHED/EXAMINED<br>
2004<br>
<br>
URL<br>
http://mindspace.net<br>
<br>
ORIGINAL LANGUAGE OF THESIS<br>
English<br>
<br>
COPYRIGHT OWNERSHIP<br>
Peter Anders<br>
<br>
THESIS SUPERVISOR<br>
Roy Ascott, University of Plymouth<br>
Computing/CaiiA-STAR(Planetary Collegium) <br>
roy.ascott@btinternet.com<br>
<br>
INSTITUTION WHERE DEGREE WAS GRANTED<br>
University of Plymouth<br>
<br>
INSTITUTION URL:<br>
http://www.plymouth.ac.uk<br>
<br>
INSTITUTION CONTACT DETAILS<br>
The University of Plymouth, Drake Circus, Plymouth, Devon PL4<br>
8AA, United Kingdom<br>
Tel: +44(0)1752 232 786; Fax: +44(0)1752 232 155<br>
graduateschool@plymouth.ac.uk.<br>
<br>
<br>
THESIS AVAILABLE UPON REQUEST<br>
Contact author or University of Plymouth<br>
<br>
________________________________________________________________<br>
<br>
<span
></span>
______________________________<br>
<span
></span>
| <span
></span
> <span
></span>
|<br>
<span
></span>
|
OPPORTUNITY
|<br>
<span
></span>
|_________________________________|<br>
<br>
________________________________________________________________<br>
<br>
RE:SEARCHING OUR ORIGINS: Critical and Archival<br>
Histories of the Electronic Arts<br>
Guest Editors: Paul Brown <Paul@paul-brown.com> and<br>
Catherine Mason <cs.mason@hart.bbk.ac.uk><br>
<br>
The mid- to late 20th Century has become a popular topic for<br>
humanities research in recent years. Many projects are<br>
attempting to re-discover and re-contextualise the somewhat<br>
neglected field of history of art and technology. International<br>
histories of electronic and digital arts are now beginning to be<br>
written and voice given to the pioneers of these artforms.<br>
Additionally, with contemporary 'new media' artforms such as<br>
video and net art enjoying high prominence at present, much<br>
discussion is taking place about the foundations of current<br>
practice and about reception of electronic arts in cultural<br>
institutions, including curatorial practice as well as archiving<br>
and conservation issues.<br>
<br>
This special issue of LEA seeks to report on international<br>
projects and initiatives working to recover, document or<br>
construct critical and historical contexts for the electronic<br>
arts.<br>
<br>
Topics of interest might include (but are not limited to):<br>
<br>
* Origins of electronic and digital arts<br>
* Key transition points, for example - from analogue to digital<br>
* Art and technology collaborations<br>
* Educational/access initiatives<br>
* Critical analyses<br>
* Cultural analyses<br>
* Acquisition and conservation issues<br>
* EtcÖ<br>
<br>
For the LEA February 2005 issue, we invite contributions from<br>
artists, practitioners, curators, theorists and historians that<br>
engage with histories of the electronic/digital arts and<br>
art/science/technology collaborations. These can include:<br>
<br>
- full papers<br>
- works in progress<br>
- artists' statements<br>
- museum and gallery initiatives<br>
- etcÖ<br>
<br>
Under three levels of submission:<br>
- Fully refereed papers<br>
- Shorter work that may be sent to peer review and</font></div>
<div><font face="Courier" size="+1" color="#000000">- Personal
reminiscences and experiences that may be<br>
editorially selected and not peer reviewed.<br>
<br>
The guest editors are members of CACHe: Computer Arts,<br>
Contexts, Histories, etcÖ a major research and archiving project<br>
based in the School of History of Art, Film and Visual Media at<br>
Birkbeck, University of London and funded by the UK Government's<br>
Arts and Humanities Research Board. CACHe is documenting and<br>
contextualising the early days of computer arts in the UK from<br>
its origins in the 1960s to 1980, when the first "User
Friendly"<br>
systems began to appear. http://www.bbk.ac.uk/hafvm/cache/<br>
<br>
LEA encourages international artists / academics / researchers<br>
/ students to submit their proposals for consideration. We<br>
particularly encourage authors outside North America and Europe<br>
to send proposals for articles/gallery/artists statements.<br>
<br>
Proposals should include:<br>
- 200 - 300 word abstract / synopsis<br>
- A brief author biography<br>
- Any related URLs<br>
- Contact details<br>
<br>
Timeline<br>
1 May 2004 - submission of abstracts<br>
31 May 2004 - short-listed candidates informed<br>
31 Sept 2004 - Contributors to submit full papers for peer review<br>
<br>
Deadline for abstracts: 1 May 2004<br>
<br>
Please send proposals or queries to:<br>
Paul Brown <Paul@paul-brown.com> or<br>
Catherine Mason <cs.mason@hart.bbk.ac.uk><br>
<br>
and<br>
Nisar Keshvani<br>
LEA Editor-in-Chief<br>
lea@mitpress.mit.edu<br>
<br>
_____________________________<br>
<br>
<br>
>From the Extraordinary to the Uncanny:<br>
the persistence of a parallel universe<br>
Guest Editor: Michael Punt<br>
< extraordinaryconnections@uk2.net ><br>
<br>
We are seeking submissions of papers and other works from<br>
artists historians, and theorists interested in this topic. In<br>
particular we are calling for short papers (±2500 words) or<br>
artists statements and image essays on:<br>
<br>
* para-science and para-art<br>
* spirit photography<br>
* magic, conjuring and performance<br>
* consciousness, precognition and the uncanny subject<br>
* coincidence, narrative and psychoanalysis<br>
* history and the inexplicable event<br>
* sub-cellular phenomena and a macro reality<br>
* toward a theory of unstable realities<br>
* accident, memory and amnesia<br>
<br>
LEA encourages international artists / academics / researchers<br>
/ students to submit their proposals for consideration. We<br>
particularly encourage young authors outside North America and<br>
Europe to send proposals for articles/gallery/artists statements.<br>
<br>
Expressions of interest and outline should include:<br>
- 300 word abstract / synopsis<br>
- A brief author biography<br>
- Any related URLs<br>
- Contact details<br>
<br>
Deadline for expressions of interest: 30 April 2004<br>
Deadline for accepted proposals: 10 September 2004.<br>
<br>
Please send proposals or queries to:<br>
Michael Punt<br>
extraordinaryconnections@uk2.net<br>
<br>
or<br>
Nisar Keshvani<br>
LEA Editor-in-Chief<br>
lea@mitpress.mit.edu<br>
<br>
_____________________________<br>
<br>
<br>
Network Leaps, Bounds and Misses: Critiquing Regional<br>
Strategies for Digital Arts and Electronic Music<br>
in Asia and the Pacific<br>
Guest Editor: Fatima Lasay <fats@up.edu.ph><br>
<br>
Under the UNESCO Digi-Arts Knowledge Portal for technology-<br>
based arts and music, an international colloquium took place on<br>
4-5 December, 2003 at the Sarai Center for Study of Developing<br>
Societies in Delhi, India. The meeting, entitled "Old<br>
pathways/New travelers: new media, electronic music and digital<br>
art practices in the Asia Pacific region", sought to launch a<br>
media arts and electronic music initiative sponsored by UNESCO<br>
Digi-Arts and Sarai, to promote and develop research,<br>
networking, mutual cooperation, training and knowledge in these<br>
fields within the region. The meeting also aimed to point out<br>
the role and place of media and technology in a social, cultural<br>
and economic landscape inscribed by ancient histories of contact<br>
and paths that internally connect the landmass of Asia and the<br>
island cultures of the Pacific regions, its impact on young<br>
people and its potential as a unique tool to promote cultural<br>
diversity.<br>
<br>
As critical and engaging discussions of such a network of<br>
associations are underway, what do our past and current national<br>
and regional practices reveal about the limits of localization,<br>
proximity and regional reification? What lies beneath or
within</font></div>
<div><font face="Courier" size="+1" color="#000000">concepts of media
and technology as instruments for promoting<br>
cultural diversity? Is media and technology a result or cause of<br>
culture? What is the position of media, art and technology in<br>
the ontological divide between regionalization and<br>
globalization? In which aspects do we need to transcend the<br>
regional level in the regional network building efforts? What is<br>
the significance of local ontologies within the process of<br>
building a regional network?<br>
<br>
Can asymmetrical local and regional development and promotion<br>
of digital arts in the region be addressed by mere institutional<br>
and conventional proximity? If geographic proximity is<br>
insuficient, then which conceptual spaces might provide a more<br>
solid basis for cooperative development? What critical and<br>
realistic approaches have been and can be made, in both<br>
imagination and actualization, to move in opposite directions<br>
and still meet together, across the globe, in building that<br>
strong and balanced support structure for digital arts in the<br>
region?<br>
<br>
For the June issue of LEA, we invite contributions from<br>
artists, musicians, practitioners, curators and critics that<br>
address regional networking competence problems and realities in<br>
the field of digital arts and electronic music in the Asia<br>
Pacific cultures.<br>
<br>
LEA encourages international artists / academics / researchers<br>
/ students to submit their proposals for consideration. We<br>
particularly encourage authors outside North America and Europe<br>
to send proposals for articles/gallery/artists statements.<br>
<br>
Proposals should include:<br>
- 300 word abstract / synopsis<br>
- A brief author biography<br>
- Any related URLs<br>
- Contact details<br>
<br>
Deadline for proposals: Extended to 15 April 2004<br>
<br>
Please send proposals or queries to:<br>
Fatima Lasay<br>
fats@up.edu.ph<br>
<br>
or<br>
Nisar Keshvani<br>
LEA Editor-in-Chief<br>
lea@mitpress.mit.edu<br>
<br>
_____________________________<br>
<br>
<br>
New Media Designer<br>
School of the Art Institute of Chicago<br>
<br>
New Media Designer: The Department of Visual Communication<br>
seeks a full-time faculty member with expertise in web- or video-<br>
based communication design and/or interactive media, to teach<br>
graphic design within an interdisciplinary context. Core<br>
Curricular topics include theories, strategies and methodologies<br>
of navigation, interpretation, content configuration and digital<br>
production. Related competencies might include typographic<br>
structure and expression; hybrid environments; planning and<br>
production of motion graphics for television and film; research<br>
and development of cultural and environmental issues; and /or<br>
contemporary visual cultural criticism.<br>
<br>
The successful candidate will play a lead role in the<br>
coordination and continued development of the new media track in<br>
Visual Communication. Teaching experience and a erminal degree<br>
in visual communication, design or other relevant area<br>
preferred. Applicants should have an active design and/or art<br>
practice.<br>
<br>
The position is full-time, tenure-track, rank and salary<br>
commensurate with experience and begins the fall of 2004.<br>
<br>
Application curriculum vitae, course syllabi, artist statement<br>
and teaching philosophy, and design work in the form of slides,<br>
CD-ROM, DVD, VHS, or Website.<br>
<br>
New Media Designer Search Committee/LEO<br>
The School of the Art Institute of Chicago<br>
Dean's Office<br>
37 S Wabash Ave<br>
Chicago, IL 60603<br>
<br>
Preferred Deadline April 1, 2004<br>
Application materials will be accepted until the position is<br>
filled.<br>
<br>
<br>
About School of the Art Institute of Chicago<br>
The School of the Art Institute of Chicago, a leading<br>
professional school of art and design, operates with the museum<br>
of the Art Institute of Chicago at the center of one of the<br>
country's most exciting and diverse cultural communities. The<br>
School is comprised of 13 studio departments and a first year<br>
program, 7 academic departments and 3 certificate programs and<br>
offers the BFA with Emphasis in Art History: BFA with Emphasis<br>
in Art Education; BA in Visual Studies; Master of Fine<br>
Arts degrees in studio and writing, and Master of Art degrees<br>
in Arts Administration, Art Education, Art History/Theory and<br>
Criticism, Art Therapy and Master of Science in Historic<br>
Preservation, as well as post baccalaureate certificates
and</font></div>
<div><font face="Courier" size="+1" color="#000000">continuing studies
programs. The School of the Art Institute<br>
believes that all persons are entitled to equal employment<br>
opportunities, and does not discriminate against its employees<br>
because of race, religion, color, national origin, age, gender<br>
or any other bases prohibited by law, provided they are<br>
qualified and meet the requirements established for the job.<br>
Women, minorities and international applicants are encouraged to<br>
apply. The School currently enrolls 2,280 FTE students and<br>
employs 125 full-time faculty and 342 part-time faculty, 297<br>
full and part-time staff.<br>
<br>
________________________________________________________________<br>
<br>
___________________<br>
| <span
></span> |<br>
| <span
></span> |<br>
|
CREDITS |<br>
| <span
></span> |<br>
|___________________|<br>
<br>
<br>
Nisar Keshvani: LEA Editor-in-Chief<br>
Patrick Lambelet: LEA Managing Editor<br>
Michael Punt: LR Editor-in-Chief<br>
Andre Ho: Web Concept and Design Consultant<br>
Roger Malina: Leonardo Executive Editor<br>
Stephen Wilson: Chair, Leonardo/ISAST Web Committee<br>
Craig Harris: LEA Founding Editor<br>
<br>
Editorial Advisory Board:<br>
Irina Aristarkhova, Roy Ascott, Fatima Lasay, Michael Naimark,<br>
Craig Harris, Julianne Pierce<br>
<br>
Gallery Advisory Board:<br>
Mark Amerika, Paul Brown, Choy Kok Kee, Steve Dietz, Kim Machan<br>
<br>
fAf-LEA Corresponding Editors:<br>
Ricardo Dal Farra, Elga Ferreira, Young Hae-Chang, Fatima<br>
Lasay, Lee Weng Choy, Jose-Carlos Mariategui, Marcus Neustetter,<br>
Elaine Ng, Marc Voge<br>
<br>
________________________________________________________________<br>
<br>
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| <span
></span> |<br>
|
LEA |<br>
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|
ACCESS |<br>
|___________________|<br>
<br>
<br>
For over a decade, Leonardo Electronic Almanac (LEA) has thrived<br>
as an international peer-reviewed electronic journal and web<br>
archive, covering the interaction of the arts, sciences and<br>
technology. LEA emphasizes rapid publication of recent work and<br>
critical discussion on topics of current excitement. Many<br>
contributors are younger scholars and artists, and there is a<br>
slant towards shorter, less academic texts.<br>
<br>
Contents include Leonardo Reviews, edited by Michael Punt,<br>
Leonardo Research Abstracts of recent Ph.D. and Masters theses,<br>
curated Galleries of current new media artwork, and special<br>
issues on topics ranging from Artists and Scientists in times of<br>
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<br>
LEA is accessible using the following URL: http://lea.mit.edu<br>
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<br>
________________________________________________________________<br>
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| ACKNOWLEDGEMENTS |<br>
|____________________|<br>
<br>
LEA acknowledges with thanks the Rockefeller and Ford<br>
Foundations for their support to Leonardo/ISAST and its projects.<br>
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< End of Leonardo Electronic Almanac 12 (04) ><br>
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