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Leonardo Electronic Almanac volume 12, number 5, May
2004<br>
http://lea.mit.edu<br>
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ISSN #1071-4391<br>
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________________________________________________________________<br>
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<br>
INTRODUCTION<br>
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<br>
<br>
EDITORIAL<br>
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<br>
< Art and Design: Cures for Society's Growing Data Perceptual<br>
Blindness?, by Julio Bermudez ><br>
<br>
<br>
FEATURES<br>
--------<br>
<br>
< Toward the Glass Bead Game - A Rhetorical Invention, by<br>
Joshua Fost ><br>
<br>
< PNN: Digital Sampling To Create A Hybrid Media Feed, by Jack<br>
Stenner ><br>
<br>
< Project Description: ERA (Escuela Rual Andina de Cajamarca) -<br>
Activating the Talents of Rural Peru's Artisans, by Sabine Vess
><br>
<br>
<br>
LEONARDO REVIEWS<br>
----------------<br>
<br>
< Reading Psycho-Analysis: Freud, Rank, Ferenczi, Groddeck,<br>
reviewed by Coral Houtman ><br>
<br>
< The Matrix of Visual Culture: Working with Deleuze in Film<br>
Theory, reviewed by David Surman ><br>
<br>
<br>
LEONARDO ABSTRACTS SERVICE<br>
--------------------------<br>
<br>
< Multiuser Environments as (Virtual) Spaces to (Hybrid) Spaces<br>
as Multiuser Environments - Nomadic Technology Devices and<br>
Hybrid Communication Places, by Adriana de Souza e Silva ><br>
<br>
<br>
ANNOUNCEMENTS<br>
-------------<br>
<br>
< Leonardo/ISAST office moving ><br>
<br>
<br>
ISAST NEWS<br>
----------<br>
<br>
< In Memorium: Iba Ndiaye Diadji ><br>
<br>
< In Memorium: Piotr Kowalski ><br>
<br>
< Preliminary Announcement: International Art and Technology<br>
History Conference ><br>
<br>
< Leonardo/ISAST Participation with College Art Association
><br>
<br>
< Leonardo Network Member Profiles: Julio Berm™dez and<br>
Penelope Finnie ><br>
<br>
<br>
________________________________________________________________<br>
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<br>
In LEA's May issue, multimedia artist Jack Stenner describes<br>
the *Public News Network* (PNN), a computer-based artwork giving<br>
viewers "the power to interrogate corporate broadcast
media."<br>
Using a 3-D navigable space, with Internet-transmitted objects<br>
representing news broadcasts, to synthesize ideas from multiple<br>
disciplines the work encourages the audience to question our<br>
preconceived understanding, providing the "opportunity for a
new<br>
understanding via chance juxtapositions and a re-sampling of<br>
existing content."<br>
<br>
Scientist Joshua Fost's Internet-art piece *Toward the
Glass</font></div>
<div><font face="Courier" size="+1" color="#000000">Bead Game*, is a
realization of writer Herman Hesse's "Glass<br>
Bead Game". The piece associates small images with ideas that<br>
are described in ordinary prose, thus developing a new<br>
vocabulary of glyphs, which are later "assembled in special<br>
ways, such that their spatial arrangement asserts symbolic<br>
relationships between the corresponding ideas." Incorporated<br>
into the work are elements from Quentin Tarantino's film *Pulp<br>
Fiction*, Francis Ford Coppola's film *Bram Stoker's Dracula*,<br>
and symbolism representing the biblical Christ.<br>
<br>
Sabine Vess describes, "Escuela Rural Andina de
Cajamarca,"<br>
which seeks to activate the talents of rural Peru's artisans<br>
through the creation of permanent training facilities for<br>
weavers, ceramists and jewelers.<br>
<br>
In Leonardo Reviews, filmmaker/theorist Coral Houtman reviews<br>
Peter L. Rudnytsky's *Reading Psycho-Analysis: Freud, Rank,<br>
Ferenczi, Groddeck*, examining the relationship between<br>
psychoanalysis and literature through a textual analysis filter.<br>
David Surman reviews Patricia Pisters' latest powerful foray<br>
into the writing of Deleuze, *The Matrix of Visual Culture:<br>
Working with Deleuze in Film Theory*<br>
<br>
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| EDITORIAL |<br>
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<br>
ART AND DESIGN: CURES FOR SOCIETY'S GROWING DATA PERCEPTUAL<br>
BLINDNESS?<br>
<br>
By Julio Bermudez, Leonardo International Advisory Board<br>
College of Architecture and Planning,<br>
375 South 1530 East,<br>
Room 235, University of Utah,<br>
Salt Lake City, UT 84112, U.S.A.<br>
bermudez@arch.utah.edu<br>
<br>
Until the early twentieth century, scientific and engineering<br>
decision-making depended on direct human observation of<br>
empirical phenomena. Although instruments extending the
range<br>
of human perception and action had been developed and were used,<br>
a firsthand human involvement in the observation, collection and<br>
classification of information was unavoidable. During the
past<br>
century the development of technology, hand in hand with the new<br>
needs of scientific inquiry, made our instruments so powerful<br>
and sophisticated that they now largely mediate our relationship<br>
with reality. Paradoxically, these very instruments have now<br>
evolved to such an extent that they themselves have become too<br>
complex, large, small, far away and/or fast to allow for<br>
unassisted human operation - we need instruments to run our<br>
other instruments! As a result, today's ordinary scientific and<br>
engineering work requires a near total removal of direct human<br>
engagement from reality, lest it lead to imprecise, inefficient,<br>
biased, or even dangerous outcomes - think of genetic research,<br>
astronomy, quantum physics, medical probing, nuclear power plant<br>
management, etc. Doing science and engineering means to work<br>
through layers and layers of representations displaying ever<br>
growing amounts of data, which are gathered by sensors measuring<br>
essential functions of the system in use and/or under scrutiny.<br>
<br>
As I write, millions of engineers and scientists across the<br>
planet are conducting millions and millions of operations that<br>
depend on accessing, analyzing and generating terabits of data<br>
by means of highly removed and abstract representation<br>
instruments. Of course, this situation is not unique to<br>
scientists or engineers. Just consider that the actions of<br>
millions of individuals in the developed world are continuously<br>
being converted into data, sent and stored in servers to be<br>
accessed through various information instruments in order to be<br>
stored, studied and used in business transactions, security<br>
checks, military operations, health care decisions, air travel<br>
planning, etc. Given that the production of data and technology<br>
is accelerating so rapidly that it has began to outpace our<br>
capacity to manage them, our total dependency on instruments and<br>
data representations is more than worrisome [1]. The stakes get<br>
quite high when the monitored system/behaviors involve high
risk</font></div>
<div><font face="Courier" size="+1" color="#000000">and decisions must
be taken in real time. Growing rates of human<br>
errors in decision-making point to yet another and, perhaps,<br>
even more troublesome fact: existing data instruments displaying<br>
received sensor information often obscure, rather than<br>
facilitate, understanding [2].<br>
<br>
So, here is one big problem facing contemporary civilization:<br>
our systems, technologies and activities have developed to a<br>
much larger extent than the representational instruments<br>
necessary to make sense out of what our apparati are sensing or<br>
doing [3]. It is as if our society's "body" is able
to<br>
experience sensations but its brain is unable to fully process<br>
them to allow for optimal situation awareness of its state,<br>
behavior and surroundings. In other words, the existing
rules<br>
of perception (i.e. those integrating sense-data into meaningful<br>
observations) are showing signs of obsolescence and calling for<br>
fundamental improvement.<br>
<br>
The explosive growth of data visualization in the past 20 years<br>
is a tacit acknowledgment of this diagnosis. However, the
new<br>
information display models advanced so far have only partially<br>
alleviated the growing data perceptual blindness afflicting<br>
society. The reason is simple: most of the work in this area<br>
has been done by those who develop the data or devise the<br>
instruments themselves: scientists and engineers. Scientists<br>
and engineers have been trained in quantitative and not<br>
qualitative methods, in analytical and not integrative<br>
processes, in obtaining or using and not in communicating<br>
knowledge. Clearly, the field of data visualization needs the<br>
help of professionals familiar with representation, design and<br>
communication. Bringing this missing expertise into data-<br>
monitoring instruments would go a long way to address the<br>
information overload weakening contemporary society's ability to<br>
properly process sense data into perceptions that support<br>
optimal functioning.<br>
<br>
Art and design have an especially important role to play in<br>
lending perceptual power to the unclear and overwhelming<br>
sensorial output coming out of our instruments. Returning<br>
precise sight to otherwise blurred vision means to conceive new<br>
representational conventions and tools that transform raw data<br>
into meaningful information. Doing so is something that comes<br>
naturally to art and design. The act of turning automatic<br>
sensation into conscious perception has been one of the great<br>
contributions of art and design throughout history.<br>
<br>
This by no means suggests a solitary effort. Undertaking
this<br>
project requires addressing many intertwined and difficult<br>
issues and dimensions. Not only must one have some cognitive<br>
model of the users' data-driven decision-making processes, but<br>
one must also determine the nature and behavior of the data<br>
(structure, process), the type of problem, needs and<br>
requirements, the technology to deliver such depictions,<br>
evaluation systems, etc. Clearly, this cannot be done by any<br>
one domain alone. In fact, this task would overwhelm any
single<br>
discipline by its sheer complexity, scale, multi-dimensionality,<br>
etc. Nothing less than a well-organized interdisciplinary<br>
approach will do. <br>
<br>
And yet, as disciplines of qualitative, interpretive, creative,<br>
intuitive, critical and multimodal inquiry dependent on<br>
depiction and communication, art and design offer unmatched,<br>
millennia old expertise in the weakest areas of present-day data<br>
discernment systems. By playing a leadership role in restoring<br>
society's perceptual ability to process data collected by its<br>
ever more ubiquitous and powerful instruments, art and design<br>
would become society's prime cognitive faculty in making sense<br>
out of information chaos. This project is full of intellectual<br>
and practical opportunities for artists and designers and while<br>
its full impact is hard to grasp, it is safe to forecast that it<br>
will have vast, deep and lasting consequences in our lives.<br>
<br>
<br>
NOTES<br>
<br>
1. See P. Bradford, *Information Architects* (Zurich: Graphics<br>
Press International, 1996); P. Drucker, *The Age of<br>
Discontinuity* (New Brunswick, Canada: Transation Publishers,<br>
1992); N. Negroponte, *Being Digital* (New York, NY: Alfred
A.</font></div>
<div><font face="Courier" size="+1" color="#000000">Knopf, 1995); A.
Toffler, *PowerShift: Knowledge, Wealth and<br>
Violence at the End of the 21st Century* (New York, NY: Bantam<br>
Books, 1990); R.S. Wurman, *Information Anxiety* (New York, NY:<br>
Doubleday, 1989); and R.S. Wurman, *Information Anxiety2*<br>
(Indianapolis, IN: Que, 2001). <br>
<br>
2. See J. Reason, *Human Error* (Cambridge, U.K.: Cambridge<br>
University Press, 1990) and E.R. Tufte, *Visual Explanations*<br>
(Cheshire, CT: Graphics Press, 1997). <br>
<br>
3. See P1000, "Science and Technology Information<br>
Visualization: 1996," in *A Roadmap to Provide Information<br>
Visualization Technology Broadly within the Intelligence<br>
Community*, Version 2 (16 September, 1996); Richards et al,<br>
Method and Apparatus for Processing and Displaying Multivariate<br>
Time Series Data, US PATENT # 5,121,469 (9 June, 1992); E.R.<br>
Tufte, *The Visual Display of Quantitative Information*<br>
(Cheshire, CT: Graphics Press, 1983); Tufte, *Envisioning<br>
Information* (Cheshire, CT: Graphics Press, 1990); and R.S.<br>
Wurman, *Information Architects* (Switzerland: Graphis, 1996).<br>
<br>
<br>
Ed. Note: See Julio Bermudez's profile in this issue's ISAST<br>
News.<br>
<br>
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FEATURES
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<br>
PNN: DIGITAL SAMPLING TO CREATE A HYBRID MEDIA FEED<br>
<br>
By Jack Stenner<br>
Texas A&M Visualization Laboratory,<br>
College Station,<br>
TX 77801 United States of America<br>
<br>
jack@jigglingwhisker.com<br>
http://www.jigglingwhisker.com<br>
<br>
[Ed. Note: This article, including images, can be seen in full<br>
at http://lea.mit.edu]<br>
<br>
ABSTRACT<br>
<br>
*Public News Network* (*PNN*), a computer-based artwork, gives<br>
the viewer the power to interrogate corporate broadcast media.<br>
It presents a 3D navigable space, defined by Internet-<br>
transmitted objects representing news broadcasts. It synthesizes<br>
ideas from multiple disciplines to create a work that<br>
encourages us to question our preconceived understanding and<br>
allows us to reconfigure its representation. This process<br>
provides the opportunity for a new understanding via chance<br>
juxtapositions and a re-sampling of existing content.<br>
<br>
<br>
INTRODUCTION<br>
<br>
The *Public News Network* (*PNN*) is a computer application and<br>
development framework that synthesizes methodologies from the<br>
worlds of art theory, computer science, cognitive science and<br>
copyright law into a work of art. The discussion of this work<br>
should be prefaced with the acknowledgement that my background<br>
is that of an artist and architect, rather than a scientist or<br>
engineer. As such, the focus of this work is not the invention<br>
of new types, but rather the amalgamation and synthesis of<br>
ideas from various disciplines and cultures and the<br>
representation of those ideas in forms that provide a<br>
reconfigured understanding of meaning. The goal of *PNN* is
to<br>
create a work that provides the viewer a measure of control and<br>
power over corporate media and presents the opportunity for
the<br>
revelation of alternative meanings. While it may appear at times<br>
as a "tool," by virtue of its functional
capabilities,<br>
ultimately it is intended as a work of art. In this sense,<br>
ambiguity is a virtue that allows the viewer to encounter<br>
chance associations and derive alternate readings.<br>
<br>
Perhaps the best way to describe *PNN* textually is to attempt<br>
to paint a picture of the interface and experience that is the<br>
goal of this project.<br>
<br>
DESCRIPTION<br>
<br>
*PNN* presents a three-dimensional space that a viewer can<br>
navigate using a computer mouse and keyboard. Moving within the<br>
environment, one sees irregularly shaped, three-dimensional<br>
objects resting on an infinite ground plane and hears an<br>
ethereal wind [Fig. 1]. As the viewer nears an object, the<br>
sound transforms into the sound of television static and text is<br>
displayed, identifying this object as representative of an<br>
episode of the evening news. The viewer "touches" the
episode<br>
object and a transcript of the broadcast begins to
scroll</font></div>
<div><font face="Courier" size="+1" color="#000000">across the screen.
With further interaction, video of the<br>
broadcast streams across the surfaces of the environment,<br>
distorted by the shapes upon which it flows [Fig. 2]. The viewer<br>
can further manipulate and repurpose the broadcast by
searching<br>
for words contained within the transcripts. The results of this<br>
search are reassembled into a new episode object, which is<br>
surface-mapped with video containing the terms stripped from<br>
their original context. Juxtapositions of sound and imagery<br>
present the opportunity for the creation of an aesthetic<br>
experience through willful manipulation of meaning effects.<br>
<br>
CONCEPT<br>
<br>
The initial goal of the project was to create a prototype<br>
application that identified ways that an application might work<br>
with artistic concepts such as sampling,<br>
representation/simulation, dynamism and culture-at-large, to<br>
produce a computer-mediated aesthetic experience.<br>
<br>
Prior to working with exclusively digital media, my work<br>
revolved around the presentation of ideas and experiences that<br>
question existing control structures, and I wanted to continue<br>
this mode of work. Within the United States, one of the most<br>
powerful and effective control structures of the last several<br>
decades has been the major broadcast television network, such<br>
as CBS, ABC and NBC. In particular, the evening news broadcasts<br>
have been fundamental in shaping opinion and reflecting U.S.<br>
cultural ideals. Since the days of Walter Cronkite, the *CBS<br>
Evening News* has been the most respected and most watched<br>
evening news broadcast. For this reason, I chose it as the<br>
initial focus of *PNN*.<br>
<br>
Even though the Internet is increasingly a source of news and<br>
information for many in the U.S., the televised news broadcast<br>
is still the major source that creates and reflects our cultural<br>
dialogue. These broadcasts are generally unidirectional,
with<br>
the viewer being the passive receptor of information. Might<br>
there be a way to involve the viewer with meaning
generation?<br>
While the broadcasters claim to present information in an<br>
unbiased manner, there are always masked meanings and hidden<br>
subtexts within the presentation. How might an artist reveal<br>
these? Similarly, these presentations are neatly packaged in
30-<br>
minute segments, with little coherence between episodes other<br>
than the structure of the broadcast itself. Might different<br>
time bases uncover alternative readings, or might there be<br>
individuated forms associated with these broadcasts? What
about<br>
digital rights - how might one deal with issues regarding<br>
appropriated material?<br>
<br>
The opportunities afforded by the mass communication of the<br>
Internet and the increasing bandwidth available to those in the<br>
U.S. led me to investigate the possibility of creating an<br>
alternative broadcast network. This network would be focused on<br>
the existing corporate networks and would use them as a
source<br>
of material. I felt this might be a useful way to involve the<br>
project with the cultural dialogue and perhaps provide the<br>
opportunity to act as "counter-surveillance" on the
existing<br>
mechanism. Rather than simply being an alternative network<br>
based on existing models, this network would be in the form of<br>
an artwork that uses the tools of art to address and,
perhaps,<br>
subvert the tools of corporate media.<br>
<br>
TECHNIQUES<br>
<br>
During the development of *PNN*, I identified a number of<br>
techniques to address the questions posed in the previous<br>
section. By its very nature, the Internet provides the
capacity<br>
to involve the viewer in the process of meaning generation.<br>
Studies tell us that meanings garnered from news broadcasts<br>
often have less to do with the facts presented and more with the<br>
associations we read into them [1]. Of course, there is the<br>
question of effort, but assuming an interested and critical-<br>
minded viewer, *PNN* attempts to provide the viewer the ability<br>
to mine information about the news broadcast by creating an<br>
interface that allows the viewer to enter search terms that are<br>
subsequently matched against a database of transcripts of
each<br>
broadcast. Once a term is matched, it returns the surrounding<br>
phrase containing the term, along with an index, into
the</font></div>
<div><font face="Courier" size="+1" color="#000000">segment of video
containing the search word. Each term "hit" is<br>
sequenced behind the previous to create a remix. The
playback<br>
of this re-sampled data creates unusual juxtapositions and the<br>
opportunity for chance meaning effects. *PNN* creates a<br>
Recombinant Information Space [2] that collects, repurposes and<br>
synthesizes information. This technique allows the viewer to<br>
direct and shape her own search for meaning within the<br>
broadcast, rather than continuing the passive-viewer style
of<br>
the existing system.<br>
<br>
Another technique "re-presents" patterns that exist within
the<br>
news broadcasts. These patterns may provide a glimpse into<br>
hidden subtext and representations of meaning embedded within<br>
the broadcasts, or perhaps in culture in general. Using<br>
techniques common to information retrieval, search terms and<br>
their relative locations, frequency and importance within the<br>
body of the transcripts are mapped to a visualization across<br>
time. This mapping is overlaid with the representation of the<br>
broadcasts to provide a linear understanding of the progression<br>
of meaning embodied in the broadcasts.<br>
<br>
While *PNN* is not a "real time" application, in the sense
that<br>
it works with a live broadcast feed, it is dynamic by virtue
of<br>
the fact that the database of information is updated shortly<br>
following each broadcast. This ever-growing source of<br>
information allows the application, as well as the experience it<br>
engenders, to grow and change with the culture that informs
it.<br>
Unlike the typical news broadcast that is presented once and<br>
disappears, *PNN* allows the viewer the ability to visualize<br>
and interact with news using a greater duration time base.<br>
Presently, the database contains over 120 episodes. In order to<br>
keep the visualization manageable, the count will be capped at<br>
365, with the newest episodes replacing the oldest. There will<br>
possibly be added some functionality to extend this timeline or<br>
to provide access to it in certain situations.<br>
<br>
Another question posed during the development of *PNN* deals<br>
with the issue of form: might an analysis of the video of each<br>
day's broadcast be used to generate a unique formal<br>
representation? *PNN* works with the idea of space as a
media<br>
type by creating a network-transmittable architectural space<br>
defined by the objects within it [3]. Each 3D episode object is<br>
generated following a broadcast. Hue, saturation and brightness,<br>
sampled periodically throughout the duration of the episode,<br>
are used to construct geometry that reflects the idiosyncratic<br>
nature of the day's news. It is hoped that over time, one
will<br>
be able to recognize the "tenor" of a broadcast simply by
its<br>
visual representation.<br>
<br>
Of course, with any work that appropriates material from<br>
existing sources, digital rights become an issue. No one would<br>
use *PNN* as an alternative broadcast of the evening news
and<br>
expect to receive the same pre-packaged experience delivered by<br>
the major networks. *PNN* functions as a critique of the<br>
existing source of our daily information and encourages the<br>
viewer to construct a commentary on its substance. *PNN*
acts<br>
as a tool for the manipulation of a major component of U.S.<br>
cultural dialogue. Recognizing that there are varying
opinions<br>
about this issue, *PNN* places the burden of responsibility on<br>
the viewer rather than the artist/programmer. A
"preference"<br>
panel within the application contains a sliding control that<br>
allows the viewer to adjust the distortion of sound and
imagery<br>
to suit her opinions regarding digital rights. The more<br>
unrecognizable the source of material, the less likely it is<br>
that one might accidentally violate the digital rights of the<br>
reference.<br>
<br>
TECHNOLOGY<br>
<br>
Five nights per week, a custom-written application called<br>
"Captionator" records a 30-minute episode of *The CBS
Evening<br>
News with Dan Rather* to a serially controlled digital video<br>
recorder. Simultaneously, Captionator controls a closed caption<br>
decoder to record the transcript of the spoken word [Fig. 3].<br>
Captionator keys the transcript to the time code of the video<br>
broadcast to provide rough synchronization of word to
video.</font></div>
<div><font face="Courier" size="+1" color="#000000">Following the
recording, Captionator creates a searchable index,<br>
utilizing the Lucene API [4] and stores it on the *PNN* web<br>
server. Captionator then initiates the digitization of the<br>
recorded video and stores it on the *PNN* streaming server.<br>
Based on factors such as luminance, hue, saturation or other<br>
data, a subprogram analyzes the video and creates a three-<br>
dimensional representation of the broadcast. This broadcast<br>
object is combined with other episode objects to create a<br>
"landscape." These broadcast objects are stored on the *PNN*
web<br>
server, ready to be downloaded by the *PNN* client
application.<br>
Whenever the *PNN* client is run, it asks to check with the<br>
*PNN* server and update to include the most recently
recorded<br>
broadcasts. Within the client space, audio is spatialized - as<br>
the viewer moves throughout the space, sound is tied to each<br>
episode object, panning with movement.<br>
<br>
PNN utilizes cross-platform APIs where possible. The primary<br>
user interface relies on Java [5], combined with GL4Java (OpenGL<br>
for Java) [6] for three-dimensional rendering. QuickTime for<br>
Java [7] provides access to native video and video-streaming<br>
capabilities. As previously mentioned, Lucene provides search<br>
capabilities combined with Apache XML-RPC [8] for Internet<br>
connectivity and communication. Recently, a new implementation<br>
of the OpenGL and Java bindings called JOGL [9] has been made<br>
available. This library appears to offer advantages over<br>
GL4Java. The client application will soon be converted to this<br>
new binding and should result in noticeable speed and
stability<br>
improvements.<br>
<br>
STATUS<br>
<br>
A prototype *PNN* client application has been created and runs<br>
on Windows and Mac OSX. The prototype provides an overall look<br>
at the capabilities of the system, simulating the functionality<br>
of the server-side components. The server application is in
the<br>
early development stage as a part of my research at the Texas<br>
A&M Visualization Laboratory. The plan is to produce the<br>
components of the *PNN* framework as individual works that<br>
develop an area of functionality that will be adapted to *PNN*.<br>
Recently, one of these *PNN* subprojects, called *Re-present*,<br>
was completed [Fig. 4]. *Re-present* develops the transcript<br>
search and retrieval mechanism and presents a prototype<br>
visualization of the content. *Re-present* can be downloaded and<br>
run as an independent application on Linux, Mac OSX and
Windows<br>
systems.<br>
<br>
Further information about *Re-present* can be found at<br>
http://www.publicnewsnetwork.net/projects/re-present/<br>
The *PNN* client prototype, as well as development<br>
information, screenshots, and video is accessible at<br>
http://www.publicnewsnetwork.net/<br>
<br>
The next major area of development, following conversion of the<br>
client application to JOGL, is the generation of geometry
from<br>
video analysis of the news broadcasts. This work is scheduled to<br>
begin in late fall, 2004.<br>
<br>
EXTENSIONS<br>
<br>
*PNN* establishes a framework for the basis of multiple works,<br>
targeted at specific issues beyond just the *CBS Evening
News*.<br>
Given the same evaluation criteria, how might the visual<br>
representation of *Fox News* differ from PBS (ideologically<br>
polar opposites)? Does a sitcom appear appreciably different<br>
than the news? Patterns of language might be made apparent and<br>
studies of term frequency and color-mood relationships could<br>
lead to new forms of expression. Perhaps it would be interesting<br>
to interface *PNN* with a rapid prototyping system to produce<br>
physical episode objects. How might *PNN* be integrated into an<br>
installation environment? *PNN* provides a rich foundation for<br>
the exploration of multiple ideas of interest to artists and<br>
scientists.<br>
<br>
CONCLUSION<br>
<br>
*PNN* uses computer technology in the form of an application<br>
that takes advantage of digital systems' abilities to manipulate<br>
information quickly and efficiently. *PNN* creates an immersive<br>
navigable space and presents that space in an interpretive<br>
manner. This space is optimized to encourage an aesthetic<br>
experience on behalf of the viewer and connects the viewer to an<br>
intrinsic part of our cultural identity, allowing the viewer
to</font></div>
<div><font face="Courier" size="+1" color="#000000">re-contextualize
the information. *PNN* uses principles of<br>
digital sampling to enable the viewer to take control of media<br>
and presents the opportunity for an alternative understanding<br>
of content.<br>
<br>
<br>
REFERENCES<br>
<br>
1. See Karen A. Cerulo, "The Rest of the Story: Sociocultural<br>
Patterns of Story Elaboration," in *Poetics*, Vol. 28, No.
1,<br>
(2000) 21-45.<br>
<br>
2. See Andruid Kerne, "A Recombinant Information Space,"
paper<br>
presented at the Computational Semiotics in Games and New
Media<br>
(CoSIGN) 2003.<br>
<br>
3. See Lev Manovich, "Navigable Space," in *The Language of
New<br>
Media* (Cambridge, MA: MIT Press, 2001) 251-252.<br>
<br>
4. Jakarta Lucene Version 1.3, Apache Software Foundation,<br>
Forest Hill, Maryland, 1999.<br>
http://jakarta.apache.org/lucene/docs/index.html<br>
<br>
5. Java, Sun Microsystems, Inc., Santa Clara, CA, 1995.<br>
http://java.sun.com/<br>
<br>
6. GL4Java (OpenGL for Java), Jausoft, Open Source under LGPL,<br>
1999<br>
http://www.jausoft.com/gl4java/<br>
<br>
7. QuickTime for Java, Apple Computer, Inc., Cupertino, CA<br>
http://www.apple.com/quicktime/<br>
<br>
8. Apache XML-RPC Version 1.2b1, Apache Software Foundation,<br>
Forest Hill, MD, 2001<br>
http://ws.apache.org/xmlrpc/<br>
<br>
9. JOGL, Open Source under BSD, 2003<br>
http://jogl.dev.java.net/<br>
<br>
<br>
MANUSCRIPT RECEIVED 13 AUGUST, 2003<br>
<br>
<br>
BIOGRAPHY<br>
<br>
Jack Stenner is a multimedia artist, architect and PhD student<br>
at the Texas A&M University Visualization Laboratory. He has<br>
worked as an artist since 1991, winning numerous awards and<br>
showing his work at Siggraph, Fotofest, Contemporary Arts Museum<br>
Houston, Austin Museum of Art, Alternative Museum, etc. He is<br>
founder of Purse Building Studios alternative exhibition space<br>
and studios in Houston, Texas. Currently his work focuses on the<br>
stimulation of aesthetic experience via provocative digital<br>
visualization. His work attempts to call into question our<br>
preconceptions of the world around us, utilizing digital video<br>
and interactive devices as well as custom and off-the-shelf<br>
software.<br>
<br>
<br>
_____________________________<br>
<br>
<br>
TOWARD THE GLASS BEAD GAME - A RHETORICAL INVENTION<br>
<br>
By Joshua Fost<br>
Boston, MA, U.S.A.<br>
josh@joshuafost.com<br>
<br>
[Ed. Note: Following are the Abstract and Artist's Statement<br>
for "Toward the Glass Bead Game," an interactive project
by<br>
Joshua Fost. The actual project as it is meant to be seen can be<br>
accessed on the LEA web site at http://mitpress2.mit.edu/e-<br>
journals/LEA/GALLERY/glassbeadgame<br>
<br>
The Artist's Statement will also be published in *Leonardo*,<br>
Vol. 37, No. 3 (June 2004).]<br>
<br>
ABSTRACT<br>
<br>
This project presents a realization of writer Herman Hesse's<br>
"Glass Bead Game." By associating small images ("beads"
and<br>
"tiles") with ideas described in ordinary prose, the
project<br>
develops a new vocabulary of glyphs; these glyphs are later<br>
assembled in special ways, such that their spatial arrangement<br>
asserts symbolic relationships between the corresponding ideas.<br>
In particular, arrangements take the form bead-tile-bead,<br>
signifying subject-predicate-object assertions. Arranging and<br>
connecting multiple bead phrases on a two-dimensional grid<br>
allows large groups of related assertions to be made in a<br>
compact and appealing visual space, and the communication of<br>
rich symbolic connectivity less lengthy and cumbersome than it<br>
would be with prose. The entire structure, including narrative,<br>
bead phrases and imagery, is represented in the technical forms<br>
of the "Semantic Web;" all beads and tiles are labeled with
URIs<br>
(Uniform Resource Identifiers) and bead phrases become reified<br>
RDF (Resource Description Framework).<br>
<br>
<br>
ARTIST'S STATEMENT<br>
<br>
The 1946 Nobel Prize for literature was awarded to Herman<br>
Hesse, author of the 1943 novel *Das Glasperlenspeil*, or *The<br>
Glass Bead Game*. In that work, Hesse describes the Game as
"a<br>
mode of playing with the total contents and values of our<br>
culture; it plays with them as, say, in the great age of the<br>
arts a painter might have played with the colors on his palette<br>
[1]." He constructs a futurescape in which players of the
Game<br>
are something like today's musicians, historians and<br>
mathematicians, all rolled into one. Institutions - indeed,<br>
entire provinces - are devoted to nothing but the study of
the</font></div>
<div><font face="Courier" size="+1" color="#000000">Game.<br>
<br>
Unfortunately, Hesse was not sufficiently explicit to provide<br>
unambiguous instructions for how to go about actually creating<br>
or playing the Game. This has vexed many. It is possible that<br>
Hesse himself did not have a clear vision of the Game, but<br>
instead a more or less aesthetic and intellectual hope that<br>
something more than narrative language should be possible. I am<br>
attempting to realize Hesse's vision by experimenting with a<br>
fusion of language, art and technology and trying to be more<br>
explicit in laying out how such a Glass Bead Game might actually<br>
be played.<br>
<br>
My approach has three and a half parts. The first part is<br>
simply a narrative essay on some subject. As an example, I use<br>
the symbolism I see in Quentin Tarantino's 1994 film *Pulp<br>
Fiction*.<br>
<br>
The second part is an association of small images ("beads"
and<br>
"tiles") with sections of the narrative text. One bead
might<br>
represent a character, for example, or an event, or a theme.<br>
Anything one can describe in the narrative can become a bead. In<br>
my example, beads are round images with one or two letters on<br>
them. For example, the bead labeled "ms" refers to the
milkshake<br>
shared by the characters Vincent and Mia; the bead labeled
"Ch"<br>
refers to the biblical Christ; and "vm" refers to the
vampire<br>
from Francis Ford Coppola's filmic interpretation of Bram<br>
Stoker's novel, *Dracula*.<br>
<br>
The tiles, in turn, represent relationships between<br>
ideas/beads, as when I wish to show how an idea from *Pulp<br>
Fiction* is symbolic of an idea from another work. For example,<br>
the shared relationship between the beads for Christ, the<br>
vampire and the milkshake is the tile "blood," denoted
(somewhat<br>
arbitrarily) by a Chinese hanzi character for that word. The<br>
choice of logographic symbols rather than alphabetic letters was<br>
motivated by the need to keep the tile images small, but still<br>
capable of denoting a sometimes complicated idea.<br>
<br>
The references of each bead and tile would have been previously<br>
associated with their corresponding references in an associated<br>
narrative, or could also have been drawn from a pool of familiar<br>
and well-established symbols.<br>
<br>
The third part is the assembly of all the beads and tiles into<br>
a single structure arranged on a grid, like a Scrabbleô board.<br>
By carefully arranging the beads and tiles in groups of three<br>
(bead-tile-bead = subject-predicate-object), I can play with<br>
semantics and aesthetics simultaneously, representing large sets<br>
of symbolic relationships in a compact visual space.<br>
<br>
The "third-and-a-half" part is the underlying language
of<br>
representation: XML (eXtensible Markup Language). I use several<br>
technologies from the Semantic Web [2] to represent the entire<br>
work: narrative, beads, tiles and the Glass Bead Game itself.<br>
RDF statements, for example, provide a structure for<br>
semantically meaningful assertions to be published on (and<br>
perhaps processed by) the Web. I use RDF to represent every<br>
subject-predicate-object assertion in the Glass Bead Game. When<br>
multiple Glass Bead Game players agree upon a symbolic<br>
vocabulary for beads and tiles and simultaneously adopt<br>
standards for the universal interchange of semantic information,<br>
each becomes able to contribute to an ever-growing crystal of<br>
insights and perceptions.<br>
<br>
REFERENCES<br>
<br>
1. H. Hesse, *The Glass Bead Game (Magister Ludi)*, (New York:<br>
Henry Holt and Company, LLC, 1943) p. 15.<br>
<br>
2. T. Berners-Lee, J. Hendler and O. Lassila, "The Semantic<br>
Web," in *Scientific American* (May, 2001).<br>
<br>
<br>
MANUSCRIPT RECEIVED 7 JANUARY, 2004<br>
<br>
<br>
BIOGRAPHY<br>
<br>
Joshua W. Fost is a scientist, philosopher and Chief Technology<br>
Officer (CTO). His current interests include questions like: Why<br>
are good theories beautiful? Why does beauty make us happy? What<br>
constraints does language place on thought? How can those<br>
constraints be moved? In general, he explores the intersection<br>
of science, art and philosophy. In 1999, his theory on the<br>
neurobiology of beauty and religion appeared in the review<br>
journal *The Neuroscientist*.<br>
<br>
He is currently expanding his theory of beauty, developing a<br>
seminar in applied philosophy and developing software. He has<br>
held several positions in academia and the private
sector,</font></div>
<div><font face="Courier" size="+1" color="#000000">including a
fellowship at NASA and postdoctoral work at Brandeis<br>
University. Most recently, he was Chief Technology Officer of<br>
Colliers International, a $1B commercial real estate firm, where<br>
he was recognized as the recipient of InfoWorld magazine's
"Top<br>
25 CTOs of 2004" award.<br>
<br>
He earned his Ph.D. from Princeton University in 1996.<br>
<br>
<br>
_____________________________<br>
<br>
<br>
PROJECT DESCRIPTION: ERA (ESCUELA RURAL ANDINA DE CAJAMARCA) -<br>
ACTIVATING THE TALENTS OF RURAL PERU'S ARTISANS<br>
<br>
Rural Peru's weavers, ceramists and jewelers are primarily farm<br>
workers. Their ancient decorative patterns, repeated again
and<br>
again, have lost vitality, but the artisans doubtlessly possess<br>
a specific natural talent. What is perhaps most important is<br>
that the artisans experience that they themselves can arrange<br>
things in a different way.<br>
<br>
Based on our experiences with such artisans, we have begun<br>
developing training programs for them, taking into account their<br>
specific circumstances. Through this project, we have learned<br>
that the moment they become aware of their talent, they long to<br>
get it developed. With adequate formation, the great number of<br>
regular and part-time artisans - not to mention future<br>
generations - could initiate significant structural changes,<br>
professionally as well as socially. 23,608 registered workshops,<br>
in the classic sense of arts and crafts, give regular employment<br>
to an estimated 145,000 artisans all over Peru.<br>
<br>
STARTING PERMANENT TRAINING FACILITIES FOR WEAVERS, CERAMISTS<br>
AND JEWELERS<br>
<br>
The ERA (Escuela Rural Andina de Cajamarca), a training school<br>
for farm workers in the region of Cajamarca, Peru, intends to<br>
add a department for arts and crafts to their agricultural<br>
program.<br>
<br>
A center is planned where:<br>
ï artisans are encouraged to develop their creative talent,<br>
freely and in dialogue with the different techniques, fields of<br>
application and market demands<br>
ï ideas can be designed by the artists and prototypes developed<br>
making use of modern facilities<br>
ï artisans selected from among them can be trained as
instructors<br>
<br>
The department will furthermore see to creative literary<br>
education in the villages. Most of the artisans there are women<br>
and most of the women older than 30 are practically
illiterate.<br>
<br>
HISTORY OF THE PROJECT<br>
<br>
>From 1999 until 2002, I assisted, as a volunteer, the IPACE of<br>
the SENATI (Institute of Audiovisual Pedagogics in Enterprise<br>
Trainings of the National Service of Industrial Formation) in<br>
Lima, Peru in an initial technical and entrepreneurial training<br>
for Andean weavers. It was my task to investigate the decorative<br>
quality of the weavers' goods and to begin encouraging their<br>
creative talent. I also worked in November 2003 with illiterate<br>
women near Cajamarca.<br>
<br>
Working with the weavers and later on with ceramists and<br>
jewellers revealed a remarkable creative power and initiated,<br>
from the very beginning, a change in their attitude towards
the<br>
possibilities of their craftsmanship. Plans were developed for a<br>
structural, permanent formation of the artisans, weavers,<br>
ceramists and jewelers of rural Peru, in which activation and<br>
application of their creative talent would play a central role.<br>
Together with Nelson Saavedra Gallo, the IPACE educator at
that<br>
time, I started an "e-primary" in the matter and we
began<br>
training instructors. This IPACE project ended in 2002,
without<br>
a follow-up.<br>
<br>
Since 2003, Nelson Saavedra Gallo has been the designated<br>
director of the ERA and he has requested my help for the planned<br>
department of arts and crafts. As long as there are no funds to<br>
get things started, we continue with what is available.<br>
<br>
Information about this project can be found at<br>
http://www.sabinevess.nl<br>
The first part of this site gives information about the project,<br>
the second part about my methods and work.<br>
<br>
Contact: Sabine Vess<br>
Bruno Schulz Institute, the Netherlands<br>
info@sabinevess.nl<br>
<br>
<br>
<br>
________________________________________________________________<br>
<br>
<span
></span>
_________________________________<br>
<span
></span>
| <span
></span
> <span
></span>
|<br>
<span
></span>
| LEONARDO
REVIEWS |<br>
<span
></span>
|
2004.05 <span
></span> |</font></div>
<div><font face="Courier" size="+1"
color="#000000"
> <span
></span>
|_________________________________|<br>
<br>
________________________________________________________________<br>
<br>
<br>
*Leonardo Reviews* has a distinctly revisionist tone this month<br>
as it seems to flag an important twist in the intellectual<br>
climate. This month's postings include a contribution from a new<br>
reviewer, Coral Houtman, a filmmaker and theorist. Her thorough<br>
account of *Reading Psycho-Analysis: Freud, Rank, Ferenczi,<br>
Groddeck*, by Peter L. Rudnytsky, examines the relationship<br>
between psychoanalysis and literature through the filter of<br>
textual analysis. David Surman reviews Patricia Pisters' latest<br>
powerful foray into the writing of Deleuze, while Eugene Thacker<br>
reviews Deleuze's *Francis Bacon: The Logic of Sensation*. In a<br>
lengthy essay, Sean Cubitt helps recover the work of Flusser to<br>
our attention, while Mike Mosher revisits Walter Benjamin in his<br>
review of Gumbrecht and Marrinan's new book. Whether this is<br>
simply a fortuitous coincidence or marks the first inkling of a<br>
new trend in criticism remains to be seen, but we are pleased to<br>
able to offer this digest, along with 15 other reviews from our<br>
panel.<br>
<br>
These reviews can be accessed at the usual site:<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>
<br>
Connected or What it Means to Live in the Network Society,<br>
by Steven Shaviro<br>
Reviewed by Eugene Thacker<br>
<br>
Francis Bacon: The Logic of Sensation,<br>
by Gilles Deleuze; translated by Daniel W. Smith<br>
Reviewed by Eugene Thacker<br>
<br>
Global Cities: Cinema, Architecture, and Urbanism in a Digital<br>
Age, edited by Linda Krause and Patrice Petro<br>
Reviewed by Mike Mosher<br>
<br>
Light-sound Musical Harmony: An Elementary Theory of Audio-Visual<br>
Stimuli, by V.V. Afanasjev<br>
Reviewed by Bulat M. Galeyev<br>
<br>
Luce: Optical Theatre of Sergei Zorin<br>
by Yu Linnik<br>
Reviewed by Bulat M. Galeyev<br>
<br>
Mapping Benjamin: The Work of Art in the Digital Age<br>
edited by Hans Ulrich Gumbrecht and Michael Marrinan<br>
Reviewed by Mike Mosher<br>
<br>
Marguerite: A Reflection of Herself<br>
by Dominique Auvray<br>
Reviewed by Aaris SherinMarch<br>
<br>
Masaccio: Saint Andrew and the Pisa Altarpiece<br>
by Eliot W. Rowlands<br>
Reviewed by Amy Ione<br>
<br>
The Matrix of Visual Culture: Working with Deleuze in Film<br>
Theory, by Patricia Pisters<br>
Reviewed by David Surman<br>
<br>
Oryx and Crake, by Margaret Atwood<br>
Reviewed by George Gessert<br>
<br>
Philosophizing Art: Selected Essays, by Arthur C. Danto<br>
Reviewed by Robert Pepperell<br>
<br>
Random Order: Robert Rauschenberg and the Neo-Avant Garde<br>
Reviewed by Rob Harle<br>
<br>
Paul Rand: Modernist Design<br>
by Franc Nunoo-Quarcoo<br>
Reviewed by Roy R. Behrens<br>
<br>
Reading Psycho-Analysis: Freud, Rank, Ferenczi, Groddeck<br>
by Peter L. Rudnytsky<br>
Reviewed by Coral Houtman<br>
<br>
Rules of Play: Game Design Fundamentals, by Katie Salen and<br>
Eric Zimmerman<br>
Reviewed by Maia Engeli<br>
<br>
The Shape of Things: A Philosophy of Design, by VilÈm Flusser,<br>
trans. Anthony Matthews, introduction by Martin Pawley<br>
Reviewed by Sean Cubitt<br>
<br>
Towards a Philosophy of Photography, by VilÈm Flusser,<br>
trans. Anthony Matthews, intro. Hubertus Von Amelunxen<br>
Reviewed by Sean Cubitt<br>
<br>
Writings, by VilÈm Flusser, edited and introduced<br>
by Andreas Strshl; translated by Erik Eisel<br>
Reviewed by Sean Cubitt<br>
<br>
The Freedom of the Migrant: Objections to Nationalism, by VilÈm<br>
Flusser, trans. Kenneth Kronenberg, ed. and intro. Anke K. Finger<br>
Reviewed by Sean Cubitt<br>
<br>
A Theory of /Cloud/: Toward a History of Painting,<br>
by Hubert Damisch<br>
Reviewed by Ian Verstegen<br>
<br>
_____________________________<br>
<br>
<br>
READING PSYCHO-ANALYSIS: FREUD, RANK, FERENCZI, GRODDECK<br>
<br>
By Peter L. Rudnytsky, Cornell University Press, Ithaca, NY,<br>
2002. 336 pp. Trade, $52.50; paper, $21.95. ISBN: 0-8014-3777-6;<br>
ISBN: 0-8014-8825-7.<br>
<br>
Reviewed by Coral Houtman, University of Wales College, Newport<br>
<br>
<br>
This impressively researched and stimulating book has two<br>
rather distinct aims. It is a history of Freud's rebellious sons<br>
working in the first part of the twentieth century and a<br>
discussion about the disciplinarity of psychoanalysis and its<br>
fragile status, poised between a hermeneutic study akin to<br>
literary criticism and natural science. Full of
fascinating</font></div>
<div><font face="Courier" size="+1" color="#000000">biographical
insights, the book is nevertheless much more<br>
successful in its second aim as a validation of the continuing<br>
use of psychoanalysis, both clinically and theoretically, than<br>
its first, where its attempt at what would appear to be the less<br>
contentious aspect of the author's thesis - a hermeneutic and<br>
historical account of the psychoanalytic literature of Freud's<br>
errant disciples - is partial and assertive.<br>
<br>
Starting with Freud's own literary criticism in *Gradiva*<br>
(1907), Rudnytsky symptomatically reads Freud to suggest that<br>
for Freud, literature is the uncanny double of psychoanalysis<br>
and vice versa. Freud's treatment of characters from literature<br>
and history (Gradiva and Leonardo) as if they were real and his<br>
understanding that his case histories, such as Dora and Little<br>
Hans, read as literature, as short stories, enables Rudnytsky's<br>
own starting point in reading the subsequent psychoanalytic<br>
texts through the psychobiographies of their authors.<br>
<br>
Thus, when he takes up the subject of *Little Hans* (1909),<br>
Freud's analysis of phobia in a five-year old boy, it is to set<br>
out his major argument that Freud's own psychobiography caused<br>
him to disavow the role of female sexuality in psychic life and<br>
to create the misogyny of the Oedipus Complex with its single<br>
signifier of sexuality - the male penis. The excessive<br>
patriarchal masculinity and patriarchal role play that Rudnytsky<br>
ascribes to Freud is responsible for the "anxiety of
influence"<br>
(cf. Harold Bloom) in Freud's subsequent followers. It emerges<br>
as their cruel expulsion from Freud's analytic circle and their<br>
various attempts in analytic practice and writing to redress the<br>
sexual and Oedipal balance. Thus Rank moves in his later career<br>
to supplant the Oedipus Complex with a pre-oedipal<br>
psychoanalysis of birth trauma and resites the mother as the<br>
critical role in child development. Ferenczi, Freud's vulnerable<br>
yet loyal son, is first treated by Freud (he is the<br>
unacknowledged subject of *Analysis Terminable and Interminable*<br>
(1937)). He is encouraged by Freud, as authoritarian father, to<br>
marry a woman he does not love, rather than her daughter, whom<br>
he desires. As a result, Ferenczi finds an analytic mother<br>
figure in Groddeck, who offers him the sympathy Freud withholds.<br>
Ferenczi subsequently forms his own practice and writes against<br>
Freud. *Ferenczi's Thalassa: A Theory of Genitality* (1924)<br>
predates and influences object-oriented psychoanalysis in its<br>
emphasis on the mutuality between analyst and analysed and the<br>
containing and maternal role of the therapist. In chapter eight,<br>
Rudnytsky provides the first analysis of Groddeck's *The Book of<br>
the It* (1923), arguing that it is a far more coherent and<br>
scientific account of the unconscious than Freud's drive<br>
theories because it corrects Freud's original misogynistic<br>
accounts through its own understanding of womb envy. Groddeck<br>
also criticizes the theology of Freud's empire and his<br>
authoritarian policing of its psychoanalytic borders.<br>
<br>
There are several problems with Rudnytsky's narrative here.<br>
Perhaps the most crucial is the way that he relies on<br>
psychoanalytic auteurism to tie down the meanings of the texts<br>
too neatly. He fails to do the psychoanalytic work and look at<br>
the overdetermination in the texts and the possibilities of<br>
multiple readings. His disavowal, or at least dismissal, of<br>
post-structural literary criticism and psychoanalysis means that<br>
he reads the texts and the analysts in schematic, depoliticized,<br>
and even hysterical ways. Lacan's key re-reading of Freud with<br>
Levi-Strauss revealed not that Freud was a misogynist (whether<br>
he was or not is neither here nor there), but that his<br>
revelation of the "assymetry of the signifier," (i.e. the
notion<br>
that culturally, there is only the phallus and no signifier of<br>
femininity), is itself a cultural critique and accounts for what<br>
might be seen as a transhistorical patriarchy. Thus, far from<br>
being the agent of patriarchy, Freudian psychoanalysis can be a<br>
tool for its dismantling, a task addressed by a myriad of<br>
feminist critics from Julia Kristeva to Laura Mulvey -
critics</font></div>
<div><font face="Courier" size="+1" color="#000000">Rudnytsky barely
mentions. In fact, his critique is almost<br>
exclusively male centered - he dislikes Melanie Klein and does<br>
not give Karen Horney a chapter equivalent to his male idols.<br>
Indeed, his emphasis on primal father, Freud and the rebellion<br>
of his sons, betrays his own Oedipal anxiety of influence. He<br>
also fails to understand how the "Third Term" in the
Oedipus<br>
Complex (i.e. the Name of the Father), is the access to law and<br>
acculturation. Without the influence of people other than the<br>
mother in the child's life, the child will always be caught in<br>
an abject struggle for separation. The neglect of the triad in<br>
psychoanalysis is one that reinstates sexism and patriarchy,<br>
because it is the hysteria of overvaluing and undervaluing the<br>
mother (the saint and the whore) that creates women as<br>
hysterical projections of male castration. Thus, Rudnytsky<br>
performs the patriarchal discourse he would attempt to correct,<br>
and his lack of attention to female psychoanalysts supports this.<br>
<br>
It is in the final discursive section of the book that<br>
Rudnytsky comes into his own. His careful tracing of the<br>
relationship between psychoanalysis, evolutionary science and<br>
hermeneutics is masterful. He traces the scientific flaws in<br>
Freud's thinking - his reliance on drive theory and his<br>
dependence on Lamarckian biology. He then argues that, despite<br>
Freud's habit of backing the wrong theoretical horse,<br>
neuroscience is finding the claims of psychoanalysis ever more<br>
convincing. The discovery that dreaming is not after all tied to<br>
REM sleep, but is an effect of the motivational centers of the<br>
brain being unhinged from the rational, makes Freud's dream<br>
theory ever more plausible. The increasingly postmodern<br>
understanding of brain as function (i.e. synapses and brain<br>
connections being made and grown through experience) enables a<br>
"resilience" (Rudnytsky's term for a unified theory of
science<br>
and hermeneutics) and an acceptance of many metapsychological<br>
insights. Finally, recent clinical understandings of anxiety<br>
support Freud's concept of Nachtr?glichkeit (deferred action), a<br>
concept that entirely unites the disciplines of hermeneutics and<br>
science. For if Nachtr?glichkeit, described by Laplanche as
"the<br>
enigmatic signifier which is translated and retranslated" is
a<br>
scientific understanding of how we constantly reinterpret the<br>
past in the light of the present, then it also accounts for why<br>
we might find truths in the hermeneutic work of translating and<br>
retranslating our culture through literature and through<br>
psychoanalysis.<br>
<br>
_____________________________<br>
<br>
<br>
THE MATRIX OF VISUAL CULTURE: WORKING WITH DELEUZE IN FILM THEORY<br>
<br>
by Patricia Pisters, Stanford University Press, Palo Alto, CA,<br>
U.S.A., 2003. 303 pp., paper, $24.95. ISBN: 0-8047-4028-3.<br>
<br>
Reviewed by David Surman, International Film School of Wales<br>
UWN, Caerleon Campus, Wales, U.K.<br>
david.surman@newport.ac.uk<br>
<br>
<br>
In *The Matrix of Visual Culture*, Patricia Pisters<br>
pragmatically applies Gilles Deleuze's film philosophy in the<br>
sustained critique of various canonical, commercial and<br>
contemporary films. Translating Deleuze's philosophical<br>
methodologies into digestible terms of engagement is an<br>
admirable achievement in itself, as I recall trying to work with<br>
the dual volumes - *Cinema 1: Movement-Image* and *Cinema 2: The<br>
Time-Image* - being challenging, to say the least.<br>
<br>
Pisters' final outcome is admirable. Explanations of the new<br>
Deleuzian terminology are grounded with excellent textual<br>
analysis of a variety of moving-image events. Importantly,<br>
Pisters is not, it seems, a Deleuze apologist - a trait<br>
characterizing many defenders of his film-theory-philosophy.<br>
Avoiding the relativism of attempting to champion all facets of<br>
Deleuze's critical strategy, Pisters makes clear that, for the<br>
time being, certain principles are more fruitful in their<br>
application to known films, whilst other arguments are less<br>
developed. Concepts such as the interconnection of the virtual<br>
and the actual, and the notion of "becoming:" a process and
an<br>
attempt to think differently, to see or feel something new in<br>
experience by entering into a zone of proximity with somebody
or</font></div>
<div><font face="Courier" size="+1" color="#000000">something else"
(p. 106), are particularly engaging. By<br>
referring to popular films, the accessibility of this new<br>
approach to Deleuze's film scholarship is reiterated. Further,<br>
and more interesting from a disciplinary perspective, is the<br>
positioning of Deleuzian film theory in subtle opposition to<br>
contemporary psychoanalytic theory - which Pisters exemplifies<br>
most notably through the film criticism of Slavoj Zizek.<br>
<br>
Consequently (and arguably rightly so) Pisters' Deleuzian<br>
methodology does seem to make considerable moves toward a viable<br>
alternative to psychoanalysis, specifically in the critique of<br>
subjectivity and the cinema. The knowing opposition of post-<br>
structuralist deconstructive approaches with Deleuze's<br>
rhizomatic generative methodology (in crude summary, the study<br>
of networks rather than isolated points) does provide a welcome<br>
respite from the deliberations of certain strands of film<br>
scholarship that lack a developmental perspective.<br>
<br>
In that sense, *The Matrix of Visual Culture* enters into the<br>
spectrum of contemporary film scholarship with the same agenda<br>
as Vivian Sobchack's landmark publication *The Address of the<br>
Eye: a Phenomenology of the Film Experience* (1992) as both a<br>
critique of the discipline of film studies and its simultaneous<br>
reinvigoration. Most importantly in my view, Pisters<br>
reconstitutes the apparent ruin of twentieth-century film<br>
studies in such a way that it accommodates a variety of<br>
practices that have largely been excluded. Thus animation -<br>
which Pisters suggests, in her final chapter, is predictive of<br>
the future of cinema - stands alongside live-action film, games<br>
and other aspects of our contemporary visual culture.<br>
<br>
Though the limits of space warrant their absence, I felt an<br>
urge to set Pisters' use of Deleuze against other aspects of<br>
film studies, such as the cognitive agenda - perhaps as an<br>
antidote to the trappings of constructing a position in<br>
opposition to the praxis of psychoanalytic theory.<br>
<br>
Ironically, it is in the reworking of Deleuze's film theory by<br>
other writers that its potential is unlocked - for instance, in<br>
the way that Pisters shifts away from the auteur stance of his<br>
publications toward a contemporary attitude. Such an emphasis on<br>
the historical moment within which Deleuze worked is timely,<br>
with the application of his philosophy present at the cutting<br>
edge of art, science and technology. For this reason, Deleuze is<br>
not the film studies' panacea that some may feel him to be.<br>
However, there is little more Deleuzian per se than the<br>
reworking of his philosophy for our contemporary cultural<br>
climate, so eloquently demonstrated by Pisters. I had suspected<br>
prior to reading *The Matrix of Visual Culture* that its<br>
subtitle - "Working with Deleuze in Film Theory" - might
have<br>
been something of a misnomer, conscious of Robert Stam's doubt<br>
about actually "working" with Deleuze, and holding
similar<br>
reservations myself. Thankfully, I have been proven wrong, by a<br>
rigorous, progressive and thought-provoking study.<br>
<br>
<br>
________________________________________________________________<br>
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ABSTRACTS |<br>
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SERVICE
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<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>
Adriana de Souza e Silva<br>
asilva@cse.ucla.edu<br>
<br>
LANGUAGES FAMILIAR TO THE AUTHOR<br>
English, German, French, Spanish, Portuguese.<br>
<br>
DISSERTATION TITLE<br>
Multiuser Environments as (Virtual) Spaces to (Hybrid) Spaces<br>
as Multiuser Environments - Nomadic Technology Devices and<br>
Hybrid Communication Places<br>
<br>
<br>
ABSTRACT<br>
This dissertation addresses how mobile communication</font></div>
<div><font face="Courier" size="+1" color="#000000">technologies,
especially cellular phones, have an active role in<br>
creating new types of communication and social networks in a<br>
hybrid space formed by the blurring of borders between physical<br>
and digital spaces. It analyzes the transference of social<br>
places from cyberspace to hybrid spaces. Nomadic technology<br>
devices are responsible for producing new social networks in a<br>
space that interconnects the physical and the virtual due to<br>
their users' perpetual mobility. During the last decade,<br>
multiuser environments in cyberspace have frequently been<br>
regarded as utopian spaces in which users could project
their<br>
imagination. Moreover, digital spaces have been considered as<br>
essentially disconnected from physical spaces. Nowadays, the<br>
constant connection to virtual spaces, allowed by new mobile<br>
communication technologies, transforms our social spaces as well<br>
as the projection of our imaginary places in urban spaces.
This<br>
research is based on theoretical and practical studies. First, I<br>
analyze the existing literature on cyberspace and mobile<br>
technology devices, emphasizing concepts such as virtual,<br>
cyberspace, immersion and hybrid. Practical aspects include<br>
analysis of current practices via interviews with artists and<br>
scholars and an Internet survey, applied in the United States<br>
and in Brazil.<br>
<br>
<br>
KEYWORDS<br>
hybrid spaces, mobile technologies, cell phones, multiuser<br>
environments, media arts, pervasive games.<br>
<br>
YEAR PUBLISHED/EXAMINED<br>
2004<br>
<br>
URL<br>
http://users.design.ucla.edu/~silvaad<br>
<br>
ORIGINAL LANGUAGE OF DISSERTATION:<br>
English / Portuguese<br>
<br>
COPYRIGHT OWNERSHIP<br>
Adriana de Souza e Silva<br>
<br>
THESIS SUPERVISOR<br>
Paulo Vaz (School of Communications, Federal University of Rio<br>
de Janeiro) and Victoria Vesna (Department of Design | Media<br>
Arts, University of California, Los Angeles)<br>
<br>
INSTITUTION WHERE DEGREE WAS GRANTED<br>
Federal University of Rio de Janeiro, School of Communications<br>
(Brazil)<br>
<br>
DEGREE:<br>
PhD in Communications and Culture<br>
<br>
INSTITUTION URL:<br>
http://www.pos.eco.ufrj.br<br>
<br>
INSTITUTION CONTACT DETAILS<br>
Programa de PÛs-GraduaÁ“o em ComunicaÁ“o e Cultura<br>
Escola de ComunicaÁ“o, Universidade Federal do Rio de Janeiro<br>
Avenida Pasteur, 250 - fundos<br>
Praia Vermelha - Urca - Rio de Janeiro - RJ<br>
22290-240 - Brazil<br>
Tel: +55(21)3873-5075; Fax: +55(21)2295-9449<br>
poseco@eco.ufrj.br<br>
<br>
<br>
DISSERTATION AVAILABLE UPON REQUEST<br>
<br>
________________________________________________________________<br>
<br>
<span
></span>
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|
ANNOUNCEMENTS |<br>
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________________________________________________________________<br>
<br>
<br>
LEONARDO/ISAST OFFICE MOVING<br>
<br>
<br>
Leonardo/ISAST is moving its office. Please note the new<br>
contact information as of 1 May, 2004:<br>
<br>
Leonardo/ISAST<br>
211 Sutter Street, Suite 800<br>
San Francisco, CA 94108<br>
phone: (415) 391-1110<br>
fax: (415) 391-2385<br>
E-mail: isast@leonardo.info<br>
Web: http://www.leonardo.info<br>
<br>
<br>
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| ISAST
NEWS |<br>
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|______________________________|<br>
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________________________________________________________________<br>
<br>
<br>
IN MEMORIUM: IBA NDIAYE DIADJI<br>
<br>
The international arts community lost a great friend and<br>
activist with the death of Iba Ndiaye Diadji in Dakar, Senegal,<br>
on 11 November, 2003. Actively involved in union life in<br>
Senegal, Iba Ndiagye Diadji was a leader in both the<br>
Confederation of Independent Unions (CSA: ConfÈdÈration
des<br>
syndicats autonomes) and the Sole Democratic Union for Educators<br>
in Senegal (SUDES: Syndicat unique et democratique des<br>
enseignants du Senegal). As a critic of art, he worked to<br>
establish the importance of contemporary Senegalese artists,<br>
particularly those whose works remained infused with Senegalese<br>
culture while working with evolving concepts and
technologies.<br>
Through his participation in ISEA, Leonardo, Ars Electronica,<br>
Dak'Art, and other international groups, he touched the
lives</font></div>
<div><font face="Courier" size="+1" color="#000000">of many people in
both Senegal and abroad. <br>
<br>
As a professor of aesthetics at the University of Cheik-Anta-<br>
Diop in Dakar-Fann, Iba Ndiaye Diadji worked in the areas of art<br>
criticism and philosophy. After he was introduced to the<br>
electronic arts through the Virtual Africa project, co-sponsored<br>
by ISEA and Leonardo, Iba began to turn his attention to<br>
Senegalese artists and their quest to work with the new<br>
electronic forms of art. In the words of his colleague
ViyÈ<br>
Diba, "He had a particular point of view on contemporary
African<br>
arts, one that was marked by the reality of Africa but open
to<br>
world movements."<br>
<br>
Born 19 October, 1950, in Saint-Louis, Senegal, Professor<br>
Ndiaye Diadji studied at the University of Dakar before becoming<br>
a teacher, with advanced studies at the University of Dakar
and<br>
at the Sorbonne. He leaves a wife and four children. Iba Ndiaye<br>
Diadji will be especially remembered as a spokesperson for<br>
African art in the electronic arts community and as a proponent<br>
of bringing contemporary global culture to Senegal. He
believed<br>
that Senegalese artists should not have to choose between global<br>
and local culture to gain recognition.<br>
<br>
Cynthia Rubin, with thanks to Catherine McGovern and ViyÈ Diba<br>
<br>
_____________________________<br>
<br>
<br>
IN MEMORIUM: PIOTR KOWALSKI<br>
<br>
We are saddened by the recent death of Piotr Kowalski.<br>
Kowalski's artwork enabled us to see things in a new light that<br>
would make them seem so simple, so natural, so evident.
"I'm a<br>
painter of nature," he used to repeat, "technologies are
our<br>
ears and eyes to perceive the world."<br>
<br>
As a self-taught student of science and mathematical logic,<br>
Kowalski left Poland in 1946 at the age of 19, taking with him<br>
Wilhelm Reich's *The Function of The Orgasm*. From 1947 to 1952,<br>
he studied mathematics with Norbert Wiener and visual arts
with<br>
Gyorgy Kepes at MIT in Boston, Massachusetts. Kowalski graduated<br>
with a degree in architecture and went on to work in the<br>
offices of I.M. Pei and Jean ProuvÈ.<br>
<br>
>From 1958 onwards, Kowalski turned his works towards<br>
experimental sculpture and architecture. He authored such<br>
minimal works as stamp printing, which reminded us that we
are<br>
involved in a permanent journey through space. He also created<br>
monumental works in urban planning projects such as La
DÈfense,<br>
Marne la VallÈe, Brest, etc. He utilized various materials in<br>
his work: simple (mirrors), natural (heat, plant growth,
wind),<br>
artificial (dynamite, neon, electricity, holograms), traditional<br>
(granite, steel, glass) and experimental (rare gas, electrical<br>
fields, gas ionization).<br>
<br>
Kowalski did not separate poetry, science and sculpture, which<br>
is why his work, although sometimes disconcertingly diverse,
is<br>
in fact characterized by an utmost aesthetical coherence.<br>
Developed at MIT and presented at the Pompidou Center in 1981,<br>
Kowalski's *Time Machine* involved microprocessors, early<br>
picture digital storage and real-time digital processing. This<br>
prototype, or "tool of art" as he preferred to call it,
allowed<br>
the spectator-experimenter to explore, through the
disruptions<br>
of his own image and with his body itself, the reversibility of<br>
time.<br>
<br>
When we invited him to Marseille, Kowalski chose to realize a<br>
sound sculpture: the word "passionately," pronounced by
his<br>
friend, the poet Guerassim Luca. Employing an otherwise ignored<br>
application on our machines, a 3D-real time graphic<br>
visualization of sounds, Kowalski conceived his sculpture as not<br>
merely the metaphor of "passionately." Not a mere
recording, it<br>
contained the process that had generated it, analytical<br>
technique (sampling), mathematics (Fourrier translation), and<br>
geometry (sized layout of the samples). It allowed one to<br>
imagine that one could get back the voice of the poet<br>
pronouncing the word. "What you see is not the sculpture
you<br>
think you see, this is the dumb voice of my friend, this is the<br>
silensophone."<br>
<br>
Jean Delsaux<br>
<br>
_____________________________<br>
<br>
<br>
PRELIMINARY ANNOUNCEMENT: INTERNATIONAL ART AND TECHNOLOGY<br>
HISTORY CONFERENCE<br>
<br>
Leonardo, UNESCO DIGIARTS, Database for Virtual Art and the<br>
Banff New Media Institute are collaborating to produce the
first</font></div>
<div><font face="Courier" size="+1" color="#000000">international art
history conference covering art and new media,<br>
art and technology, art-science interaction and the history
of<br>
media as pertinent to contemporary art.<br>
<br>
The three-day conference, followed by a two-day speakers and<br>
organizers retreat, will be held 28 September - 2 October, 2005,<br>
at the Banff Centre, Canada. An international advisory board,<br>
chaired by Oliver Grau of Humboldt University, is currently<br>
designing the program. Panels and workshops will feature<br>
speakers chosen by the advisory board and by peer review.<br>
<br>
A program description will be available this summer and a call<br>
for papers announced this fall. Graduate students in the field<br>
are encouraged to participate. To stay informed of developments,<br>
email banffleoarthistconfinfo-subscribe@yahoogroups.com <br>
<br>
_____________________________<br>
<br>
<br>
LEONARDO/ISAST PARTICIPATION WITH COLLEGE ART ASSOCIATION<br>
<br>
Leonardo/ISAST had a strong and successful presence at the 2004<br>
College Art Association (CAA) conference in Seattle. On the<br>
first day of the conference, Leonardo/ISAST held an affiliated<br>
society panel discussion entitled: "Art, Science and<br>
Technology: Problems and Issues Facing an Emerging<br>
Interdisciplinary Field." The panelists included session
chair<br>
Mark Resch, Onomy Labs; Julio Berm™dez, University of
Utah;<br>
Nina Czegledy; Roger Malina, *Leonardo* Executive Editor; and<br>
Sheila Pinkel, Pomona College of Art. On the last day of the<br>
conference, Leonardo/ISAST held a town hall meeting, to which<br>
all members of the Leonardo community as well as other<br>
interested individuals were invited to voice their concerns and<br>
receive feedback. Representatives from Leonardo staff and<br>
committees were present to answer questions and take note of<br>
pressing issues in the community. Both sessions were heavily<br>
attended and provoked strong enthusiasm, discussion and<br>
brainstorming.<br>
<br>
Attendees to these sessions indicated a strong demand for<br>
greater collaboration and integration between Leonardo and CAA,<br>
prompting the formation of a Leonardo/CAA Working Group. This<br>
group comprises individuals who are members of both CAA and the<br>
Leonardo network and will work on growing bonds between the two<br>
organizations. The President-Elect of CAA, Ellen Levy, was<br>
present at the Leonardo Town Hall meeting, and is enthusiastic<br>
to promote this interaction.<br>
<br>
If you are interested in joining the Leonardo/CAA Working<br>
Group, we would like to invite you to do so at:<br>
http://groups.yahoo.com/group/leonardocaacommittee/<br>
<br>
_____________________________<br>
<br>
<br>
LEONARDO NETWORK MEMBER PROFILE:<br>
JULIO BERMŽDEZ, LEONARDO/ISAST INTERNATIONAL ADVISORY BOARD<br>
<br>
Julio Berm™dez is an Associate Professor at the University of<br>
Utah College of Architecture and Planning (Salt Lake City,<br>
USA). His research and creative work has focused on digital<br>
media and the application of architectural concepts to data<br>
environments. Professor Bermudez has received international<br>
recognition as a design expert on hybrid representations,<br>
methodologies and technologies involving analog and digital<br>
systems. Of particular relevance is his invention of the<br>
CyberPRINT, a virtual reality-based performing art project that<br>
brings together dance, choreography, music, engineering,<br>
medicine and architecture. This and other work has been
widely<br>
published, exhibited and/or performed in the U.S. and abroad.<br>
Dr. Bermudez is currently involved in several interdisciplinary<br>
projects dealing with information architecture applied to<br>
medicine, finance, process control, and network monitoring.<br>
<br>
See Julio Berm™dez's editorial in this issue.<br>
<br>
_____________________________<br>
<br>
<br>
LEONARDO NETWORK MEMBER PROFILE:<br>
PENELOPE FINNIE, LEONARDO/ISAST GOVERNING BOARD<br>
<br>
Penelope Finnie was a co-founder of Ask Jeeves, a public<br>
Internet search engine incorporated in 1996. While at Ask<br>
Jeeves, she developed Ask Jeeves for Kids and was a
producer,<br>
art director, executive editor, biz dev person, strategist,<br>
chief evangelist and recruiter, sometimes all at once. Her<br>
final role there was chief creative officer. Prior to Jeeves,<br>
she had a web development company. For 10 years, she was a<br>
painter in the Washington, D.C., Baltimore area. She has a
BA</font></div>
<div><font face="Courier" size="+1" color="#000000">from Princeton
in art history/studio art and a MFA from<br>
Columbia University. She serves on the board of the Oakland Art<br>
Gallery.<br>
<br>
________________________________________________________________<br>
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___________________<br>
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| <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, Craig Harris, Fatima Lasay,<br>
Michael Naimark, 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>
Lee Weng Choy, Ricardo Dal Farra, Elga Ferreira, Young Hae-<br>
Chang, Fatima Lasay, Jose-Carlos Mariategui, Marcus Neustetter,<br>
Elaine Ng, Marc Voge<br>
<br>
________________________________________________________________<br>
<br>
___________________<br>
| <span
></span> |<br>
|
LEA |<br>
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ACCESS |<br>
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<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>
War, to Zero Gravity Art, to the History of New Media.<br>
<br>
LEA is accessible using the following URL: http://lea.mit.edu<br>
<br>
________________________________________________________________<br>
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< End of Leonardo Electronic Almanac 12 (05) ><br>
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