<div>Please ignore earlier email - the correct version of LEA Supplement Vol 15, No 9-10 is included in this email below.<br>Sincere apologies.</div>
<div> </div>
<div>________________________________________________________________</div>
<p>Leonardo Electronic Almanac Volume 15, Number 9 - 10, 2007<br><a href="http://leoalmanac.org/">http://leoalmanac.org</a><br>ISSN #1071-4391<br>________________________________________________________________</p>
<p><br>LEONARDO REVIEWS <br>----------------</p>
<p>< Introduction by Michael Punt ></p>
<p>< Camouflage and Art: Design for Deception in World War 2, by<br>Henrietta Goodden > Reviewed by Roy R. Behrens</p>
<p>< Cartographic Cinema, by Tom Conley > Reviewed by Jan Baetens</p>
<p>< Much Ado About Almost Nothing: Man's Encounter with the<br>Electron, by Hans Camenzin > Reviewed by John F. Barber</p>
<p>< New Leonardo Reviews, September and October, 2007 ></p>
<p>LEONARDO<br>--------</p>
<p>< Table of Contents: Leonardo Vol. 40, No. 5, 2007 ></p>
<p><br>LEONARDO ABSTRACT SERVICE<br>--------------------------</p>
<p>< Expressive Processing: On Process-Intensive Literature and<br>Digital Media > by Noah Wardrip-Fruin</p>
<p>< Generative Music and Cellular Automata > by David Burraston</p>
<p>< Aquabatics as new works of Live Art > by Sarah Jane Pell</p>
<p>< Interactive Technologies for the Public Sphere: Towards a<br>Theory of Critical Creative Technology > by Pamela Jennings</p>
<p>< Landscape Denatured: Digitizing the Wild > by Eric Kabisch</p>
<p>< This is not here: Connectedness, remote experiences and<br>immersive telematic art > by Michael Hohl</p>
<p><br>LEONARDO NETWORK NEWS<br>---------------------</p>
<p>< Meredith Tromble Elected Secretary of Leonardo Governing<br>Board ></p>
<p>< Transactions Section Offers Rapid Publication Forum in<br>Leonardo Journal ></p>
<p>< Leonardo in Argentina: CEIArtE Lecture and Workshop series<br>(2007--2008) ></p>
<p>< Recent Events and Projects of the Leonardo Scientists Working<br>Group ></p>
<p><br>BYTES<br>-----</p>
<p>< Digital Humanities Chair Position available at Dartmouth<br>College ><br>________________________________________________________________</p>
<p>LEONARDO REVIEWS, October 2007<br>________________________________________________________________</p>
<p>< Introduction ></p>
<p>One of the great pleasures of editing Leonardo Reviews (and I<br>hope reading them) is the unexpected and the appearance of the<br>difficult to see. In this selection I want to draw attention to<br>a few items that have a particular fascination, a sort of
<br>compulsive attraction. For example Roy R. Behren's review of<br>Camouflage and Art: Design for Deception in World War 2 by<br>Henrietta Goodden takes us into a rather specialised world of<br>camouflage in such a way that one wonders what other connections
<br>there are to be made behind the drab daubs on military hardware<br>that are designed for us to ignore. Jan Baetens' discussion of<br>Tom Conley's new book Cartographic Cinema also deals with the<br>scarcely visible. Conely, always a provocative thinker, turns
<br>his attention to some aspects of the cinema that might simply be<br>running in the background to our normal engagement with a movie.<br>As Baetens points out, in these he finds considerable<br>significance and argues for their status with great compulsion.
<br>In doing so he claims a special place for all cinema- not just<br>the landmark art house productions. Finally John Barber turns<br>his attention to the invisible in Much Ado About Almost Nothing:<br>Man's Encounter with the Electron, by Hans Camenzind. As Barber
<br>points out the cultural invisibility of electricity (as distinct<br>from its effects) is underpinned by a long and fascinating<br>history. Driven by a heterogeneous collection of oddballs and<br>eccentrics the "taming" of the electron, as he puts it, has
<br>provided the scenario for Camenzind's comprehensive narrative<br>which reveals to us a depth and complexity of an invisible<br>entity that we all use but few of us acknowledge. These reviews<br>and others which conceal equally fascinating treasures can be
<br>found at Leonardo Reviews along with the archive.</p>
<p>Michael Punt<br>Editor-in-Chief<br>Leonardo Reviews</p>
<p>Camouflage and Art: Design for Deception in World War 2<br>by Henrietta Goodden<br>London: Unicorn Press, 2007<br>192 pp. 120 illustrations, color and b&w. Trade, $55.00<br>ISBN: 978-0-906290-87-3.</p>
<p>Reviewed by Roy R. Behrens<br>Department of Art, University of Northern Iowa, USA.<br><a href="http://www.bobolinkbooks.com/">http://www.bobolinkbooks.com</a>, <a href="mailto:ballast@netins.net">ballast@netins.net</a>
</p>
<p>The current heightened interest in camouflage can be at least<br>partly attributed to Charles Darwin. In The Origin of Species,<br>first published in 1859, he hypothesized that the evolution of<br>species occurs not through divine intervention but by autonomous
<br>natural selection, and that the likelihood of survival is<br>weighted in favor of those that are better fitted than others.<br>By the turn of the century, the study of natural camouflage<br>(known then as "protective coloration") became a research
<br>theatre for the confirmation of Darwin's theories. Knowing that,<br>it is of additional interest to find (as this book ably<br>documents) that one of the chief participants in wartime British<br>camouflage was Robin Darwin (1910-1974), a painter and
<br>descendent of the famous naturalist.</p>
<p>During World War II, Robin Darwin became secretary to the<br>British Camouflage Committee, where he spoke in favor of using<br>artists as camouflage experts, along with architects, engineers<br>and scientists. Later, a few years after the war, when the Royal
<br>College of Art was reopened and reorganized, Robin Darwin was<br>appointed its director. One of the achievements of this book is<br>to reveal the surprising extent to which artists associated with<br>the college (whether before or after the war) were also directly
<br>connected with the development of camouflage: indeed, in the<br>years that followed the war, nearly all the school's faculty in<br>graphics, printmaking, industrial and furniture design, and<br>jewelry, along with a number of tutors and guest artists, had in
<br>some way served as camouflage advisors.</p>
<p>A further purpose of the book is more inclusive: divided into<br>10 chapters (with specific subject areas as Civil Camouflage,<br>RAF Camouflage, Army Camouflage, Desert Camouflage, Admiralty<br>Camouflage and so on), it provides a more generalized overview
<br>of the whole of British camouflage during World War II, as<br>undertaken by a wide range of artists, not just those with<br>direct links to the RCA. The roster of camouflage artists is<br>lengthy and includes (among numerous others) such more or less
<br>familiar names as artists Frederick Gore, Stanley Hayter, Roland<br>Penrose, Edward Wadsworth, David Pye, Edward Seago and Julian<br>Trevelyan; architects Hugh Casson and Basil Spense; stage<br>designers Robert Medley and Oliver Messel; fashion designer
<br>Victor Stiebel; and zoologist (and scientific illustrator) Hugh<br>B. Cott.</p>
<p>Few people are better suited for putting this book together<br>than is Henrietta Goodden, a British authority on fashion<br>design, who currently teaches at the Royal College of Art and<br>who is the daughter of the late Robert Goodden, one of the RCA
<br>teachers who also served as a naval camouflage advisor.</p>
<p>At the moment there is a frenzy of on-going research about<br>camouflage, both natural and military, much of it still in the<br>interests of understanding natural selection. Anyone who knows<br>the existing literature will appreciate the significance of this
<br>book: It provides us for the first time with a tirelessly<br>researched, well-written account of a slice of the oddball<br>connection between Modern-era art and camouflage (especially<br>British Modernism), a part that was there but not fully
<br>explored. Plentifully supplemented by camouflage-related<br>artwork, historic wartime photographs, government documents, and<br>hand-drawn field instructions (many of which appear in print for<br>the first time), this book is a rich, indispensable source for
<br>future work within this field.</p>
<p>(Reprinted by permission from Ballast Quarterly Review, Volume<br>21 Number 1, Autumn 2007.)</p>
<p>Cartographic Cinema<br>by Tom Conley<br>University of Minnesota Press, Minneapolis, MN, 2007<br>264 pp. illus., 40 b/w. Trade, $75.00; paper, $25.00<br>ISBN: 0-8166-4357-1; ISBN: 0-8166-4356-3.</p>
<p>Reviewed by Jan Baetens<br>University of Leuven<br><a href="mailto:jan.baetens@arts.kuleuven.be">jan.baetens@arts.kuleuven.be</a></p>
<p>In the steadily growing literature on maps and mapping in the<br>fields of literary theory, visual studies, and critical<br>thinking, Tom Conley's book can be called a major achievement,<br>both for the clarity and profoundness of its theoretical
<br>insights and the exceptional brio of its close readings.<br>Moreover, Cartographic Cinema is not just a book that makes a<br>strong plea for close-reading but succeeds in demonstrating the<br>theoretical necessity of this approach, provided it is
<br>articulated with strong theoretical perspectives. As such, Tom<br>Conley has written a book that is a major contribution to film<br>studies (and other related fields) as well as an exciting<br>collection of essays on the history of 20th Century cinema,
<br>starting from René Clair's Paris qui dort (The Crazy Ray, 1923)<br>to Ridley Scott's Gladiator (2000).</p>
<p>How does Conley define the notions of "map" and "mapping"? A<br>specialist of cartography himself, on which he has widely<br>published, inside and outside the field of film studies, Conley<br>argues first of all that maps are not just items or images that
<br>can be shown or mentioned in movies, but that movies themselves<br>have to be considered maps (in the rest of Cartographic Cinema,<br>this two-sidedness will be the leading thread of each analysis),<br>i.e. visual structures that shape the imagination of the
<br>spectator and can be used as tools for the deciphering of the<br>world that is referred to by the movie. The meaning of maps and<br>mapping is, therefore, much broader than mere geography (a map<br>offers or imposes also a worldview), while it cannot be reduced
<br>to a linguistic approach of the world (maps do not transcribe<br>speech, even if they happen to include many verbal and written<br>elements). As a matter of fact, it is not only the film seen as<br>a whole that can function as a map, but also each of its images,
<br>as they gradually unfold and change before the eyes of the<br>spectator. For Tom Conley (and almost all the close readings of<br>the book will provide evidence of the rightness of this<br>conviction), "everything" can obtain a cartographic dimension:
<br>the logo of the film company, the credits and intertitles, the<br>very images (with or without visible maps), and so on. In all<br>these occasions, movies do function as actual maps, by showing<br>"where" we are and by linking our identities to that
<br>cartographic issue ("who" we are cannot be separated from<br>"where" we are), and just like maps this showing function is not<br>only referential but also ideological, for maps and movies<br>disclose relationships that go otherwise unnoticed. In that
<br>regard, it would be unfair to reduce the cartographic function<br>of maps to the appropriative, controlling, and administrative<br>functions they are generally associated with.</p>
<p>Conley's theoretical preferences and convictions go clearly<br>into the direction of the singular and the event. Claiming that<br>film studies should follow the hypothesis "to each film its<br>map", Cartographic Cinema builds mainly on the work of two other
<br>major theoreticians, André Bazin (who had already developed a<br>theory of movies as maps) and Gilles Deleuze (whose writings on<br>Deleuze remain an essential contribution to the modern theory of<br>mapping). From Bazin's defence of neo-Realism and his ideal of
<br>film as representation of the real, Conley uses the idea of the<br>"image-field" which is not the (secondary) background for what<br>really matters, namely the action, but an existential space in<br>which all places are as important as any other and which is
<br>shifting itself through time. From Deleuze's ideas on the work<br>as "open totality", Conley borrows the suggestion that the<br>spatial field on screen is capable of producing events that<br>modify our perception of the world itself. This openness to what
<br>may happen on screen, instead of being statically reproduced by<br>the images, makes that Conley's focus--following in this also<br>the majors beliefs of Deleuze and Bazin--is actually less on the<br>map than on mapping, less on the display than on the making of
<br>history, less on the map (and the film) as representation than<br>on the map (and the film) as becoming.</p>
<p>It is this active dynamic that is foregrounded in the close-<br>readings of the book, which are often breathtaking. In 10<br>chapters, Conley makes clear that the choice of the map as a<br>privileged reading tool of cinema can be extremely illuminating
<br>and that the selection of films including maps is a very<br>original and profound way to inscribe the reading of movies into<br>the larger process of cognitive mapping, which is, for Conley<br>and Jameson whom the author is following here, a way of linking
<br>the close-reading of often tiny details with contextual,<br>historical, and political issues. The reader of Cartographic<br>Cinema will, therefore, always hesitate between two types of<br>admirations, appreciating both the cleverness and hermeneutic
<br>power of the reading of so many details linked with maps (or<br>made visible thanks to the emphasis put on fragments containing<br>maps or fragments read as maps) and the author's capacity to<br>link these details with a larger inquiry on the historical and
<br>ideological positioning of the analyzed movies. In particular,<br>one should mention here the exciting rereading of Renoir's La<br>Règle du jeu, Rossellini's Roma, città aperta, Truffaut's Les<br>400 Coups (three films one thought to know by heart, but which
<br>Conley manages to "reinvent" completely) or Kassovitz's La Haine<br>(whose dialogues and various inscriptions the author decodes<br>with the same love and intelligence as did Stanley Cavell with<br>the allegedly insignificant screwball comedies in The Pursuit of
<br>Happiness, a book which I think has quite some analogies with<br>Cartographic Cinema). But all analyses by Conley are convincing<br>and rewarding, and since the author happily mixes "art movies"<br>and "commercial movies" (from film noir to post-cinema neo-
<br>cinema of attractions movies) it is no exaggeration to hope that<br>his cartography may became a major paradigm in critical film<br>studies.</p>
<p>Much Ado About Almost Nothing: Man's Encounter with the Electron<br>by Hans Camenzind<br>BookLocker.com, Bangor, ME, 2007<br>240 pp., illus. 59 b/w. Trade, $14.95<br>ISBN: 978-0-615-13995-1.</p>
<p>Reviewed by John F. Barber<br>Digital Technology and Culture<br>Washington State University Vancouver<br><a href="mailto:jfbarber@eaze.net">jfbarber@eaze.net</a></p>
<p>Electricity, available on demand, is so much a part of our<br>everyday lives as to be transparent, nondescript, seemingly<br>without a story. But, as Hans Camenzind makes clear in his new<br>book, Much Ado About Almost Nothing: Man's Encounter with the
<br>Electron, the history of electricity, electrical invention, and<br>the application of electricity in a myriad of contexts, is both<br>long and interesting.</p>
<p>Camenzind, a microchip designer, has an affinity for the<br>oddballs and eccentrics who discovered and tamed electricity.<br>Scientists, engineers, inventors, self-promoters, professors,<br>visionaries, speculators, moguls, geniuses, politicians, venture
<br>capitalists, and con artists all receive coverage.</p>
<p>There are the well-known historical figures: Benjamin Franklin,<br>Michael Faraday, Samuel F. B. Morse, Alexander Graham Bell,<br>Nikola Tesla, Thomas Edison, and Guglielmo Marconi, as well as<br>the lesser-known but still important contributors like Lee de
<br>Forest (the self-proclaimed "Father of Radio") and John Baird,<br>who built the first television set in his attic in 1923.<br>Camenzind briefly sketches the lives, education, achievements,<br>fortunes and misfortunes of these and dozens of other electrical
<br>explorers. The results are (to pun) illuminating.</p>
<p>For example, Benjamin Franklin's experiments with electricity<br>are well known. Less known is that following his famous<br>experiment flying a kite into an electrical storm, Franklin<br>championed lightning rods to protect buildings and people from
<br>lightning strikes. But Puritan church leaders rallied against<br>the rods, calling them the devil's instrument, until they<br>realized their churches, with their high steeples, were favorite<br>targets for lightning bolts.
</p>
<p>Lee de Forest helped invent the vacuum tube, a component<br>instrumental in the development of radio broadcasting. Calling<br>himself "Father of Radio," de Forest rode the entrepreneurial<br>wave of fortune before settling down with a Hollywood starlet.
</p>
<p>Using an old tea chest, a biscuit box, darning needles, wood<br>scrap, secondhand vacuum tubes, a bicycle lamp lens, and a used<br>motor, John Baird built the first television set in his attic in<br>1923, which he then demonstrated in London's Selfridge's
<br>department store for £25 a week. He presided over the first<br>trans-Atlantic television broadcast in February 1928. In quick<br>order afterwards he got rich building and selling his television<br>sets, but went broke in the late 1930s when a competing system
<br>was chosen by the BBC as the basis for their television<br>broadcasts.</p>
<p>Augustus H. Garland, neither scientist nor inventor, but rather<br>Attorney General under President Grover Cleveland, used his<br>office to wage an 11-year challenge against the patents of the<br>Bell Telephone Company, all while holding a 10% "gift" stake in
<br>a competing telephone company.</p>
<p>It is these stories, and others, that make Much Ado About<br>Almost Nothing a rich and informative read. Camenzind bounces<br>like a charged electron through the history of electronic<br>discovery, discussing topics like electricity, magnetism,
<br>electromagnetism, X-rays, cathode rays, subatomic particles,<br>transmitters, receivers, amplifiers, vacuum tubes, transistors,<br>integrated circuits, telegraph, telephone, radio, television,<br>microchips, calculators, and computers.
</p>
<p>Camenzind's historical overview shows how the electron at first<br>bothered those that discovered or knew of its existence and<br>implications. But, as more and more of the electron's secrets<br>were discovered, the power and potential of electricity became
<br>desired and useful. Today, electricity dominates our lives, far<br>more so than fuel for our automobiles.</p>
<p>Like the invisible electron, its subject, Much Ado About Almost<br>Nothing speaks to a story much deeper and richer than might be<br>first realized. Requiring no prior knowledge of technology, the<br>end result of this book is to provide an understanding of
<br>electricity and the technology it has wrought.</p>
<p><br>New Leonardo Reviews</p>
<p>October 2007</p>
<p>The Democratic Revolutionary Handbook<br>First Run/Icarus Films, Brooklyn, New York, 2005<br>Reviewed by Jonathan Zilberg</p>
<p>The Exiles of Marcel Duchamp<br>by T. J. Demos<br>Reviewed by Kieran Lyons<br>Eye Contact: Photographing Indigenous Australians<br>by Jane Lydon<br>Reviewed by Brook Andrew</p>
<p>Felix Werder: The Tempest<br>by Felix Werder<br>Reviewed by Stefaan Van Ryssen</p>
<p>Forever<br>by Heddy Honigmann<br>Reviewed by Rob Harle (Australia)<br> <br>Freedom of Expression: Resistance and Repression in the Age of<br>Intellectual Property<br>by Kembrew McLeod<br>Reviewed by Hugo de Rijke</p>
<p>Looking for an Icon<br>by Hans Pool & Maaik Krijgsman, Directors<br>Reviewed by Amy Ione</p>
<p>Pop Art Book<br>by Corinne Miller, Nadine Monem and Margaret Nugent, Editors<br>Reviewed by Fred Andersson</p>
<p>Residual Media<br>by Charles R. Acland, Editor<br>Reviewed by John F. Barber</p>
<p>Tambogrande: Mangos, Murder, Mining<br>by Ernesto Cabellos & Stephanie Boyd<br>Reviewed by José-Carlos Mariátegui</p>
<p>Thousand Year Dreaming / floating world<br>by Annea Lockwood<br>Reviewed by Stefaan Van Ryssen</p>
<p>T:BA:07<br>Sponsored by The Portland Institute for Contemporary Art<br>Reviewed by Dene Grigar</p>
<p>(Un)common Ground: Creative Encounters between Sectors and<br>Disciplines<br>by Cathy Brickwood, Bronac Ferran, David Garcia, Tim Putnam,<br>Editors<br>Reviewed by José-Carlos Mariátegui</p>
<p>September 2007</p>
<p>Art for a House of Mathematics<br>by Anna Campbell Bliss<br>Reviewed by Rob Harle </p>
<p>The Big Fish. Consciousness as Structure, Body and Space<br>by Anna Bonshek<br>Reviewed by Rob Harle </p>
<p>The Blind Spot<br>by Alec K. Redfearn and the Eyesores<br>Reviewed by Michael R. (Mike) Mosher <br>Camouflage and Art: Design for Deception in World War 2<br>by Henrietta Goodden<br>Reviewed by Roy R. Behrens</p>
<p>Can't Do It In Europe<br>by Charlotta Copcutt, Anna Weitz and Anna Klara Åhrén<br>Reviewed by Kathryn Adams </p>
<p>Cartographic Cinema<br>by Tom Conley<br>Reviewed by Jan Baetens</p>
<p>Collectivism after Modernism: The Art of Social Imagination<br>after 1945<br>by Blake Stimson and Gregory Sholette, Editors<br>Reviewed by Jan Baetens </p>
<p>Descartes. The Life and Times of a Genius<br>by Anthony C. Grayling<br>Reviewed by Martha Patricia Niño M. </p>
<p>For<br>by The Claudia Quintet<br>Reviewed by Michael R. (Mike) Mosher </p>
<p>For<br>by The Claudia Quintet <br>Reviewed by Stefaan Van Ryssen</p>
<p>Gods in the Bazaar<br>by Kajri Jain<br>Reviewed by Stefaan Van Ryssen</p>
<p>Henry Cow: Concerts<br>by Henry Cow <br>Reviewed by Stefaan Van Ryssen</p>
<p>The Image in French Philosophy<br>by Temenuga Trifonova<br>Reviewed by Jan Baetens</p>
<p>I Am a Strange Loop<br>by Douglas R. Hofstadter<br>Reviewed by Richard Kade</p>
<p>Much Ado About Almost Nothing: Man's Encounter with the Electron<br>by Hans Camenzind<br>Reviewed by John F. Barber</p>
<p>Museum Frictions: Public Cultures/Global Transformations<br>by Ivan Karp, Corrine Kratz, Lynn Szwaja and Tomas Ybarra-<br>Frausto, Editors<br>Reviewed by Jonathan Zilberg</p>
<p>Stots<br>by Lukas Simonis<br>Reviewed by Stefaan Van Ryssen</p>
<p>Surviving Death/Alive Why?<br>by Bill Brovold and Larval<br>Reviewed by Stefaan Van Ryssen</p>
<p>The Topography of Chance<br>by Stewart Lee, Curator<br>Reviewed by Stefaan Van Ryssen</p>
<p>Tribulation 99: Alien Anomalies under America<br>by Craig Baldwin<br>Reviewed by Stefaan Van Ryssen</p>
<p>Tube Mouth Bow String<br>by Nick Didkovsky<br>Reviewed by Stefaan Van Ryssen</p>
<p>Vali Myers: A Memoir<br>by Gianni Menichetti<br>Reviewed by Allan Graubard</p>
<p>To read all new and archived reviews, visit Leonardo Reviews<br>at: <<a href="http://www.leonardo.info/ldr.html">http://www.leonardo.info/ldr.html</a>>. <br>______________________________________________________
</p>
<p>LEONARDO, VOL. 40, No. 5 (September 2007)<br>TABLE OF CONTENTS AND SELECT ABSTRACTS<br>______________________________________________________</p>
<p>Editorial</p>
<p>< The Electroacoustic Music Studies Network > by Marc Battier<br>_______________________</p>
<p>Historical Perspective</p>
<p>< Computer Graphic--Aesthetic Experiments between Two Cultures<br>> by Christoph Klütsch</p>
<p>ABSTRACT: The author presents a summary of his work on the<br>Stuttgart School and information aesthetics as developed by Max<br>Bense in the 1950s and 1960s. Three artists, Frieder Nake, Georg<br>Nees and Manfred Mohr, adopted the use of information aesthetics
<br>in computer graphics. The author investigates the relation<br>between artistic practice and aesthetic theory.<br>_______________________</p>
<p>Artist's Note</p>
<p>< The Teleporter Zone: Interactive Media Arts in the Healthcare<br>Context > by Paul Sermon</p>
<p>ABSTRACT: The author discusses the recent development and<br>implementation of The Teleporter Zone, a permanent interactive<br>art installation commissioned by Guy's and St Thomas' Charity<br>for the new Evelina Children's Hospital in London. The article
<br>places the production and conception of this installation in the<br>context of the author's research in telematic and telepresent<br>art over the past 15 years, alongside current research reports<br>on the effects and influences of the arts on healthcare. The
<br>author also draws upon personal experiences in order to provide<br>practical insights into the objectives and outcomes of this work<br>in the healthcare context.<br>_______________________</p>
<p>Artists' Articles</p>
<p>< Meaning without Borders: likn and Distributed Knowledge > by<br>Ben Syverson</p>
<p>ABSTRACT: This paper serves as a narrative companion to likn,<br>an artware application about the nature of knowledge, ideas and<br>language. According to the advocates and engineers of the<br>"knowledge representation" project known as the Semantic Web,
<br>electronic ontologies are "a rationalization of actual data-<br>sharing practice"; but where do artists and intellectuals fit<br>into this data-oriented model of discourse? likn critiques the<br>Semantic Web from a postmodern perspective. This account
<br>describes how postmodern theory was scrutinized, interpreted and<br>ultimately expressed as "features" in likn.<br>_______________________</p>
<p>Special Section: Lovely Weather: Art and Climate Change</p>
<p>< O-24 Licht: A Project Combining Art and Applied Research > by<br>Andrea van der Straeten and Angelo Stagno</p>
<p>< Between Reason and Sensation: Antipodean Artists and Climate<br>Change > by Janine Randerson</p>
<p>ABSTRACT: The author, drawing on her experience as a New<br>Zealand artist who has collaborated with meteorologists,<br>suggests that artists may enter climate change discourse by<br>translating (or mis-translating) scientific method into sensory
<br>affect. She examines three recent art projects from Australasia<br>that draw on natural phenomena: her own Anemocinegraph (2006--<br>2007), Nola Farman's working prototype The Ice Tower (1998) and<br>Out-of-Sync's ongoing on-line project, Talking about the
<br>Weather. The author cites Herbert Marcuse's 1972 essay "Nature<br>and Revolution," which argues that sensation is the process that<br>binds us materially and socially to the world.<br>_______________________
</p>
<p>Color Plates<br>_______________________</p>
<p>Extended Abstract</p>
<p>< The Singing Shamail: A Computer Sound Installation > by Bulat<br>M. Galeyev<br>_______________________</p>
<p>Special Section: In the Light of History: Papers from the 2005<br>Refresh! Conference</p>
<p>< Special Section Introduction > by Sean Cubitt</p>
<p>< Peter Donebauer, Richard Monkhouse and the Development of the<br>EMS Spectron and the Videokalos Image Processor > by Chris Meigh-<br>Andrews</p>
<p>ABSTRACT: The author details the development of two early color<br>video synthesizers, the EMS Spectron and the Videokalos Image<br>Processor, and examines their influence on video-based art. The<br>Spectron, developed by Richard Monkhouse for Electronic Music
<br>Studios, influenced both its creator and various artists in the<br>development of video-based art and images. Artist Peter<br>Donebauer collaborated with Monkhouse to produce the Videokalos,<br>leading to several artworks and a series of live performances.
</p>
<p>< Re-Writing the History of Media Art: From Personal Cinema to<br>Artistic Collaboration > by Ryszard Klusczcynski</p>
<p>ABSTRACT: The author reinterprets the artistic phenomena that<br>composed historical avant-garde art. His method of<br>interpretation is an intertextual strategy that approaches the<br>historical artifacts through recent phenomena. The first case
<br>study is of structural film; its most important attributes<br>appear to be artistic strategies questioning the<br>structural/material integrity, durability and permanence of the<br>film work. The second case study is of the avant-garde strategy
<br>of collective work, reinterpreted through the open-source work<br>and interactive art of today. The author identifies three steps<br>in the development of the 20th-century concept of joint creative<br>work: avant-garde general strategies of artistic collaboration;
<br>avant-garde film works oriented toward creative collectivism;<br>and collaborative artistic practices that manifest themselves in<br>non-hierarchical strategies of contemporary interactive art.<br>_______________________
</p>
<p>Theoretical Perspective</p>
<p>< Toward Other Epistemologies of Interface Culture: Dependent<br>Origination, Tantra and Relational Being in an Age of Digital<br>Reproduction > by Ajaykumar</p>
<p>ABSTRACT: The author formally and thematically reconsiders the<br>Buddhist philosophical concept of dependent origination in the<br>context of technological practice. In this context, he discusses<br>historical attempts in Tantric art to develop an integrated
<br>practice and conceive a dynamic "entity" of the body (that of<br>the artist or the spectator), science, technology, art,<br>architecture, philosophy, space-time and nature; and the<br>veracity of such concepts in the context of particular new
<br>scientific insights. Furthermore, he reconsiders notions of<br>relational being and nonanthropocentric being, and a polyphonic<br>"I." The article aims to interrogate new ways of evolving<br>current practice and thinking on themes related to the
<br>socialization and mediatization of "difference."<br>_______________________</p>
<p>Special Section: ArtScience: The Essential Connection<br>Robert Root-Bernstein: Certain of Heisenberg's Arts</p>
<p>< Looking Beneath the Surface: The Radial Spread of Ink in<br>Water > by Pery Burge</p>
<p>ABSTRACT: The author discusses her use of ink in water to<br>create three-dimensional radial spreads (outward movements of<br>liquid about a central point). The radial spreads form patterns<br>as the ink moves across and in the water. The patterns have both
<br>scientific and aesthetic aspects and form the basis for<br>speculation in both areas. They also provide an exciting new<br>dimension to the artist's work relating to fluid flow: Unique<br>patterns, often seen only by the eye of the camera, can be
<br>generated and preserved within one photograph or a photographic<br>sequence.<br>_______________________</p>
<p>General Note</p>
<p>< Governing Artistic Innovation: An Interface among Art,<br>Science and Industry > by Jean-Paul Fourmentraux</p>
<p>ABSTRACT: The author presents an analysis of the workings and<br>tensions involved in the integration and articulation of<br>academic research, artistic creation and industrial production.<br>He makes use of the results of a study conducted among creator-
<br>researchers of a Canadian prototype for the organization of<br>these relationships: the Montreal, Canada-based interuniversity<br>consortium Hexagram.<br>_______________________</p>
<p>From the Leonardo Archive</p>
<p>< Introduction > by Michele Emmer</p>
<p>< Scalebound or Scaling Shapes: A Useful Distinction in the<br>Visual Arts and in the Natural Sciences > by Benoit B.<br>Mandelbrot (Reprinted from Leonardo Vol. 14, No. 1, 1981)<br>_______________________</p>
<p>Leonardo Reviews</p>
<p>Reviews by Kathryn Adams, Jan Baetens, John F. Barber, Geoff<br>Cox, Rob Harle, Amy Ione, Mike Leggett, Michael R. Mosher,<br>Michael Punt, Stefaan Van Ryssen, Jonathan Zilberg<br>_______________________</p>
<p>Transactions</p>
<p>Andrew Johnston and Benjamin Marks: Partial Reflections<br>_______________________</p>
<p>Leonardo Network News<br>______________________________________________________</p>
<p>LEONARDO ABSTRACT SERVICE<br>______________________________________________________</p>
<p>Leonardo/The International Society for the Arts, Sciences and<br>Technology is pleased to announce the publication of the top-<br>rated abstracts in the Leonardo Abstracts Service Databases<br>during the 1st half of 2007.
</p>
<p>Leonardo Abstracts Service (LABS), consisting of the English-<br>language, Spanish-language and Chinese-language databases, is a<br>comprehensive collection of Ph.D., Masters and MFA thesis<br>abstracts on topics in the emerging intersection of art, science
<br>and technology. Individuals receiving advanced degrees in the<br>arts (visual, sound, performance, text), computer sciences, the<br>sciences and/or technology that in some way investigate<br>philosophical, historical or critical applications of science or
<br>technology to the arts are invited to submit abstracts of their<br>theses for consideration. </p>
<p>Top-rated abstracts in both the English and Spanish language<br>databases are chosen twice annually by peer-review panels under<br>the guidance of Sheila Pinkel, Pau Alsina and Kenneth Fields and<br>published in the Leonardo Electronic Almanac.
</p>
<p>The top-rated abstracts in the English-language database for<br>the 1st half of 2007 are Noah Wardrip-Fruin, David Burraston,<br>Sarah Jane Pell, Pamela Jennings, Eric Kabisch and Michael Hohl.<br>Abstracts by these authors are included below. To access
<br>abstracts in all of the databases, and for more about the<br>project, visit:<br><a href="http://www.leonardo.info/isast/journal/calls/labsprojectcall.html">http://www.leonardo.info/isast/journal/calls/labsprojectcall.html
</a> </p>
<p>< Expressive Processing: On Process-Intensive Literature and<br>Digital Media > by Noah Wardrip-Fruin</p>
<p>ABSTRACT: Most studies of digital media focus on elements<br>familiar from traditional media. For example, studies of digital<br>literature generally focus on surface text and audience<br>experience. Interaction is considered only from the audience's
<br>perspective. This study argues that such approaches fail to<br>interpret the element that defines digital media --<br>computational processes. An alternative is proposed here,<br>focused on interpreting the internal operations of works. It is
<br>hoped that this will become a complement to (rather than<br>replacement for) previous approaches. The examples considered<br>include both processes developed as general practices and those<br>of specific works. A detailed survey of story generation begins
<br>with James Meehan's Tale-Spin, interpreted through "possible<br>worlds" theories of fiction (especially as employed by digital<br>media theorists such as Marie-Laure Ryan). Previous<br>interpretations missed important elements of Tale-Spin's fiction
<br>that are not visible in its output. Other story generation<br>systems discussed include Minstrel, Universe, Brutus, and<br>Terminal Time. These reveal the inevitably authored nature of<br>simulations of human behavior. Further, the persistently
<br>anthropomorphizing approach to computational processes present<br>in traditional artificial intelligence (and many critiques) is<br>contrasted with authorship. Also discussed is Christopher<br>Strachey's love letter generator for the Manchester Mark I --
<br>likely the first work of digital literature, and arguably the<br>first digital art of any kind. As with Tale-Spin, an<br>interpretation of its processes offers more than output-focused<br>approaches. In addition, this study considers works with
<br>algorithmic processes carried out by authors and audiences<br>(rather than within the works) created by Raymond Queneau,<br>Tristan Tzara, and Claude Shannon. Prior theoretical concepts<br>are engaged, including Espen Aarseth's "cybertext," Michael
<br>Mateas's "expressive AI," and Chris Crawford's "process<br>intensity." A set of concepts and vocabulary are proposed,<br>beginning with the simple distinction between "surface," "data,"
<br>and "process." Further chapters introduce the terms "implemented<br>processes," "abstract processes," and "works of process." The<br>most unfamiliar new term, "operational logics," names behavioral
<br>elements of systems that can be as elemental as gravity or as<br>high-level as a quest structure. The computer game Fable<br>embodies the strengths and weaknesses of using the same logics<br>to drive graphical and linguistic behavior.
</p>
<p>< Generative Music and Cellular Automata > by David Burraston</p>
<p>ABSTRACT: Complex systems such as Cellular Automata (CA)<br>produce global behaviour based on the interactions of simple<br>units (cells). They are fascinating objects, producing more<br>pattern than a single human is capable of observing within their
<br>own lifetime. Their evolution is specified by local interaction<br>rules that generate some form of ordered, complex or chaotic<br>behaviour. This wide variety of behaviour represents an<br>important generative tool for the artist. However, chaotic
<br>behaviour dominates rule space, which has serious implications<br>for application and investigation. The main contribution of this<br>thesis is a new perspective into a recognised key problem, the<br>structure of rule space. This is achieved through empirical
<br>observation of a fundamental connection between state space and<br>rule space. The methodology combines experimental music<br>composition and reflective practice in its approach. The<br>techniques are based on recent perspectives of CA theory, called
<br>global dynamics, and music composition practice. The significant<br>problem of identifying rule space structure is approached from<br>an artists perspective to obtain mixtures of behaviour, which<br>differs from the traditional method of grouping together similar
<br>dynamics. A detailed account exposes the main process of<br>creating mixed, but related groups of CA rules. The approach<br>taken provides an interesting and alternative method of studying<br>CA rule spaces in general, independent of musical application.
<br>Further contributions are made throughout the thesis and provide<br>a significant foundation for the main contribution relating to<br>rule space structure. An extensive review of CA and their<br>application in music presents a balanced view of the field to
<br>set the work in context. The methodology proposes criteria for<br>evaluation of this new approach to rule space structure.<br>Important concepts of global dynamics are utilised in<br>composition practice for the first time, enabling the key
<br>observations on the state and rule space connection. Fundamental<br>connections between well known rules and music composition<br>technology are introduced to establish links between the fields.<br>This approach to produce generative music is fundamentally
<br>different from previous work and several descriptions of CA<br>music mappings are presented in a practice-based context. New<br>generative music compositions, a significant amount of CA data<br>and an electronic copy of the thesis are included on the CD-ROM.
<br>The state/rule space connection identified in this thesis has<br>the potential to open new directions, in both science and music.</p>
<p>< Aquabatics as new works of Live Art > by Sarah Jane Pell</p>
<p>ABSTRACT: This practice-based thesis (comprising of an<br>exegesis, exhibition, performances and their documentation)<br>traces a myriad of cognitive and sub cognitive processes that<br>converge towards a complex practice referred to as 'Aquabatics'.
<br>In broad terms, Aquabatics describes the research nexus of<br>occupational diving and contemporary performance. The purpose<br>of this body of research has been to explore underwater<br>performance, behaviour and boarders, in order to both devise new
<br>works of live art and to develop new methodologies and<br>approaches to art-making. Aquabatics, as a performance<br>strategy, seeks to critique, contest and explore the liminal<br>natures of human performance, and the role and context of live
<br>artists, in contemporary life. <br> <br>The exegesis attempts to underscore the complex process of<br>semiosis and the dissemination of experiential knowledge in, and<br>through, human performance activities, behaviours and biotech
<br>fission engagements with, in, and related to, an underwater<br>environment. The theoretical framework is best described as<br>liquid and consequently the rationale for the exegesis is<br>explained as one that traverses a multitude of 'borrowed'
<br>pedagogies to contextualise a knowledge system of newly proposed<br>faculties*. Part One discusses the nature and condition of<br>Aquabatics in terms of biological, ecological, technological,<br>metaphysical, political and societal factors. Throughout, these
<br>natures are described as an active tool to suggest treatments<br>for looking at, and understanding the acts/actions/activisms<br>themselves and their possible functions to point towards<br>liminality. The more complex issue of the inherent aqueous
<br>nature in/of/for performance is proposed as the vital link<br>connecting Aquabatics to existing cultural texts and contexts. <br>The multi-medial texts function to make sense of the aesthetic<br>and utilitarian performance described by examining the
<br>intersections of performance praxis, theorem and the functional<br>operations of occupational diving through a series of original<br>live(d) engagements, hypothesis and proposals in Part Two. <br> <br>In undertaking and discussing these works, I propose that I
<br>enter into a zone of irreducibility; a permanently spirally<br>vortex of forms, dissolving and evolving into an absent-present<br>state of existence as the performer/ inhabitant/ pilot of this<br>research. By documenting and re-membering this process herein,
<br>the notion of 'performance' along with liberty, identity,<br>culture, art and politics also regularly collapses in meaning,<br>status, form and function. Finally, considering Aquabatics, pre<br>and post performance, offers insight into the spatial and
<br>temporal factors, beliefs and actions leading to, and arising<br>from, this research. It introduces a new episteme that<br>transgresses traditional transgressions and proposes a liminal<br>juncture of research, and performance behaviours that
<br>constitutes an awareness of where, at depth, underwater, the<br>self collapses into its priori opposite. </p>
<p>< Interactive Technologies for the Public Sphere: Towards a<br>Theory of Critical Creative Technology > by Pamela Jennings</p>
<p>ABSTRACT: Digital media cultural practices continue to address<br>the social, cultural and aesthetic contexts of the global<br>information economy, perhaps better called ecology, by inventing<br>new methods and genres that encourage interactive engagement,
<br>collaboration, exploration and learning. The theoretical<br>framework for critical creative technology evolved from the<br>confluence of the arts, human centered computing, and critical<br>theories of technology. Molding this nascent theoretical
<br>framework from these seemingly disparate disciplines was a<br>reflexive process where the influence of each component on each<br>other spiraled into the theory and practice as illustrated<br>through the Constructed Narratives project. The traditional
<br>reductionist approach to research requires that all confounding<br>variables are eliminated or silenced using methods of<br>statistics. However, that noise in the data, those confounding<br>variables provide the rich context, media, and processes by
<br>which creative practices thrive. As research in the arts gains<br>recognition for its contributions of new knowledge, the<br>traditional reductive practice in search of general principles<br>will be respectfully joined by methodologies for defining living
<br>principles that celebrate and build from the confounding<br>variables, the data noise. The movement to develop research<br>methodologies from the noisy edges of human interaction have<br>been explored in the research and practices of ludic design and
<br>ambiguity (Gaver, 2003); affective gap (Sengers et al., 2005b;<br>2006); embodied interaction (Dourish, 2001); the felt life<br>(McCarthy & Wright, 2004); and reflective HCI (Dourish, et al.,<br>2004). </p>
<p>The theory of critical creative technology examines the<br>relationships between critical theories of technology, society<br>and aesthetics, information technologies and contemporary<br>practices in interaction design and creative digital media. The
<br>theory of critical creative technology is aligned with theories<br>and practices in social navigation (Dourish, 1999) and community-<br>based interactive systems (Stathis, 1999) in the development of<br>smart appliances and network systems that support people in
<br>engaging in social activities, promoting communication and<br>enhancing the potential for learning in a community-based<br>environment. The theory of critical creative technology amends<br>these community-based and collaborative design theories by
<br>emphasizing methods to facilitate face-to-face dialogical<br>interaction when the exchange of ideas, observations, dreams,<br>concerns, and celebrations may be silenced by societal norms<br>about how to engage others in public spaces. The Constructed
<br>Narratives project is an experiment in the design of a critical<br>creative technology that emphasizes the collaborative<br>construction of new knowledge about one's lived world through<br>computer-supported collaborative play (CSCP). To construct is to
<br>creatively invent one's world by engaging in creative decision-<br>making, problem solving and acts of negotiation. The metaphor<br>of construction is used to demonstrate how a simple artifact - a<br>building block - can provide an interactive platform to support
<br>discourse between collaborating participants. The technical goal<br>for this project was the development of a software and hardware<br>platform for the design of critical creative technology<br>applications that can process a dynamic flow of logistical and
<br>profile data from multiple users to be used in applications that<br>facilitate dialogue between people in a real-time playful<br>interactive experience. </p>
<p>Rorty's persona of the liberal ironist is presented as the<br>spirit by which this text and research has been approached.<br>Shear and Varela's concept of first person methodology as a<br>viable place from which to cultivate scientific research is
<br>discussed and followed with the description of a travel<br>experience by the author which instigated the development of the<br>theory of critical creative technology. The critical social<br>cartography that informs the theory and the Constructed
<br>Narratives includes the following philosophical premises.<br>Thompson's theory of enactive cognition and empathy set the<br>foundation from which inquiry into the role of empathy,<br>intentionality and intersubjectivity in supporting discourse,
<br>initiated from the author's person story, evolves to a theory of<br>research and practice in digital media. Habermas's models of<br>the theories of society, in particular his fourth model for<br>communicative theories founded on intersubjective experiences
<br>sets the stage for the development of the theory of universal<br>pragmatics and ideal speech acts. Alternative theories of<br>communication and society that fit the specifications of the<br>fourth model, which Habermas does not address, are discussed
<br>including Wittgenstein's "language games," Bakhtin's "speech<br>genres," and Vygotsky's "constructivism. A metaphor for<br>visualizing the polemic theoretical positions on the nature of
<br>discourse from Habermas's validity claims to Rorty's liberal<br>ironist stance based on Davidson's concept of "passing theories"<br>is presented.</p>
<p>Models and theories of the public sphere are examined. Dewey's<br>concept of the public sphere as the locus of political decisions<br>is followed by Broeckmann's argument for engaging the public<br>domain. Habermas's infamous theory on the bourgeois public
<br>sphere is addressed along with comments from several of his<br>critics. Alternatives to the bourgeois public sphere are<br>explored including Mouffe's agonistic democracy and Negt and<br>Kluge's proletarian public sphere. Habermas' reprieve to his
<br>critics and an enlightened view to the nature and potentialities<br>of the public sphere as a place to influence policy in a "siege-<br>like manner" leads the text to consider Feenberg's theory of<br>critical technology. Feenberg's analysis of the two main camps
<br>of critical theories of technology, instrumental and<br>substantive, is examined. Instrumental theory is illustrated<br>with an analysis of Vannevar Bush's article "As We May Think",<br>Englebart's HLAM/T theory, Weiner's cybernetics, and Weiser's
<br>ubiquitous computing framework. The substantive theoretical<br>platform is supported with Heidegger and Habermas's concerns, or<br>lack of concern, on the impact of technology on society.<br>Feenberg's position on the critical theory of technology his
<br>elaborations on the bias and neutrality factors of technology<br>leads to discussion about and elaboration on his dialectics of<br>technology. Feenberg's dialectics of technology and its four<br>core components; concretization; vocation; aesthetics; and
<br>collegiality, are explored, dissected and augmented with<br>examples from contemporary digital media, interaction design,<br>human computer interaction and pedagogical practices. Among the<br>theories and practices brought forth in support of his theory is
<br>the New London Groups theory of multiliteracies, Fuller's<br>critical software, Fogg's persuasive computing, Dourish's<br>embodied interaction, Ascott's behaviorist art; Rokeby's<br>transforming mirror; Fischer's metadesign, and digital divide
<br>community empowerment efforts. The discussion leads to the<br>connection of Feenberg's dialectics of technology to the theory<br>of critical creative technologies proposed in this dissertation.</p>
<p>From this academic exercise, three main principles in the<br>design of applications in the spirit of critical creative<br>technologies are described. Principle 1: Place as Connected<br>Space is supported by theories that differentiate the terms
<br>space and place as one that defines logistics and the other<br>which defines contextual attributes. Research methods, such as<br>Hillier's space syntax, designed to analyze and assign<br>attributes of quality to the quantified data are examined in
<br>comparison to Deleuze and Guattari's rhizome as a metaphor for<br>place. Principle 2: Empathetic Intersubjective Experience<br>takes its lead from the discussion on Thompson to further<br>elaborate on situational requirements for an empathetic
<br>experience. Principle 3: Discourse and Play seeks to define a<br>notion of "deep play," by examining the important western<br>historical and philosophical platforms in which play was<br>relegated as an important element of society or treated as an
<br>unnecessary distraction to rational discourse. The principles<br>lead to the main goals involved in developing applications for<br>critical creative technology in the form of tangible social<br>interfaces (TSI). The Constructed Narratives project was
<br>initiated as an experiment in the design of tangible social<br>interfaces for facilitating communication between people in<br>public spaces.</p>
<p>< Landscape Denatured: Digitizing the Wild > by Eric Kabisch</p>
<p>ABSTRACT: This paper presents motivation and documentation of<br>four technologically enabled artworks. These artworks explore<br>ways in which digital technologies impact society and culture,<br>focusing particularly on the impacts of information technologies
<br>on physical and cultural geography. A framework is provided for<br>analyzing these works of art. This framework addresses the<br>impacts of technology as a three-part cyclical process that<br>includes (1) sensing elements of the environment, (2) analyzing
<br>and creating narratives from the captured data, and (3) the<br>propagation of these methods and representations back into the<br>world. SignalPlay is an interactive installation that employs<br>wireless sensors to control a spatialized sound environment,
<br>allowing participants to explore a distributed collaborative<br>system. <a href="http://Unexceptional.net">Unexceptional.net</a> is a web-based application for<br>visualizing and sonifying network, database and player
<br>information of a multi-modal online role-playing game. Sonic<br>Panoramas utilizes image sonification, immersive projection and<br>camera-based machine vision to allow users to create an<br>interactive musical experience from panoramic landscape imagery.
<br>Datascape is a periscope-like system for the visualization of<br>geographic information. This system allows users to explore a 3D<br>topography and musical soundtrack that are generated from<br>geospatial information such as marketing demographics. In
<br>addressing the impacts of digital technologies on culture, these<br>artworks employ the very technologies being investigated.<br>Through the production and exhibition of this work, I hope to<br>engage the public with these important issues and to help shape
<br>the ways that technological methodology embeds itself in our<br>world and in our daily experience.</p>
<p>< This is not here: Connectedness, remote experiences and<br>immersive telematic art > by Michael Hohl</p>
<p>ABSTRACT: This practice-based enquiry engages in the<br>disciplines of Art and Computer Science. It explores<br>participants experience of live data from remote locations,<br>especially experiences of global consciousness or global
<br>awareness. The vehicle for the research is a software<br>application called Radiomap. This photorealistic interactive map<br>is used to listen to a selection of live radio programs from all<br>over the planet. The research was conducted in two iterative
<br>studies, one with a screen-based application, the other with an<br>immersive, telematic environment. Methods and Methodologies were<br>informed by Human Computer Interaction, Art History and the<br>Social Sciences.<br>
______________________________________________________</p>
<p>LEONARDO NETWORK NEWS<br>______________________________________________________</p>
<p>< Meredith Tromble Elected Secretary of Leonardo Governing<br>Board ></p>
<p>Meredith Tromble was elected secretary of the Leonardo<br>Governing Board in April of 2007. Her duties as Board secretary<br>include keeping track of the paperwork for Leonardo/ISAST and<br>helping make decisions as part of the Board Executive Committee.
<br>Meredith was a member of the Leonardo Advisory Board from 2005<br>to 2007. In January 2007 she was elected to the Leonardo<br>Governing Board. More about Meredith can be found on the<br>Leonardo Electronic Directory: <
<a href="http://www.leonardo.info/led.index.html">www.leonardo.info/led.index.html</a>></p>
<p>< Transactions Section Offers Rapid Publication Forum in<br>Leonardo Journal > </p>
<p>Transactions is a new section in the print journal Leonardo<br>that publishes fully refereed papers on a fast track to<br>dissemination of key new results, ideas and developments in<br>practice.</p>
<p>Papers are solicited under the stated aims and scope of<br>Leonardo, but are restricted to two pages of published material.<br>A rapid refereeing process is employed in which the result is<br>restricted to acceptance or rejection. If a submission is
<br>rejected, the submission of a revised version will be treated as<br>a new paper.</p>
<p>The announcement of results or developments in a Transactions<br>paper will not exclude that work from subsequent publication as<br>a full Leonardo paper. However, any such submission will be<br>considered by Leonardo, in the normal way, as a new paper.
</p>
<p>Papers should be submitted electronically, in final camera-<br>ready form, according to Leonardo's editorial guidelines.<br>Incorrectly formatted papers will be rejected, so take great<br>care. Refer both to the general editorial guidelines and also to
<br>the specific guidelines for Transactions papers. </p>
<p>Visit the Transactions web site to review guidelines, submit a<br>paper and sign up to receive updates and announcements:<br><<a href="http://www.leonardo-transactions.com/">www.leonardo-transactions.com</a>>.</p>
<p>< Leonardo in Argentina: CEIArtE Lecture and Workshop series<br>(2007--2008) ></p>
<p>We are pleased to announce a Leonardo collaboration with the<br>Electronic Arts Research and Experimenting Center in Buenos<br>Aires, Argentina as part of the Leonardo 40th Anniversary<br>celebration. </p>
<p>The Electronic Arts Research and Experimenting Centre (CEIArtE)<br>at the National University of Tres de Febrero in Buenos Aires,<br>Argentina, is organizing the "Research and the Arts" series of<br>lectures and workshops running through 2007 and 2008 and is
<br>joining Leonardo in its 40th anniversary celebration. </p>
<p>For information on current and upcoming events on this series,<br>check the CEIArtE's web site at: <<a href="http://www.ceiarte.untref.edu.ar/">www.ceiarte.untref.edu.ar</a>></p>
<p>< Recent Events and Projects of the Leonardo Scientists Working<br>Group ></p>
<p>The Leonardo Scientists Working Group (SWG) was initiated in<br>2005 by Leonardo Board member Tami Spector to further Leonardo's<br>mission of bridging "the two cultures" of arts and sciences with<br>projects, events and collaborations of mutual interest to both
<br>communities. One of the first projects was to compile a database<br>of nearly 100 scientists who have shown a strong commitment to<br>the arts. About 20 of these members from the San Francisco Bay<br>Area were brought together in April 2007 for an event organized
<br>by Spector, Christian Simm and Piero Scaruffi and hosted at<br>swissnex in San Francisco. Here they began discussions about<br>current interests and future activities, collaborations and<br>events with the group. At the event it was discovered that there
<br>was a particular interest in bringing science/art connections to<br>younger people in schools, universities and other community<br>settings. The SWG is also currently working on a special<br>project, "Nanotechnology, Nanoscale Science and Art" under the
<br>direction of Spector and Exploratorium artist-in-residence Tom<br>Rockwell. Leonardo, in collaboration with the Exploratorium<br>under the auspices of the Nanotech Informal Science Education<br>Network (NISE), will publish a special section in periodic
<br>installments over the next several years exploring the<br>intersections of nanotech/science and art. Further information<br>about the Leonardo Scientists Working Group can be found on the<br>Leonardo web site: <<a href="http://www.leonardo.info/isast/sci-workgroup.html">
www.leonardo.info/isast/sci-workgroup.html</a>>.</p>
<p>< Leonardo Organizational Membership Program Flourishes ></p>
<p>The Leonardo/ISAST Organizational/Corporate Membership Program,<br>initiated in 2004, is one way that Leonardo seeks to strengthen<br>its engagement with educational institutions and corporations<br>committed to the art, science and technology field. We work with
<br>faculty, students and researchers in these organizations on<br>projects of mutual interest including publication projects,<br>internships and special events. </p>
<p>Current members of the Leonardo Organizational Membership<br>program include the Center for Digital Arts and Experimental<br>Media at the University of Washington; the Digital + Media<br>Department at Rhode Island School of Design; the Daniel Langlois
<br>Foundation; Ontario College of Art & Design; School of the Art<br>Institute of Chicago; the Art & Technology Department at the<br>University of Texas, Dallas; California Institute of the Arts<br>School of Music; UCLA Art|Sci Center; swissnex; UTS Creativity &
<br>Cognition Studios; OMF-MINT at University of Paris IV-Sorbonne;<br>and University of Plymouth.</p>
<p>Leonardo/ISAST Organizational Membership benefits include<br>participation in the Leonardo Organizational and Corporate<br>Member Advisory Group moderated by Leonardo Executive Editor<br>Roger Malina, full-page ads in Leonardo and Leonardo Music
<br>Journal, opportunities to collaborate with Leonardo on special<br>projects and events, plus a number of other benefits.<br>Memberships are by invitation only to educational and corporate<br>organizations involved in the intersection of art, science and
<br>technology with projects of mutual interest. If you would like<br>to become an organizational member of Leonardo/ISAST, please<br>contact Roger Malina <<a href="mailto:rmalina@prontomail.com">rmalina@prontomail.com
</a>> with your<br>suggestions of areas for collaboration.<br>_____________________________</p>
<p>LEONARDO NETWORK NEWS COORDINATOR: Kathleen Quillian<br>kq [@] leonardo [dot] info<br>______________________________________________________</p>
<p>BYTES<br>______________________________________________________</p>
<p>< Digital Humanities Chair Position available at Dartmouth<br>College ></p>
<p>Dartmouth College invites applications for a newly endowed<br>chair in the Digital Humanities. The successful candidate should<br>be committed to interdisciplinary collaboration, technological<br>innovation, and creating curricular links within the Humanities
<br>and across divisions. The position offers the opportunity to<br>define a new area of research and teaching, and to build on<br>Dartmouth's existing strengths in the Humanities and Computing.</p>
<p>The field of research and teaching is open; we seek candidates<br>with practical and/or theoretical expertise in one or several of<br>the following fields in the Arts and Humanities: visual arts,<br>visual culture, new media, screen studies, performance arts,
<br>music and sound, film, TV/Video, literature, and human-computer<br>interaction. Expertise in computer hardware and/or software will<br>be welcome but is not essential. </p>
<p>The role of the Chair in Digital Humanities is intended to be<br>broad in scope, potentially incorporating current or future<br>initiatives in cyber-culture and the creation, performance, and<br>critical study of digital arts, including a consideration of the
<br>socio-political and theoretical implications of new artistic<br>technologies. The endowment for this Chair provides additional<br>funds for projects involving research, teaching, and program<br>building in the Digital Humanities.
</p>
<p>Our intention is to hire at the rank of associate or full<br>professor with tenure. The successful candidate will be located<br>in a single Dartmouth department or program, or jointly<br>appointed to one or more departments or programs. Considerable
<br>flexibility exists regarding joint appointments, which may cross<br>departmental or even divisional boundaries.</p>
<p>Dartmouth College combines a commitment to innovative<br>scholarship, creative practice, and excellent teaching,<br>primarily but not only of undergraduate students. One of the<br>most diverse institutions of higher education in New England,
<br>Dartmouth College is an equal opportunity/ affirmative action<br>employer and has a strong commitment to diversity. In that<br>spirit, we are particularly interested in receiving applications<br>from a broad spectrum of people, including women, persons of
<br>color, persons with disabilities, and veterans. </p>
<p>The Search Committee will begin reviewing applications after<br>October 1, 2007. Applications will be considered until the<br>position is filled. </p>
<p>Applications should be submitted in digital form. Please send<br>letter of application, CV, and the names of three references to:<br><a href="mailto:digital.search@dartmouth.edu">digital.search@dartmouth.edu</a></p>
<p>Please contact Mark Williams, Chair of the Search Committee<br>with any questions</p>
<p>Mark Williams (<a href="mailto:Mark.J.Williams@Dartmouth.edu">Mark.J.Williams@Dartmouth.edu</a>)<br>Dept. of Film and Television Studies<br>317 Wilson Hall<br>Dartmouth College<br>Hanover, NH 03755 USA<br>________________________________________________________________
</p>
<p>* ~ * ~ * ~ * ~ * ~ * ~ * CREDITS * ~ * ~ * ~ * ~ * ~ * ~ *<br>________________________________________________________________</p>
<p>Nisar Keshvani: LEA Editor-in-Chief<br>Natra Haniff: LEA Editor<br>Nicholas Cronbach: LEA Editor<br>Kathleen Quillian: LEA e-news Digest Coordinator<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: Founding Editor</p>
<p>Editorial Advisory Board:<br>Irina Aristarkhova, Roy Ascott, Craig Harris, Fatima Lasay,<br>Michael Naimark, Julianne Pierce</p>
<p>Gallery Advisory Board:<br>Mark Amerika, Paul Brown, Choy Kok Kee, Steve Dietz, Kim Machan</p>
<p>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 </p>
<p>________________________________________________________________</p>
<p>* ~ * ~ * ~ * ~ * LEA PUBLISHING INFORMATION * ~ * ~ * ~ * ~ * <br>________________________________________________________________</p>
<p><br>Editorial Address:<br>Leonardo Electronic Almanac<br>PO Box 850<br>Robinson Road<br>Singapore 901650<br>keshvani [@] leoalmanac [dot] org</p>
<p>________________________________________________________________</p>
<p>Copyright (2007), Leonardo, the International Society for the<br>Arts, Sciences and Technology<br>All Rights Reserved.</p>
<p>Re-posting of the content of this journal is prohibited without<br>permission of Leonardo/ISAST, except for the posting of news and<br>events listings that have been independently received.<br>Leonardo/ISAST and the MIT Press give institutions permission to
<br>offer access to LEA within the organization through such<br>resources as restricted local gopher and mosaic services. Open<br>access to other individuals and organizations is not permitted.<br>________________________________________________________________
</p>
<p>< Ordering Information ></p>
<p>Leonardo Electronic Almanac is a free supplement to subscribers<br>of Leonardo and Leonardo Music Journal.</p>
<p>To subscribe to Leonardo Electronic Almanac e-news digest,<br>visit: <a href="http://mailman.mit.edu/mailman/listinfo/leon_e_almanac">http://mailman.mit.edu/mailman/listinfo/leon_e_almanac</a></p>
<p>To subscribe to Leonardo, visit:<br><a href="http://www.mitpressjournals.org/leon">http://www.mitpressjournals.org/leon</a></p>
<p>To subscribe to Leonardo Music Journal, visit:<br><a href="http://www.mitpressjournals.org/lmj">http://www.mitpressjournals.org/lmj</a></p>
<p>For Leonardo and LMJ subscription queries contact:<br>journals-orders [@] mit [dot] edu <br>________________________________________________________________</p>
<p>* ~ * ~ * ~ * ~ * ~ * ADVERTISING * ~ * ~ * ~ * ~ * ~ * <br>________________________________________________________________</p>
<p>Leonardo Electronic Almanac is published monthly -- individuals<br>and institutions interested in advertising in LEA, either in the<br>distributed text version or on the World Wide Web site should<br>contact:</p>
<p>Leonardo - Advertising<br>211 Sutter Street, suite #501<br>San Francisco, CA 94108</p>
<p>phone: (415) 391-1110<br>fax: (415) 391-2385<br>E-mail: kq [@] leonardo [dot] info<br>More Info: <a href="http://leonardo.info/isast/placeads.html#LEAads">http://leonardo.info/isast/placeads.html#LEAads</a><br>________________________________________________________________
</p>
<p>* ~ * ~ * ~ * ~ * ~ * ACKNOWLEDGMENTS * ~ * ~ * ~ * ~ * ~ *<br>________________________________________________________________</p>
<p><br>LEA acknowledges with thanks the Rockefeller and Ford<br>Foundations for their support to Leonardo/ISAST and its projects.<br>________________________________________________________________</p>
<p>< End of Leonardo Electronic Almanac ><br>________________________________________________________________</p>