[LEAuthors] Leonardo Electronic Almanac Supplement Volume 15, Number 11 - 12, 2007

[Nisar Keshvani, LEA]

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Leonardo Electronic Almanac Volume 15, Number 11 - 12, 2007

http://leoalmanac.org

ISSN #1071-4391

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LEONARDO REVIEWS

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< Introduction > by Michael Punt



< Take Your Time: Olafur Eliasson > reviewed by Amy Ione



< (Un)common Ground: Creative Encounters across Sectors and Disciplines >
reviewed by Jonathan Zilberg



LEONARDO

--------



< Contents: Leonardo Vol. 41, No. 1 (2008) >



LEONARDO NETWORK NEWS

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



< Leonardo Connects with Educators and Students >



< LEA Named Official Media Sponsor of ISEA 2008 >



< Leonardo Collaborates on Art and Climate Project >



< Leonardo Book Series Enjoys Another Successful Year >



< Discussion on Tenure in Art/Science/Technology Departments >



< Smart Textiles: Science and Technology of Textile Art >



< Leonardo Day at UC Berkeley New Media Festival >



< In memoriam: Karlheinz Stockhausen > By Annick Bureaud



< In memoriam: Dimitris Skoufis >



BYTES

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< Rensselaer Polytechnic seeks Electronic Arts Department Head >



< Cleveland Institute of Art seeks Assistant/Associate Professor for
Biomedical Art Department >



< Cleveland Institute of Art seeks full-time faculty Design Theorist >



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LEONARDO REVIEWS
FEBRUARY 2008
______________________________________________________



For this issue of Leonardo Electronic Almanac we are featuring two long
reviews from the February postings not least because they do what we do
best: keeping track of events drawing on the first person expertise that
exists in the world. Amy Ione, as many of you know, is an international
lecturer, a painter, and a writer, and has long explored discovery,
creativity, innovation, invention, and historical challenges in art and
science. She maintains a constant flow of current events and debates through
the Diatrope Institute http://www.diatrope.com/ and is one of the
long-standing contributors to the Leonardo Reviews Project.



Jonathan Zilberg, who is the author of the second featured review is a
cultural anthropologist with field research and museum experience in Latin
America, America, Europe, Africa and Asia. He specialises in art and
religion. Since the early 1980s, he has been exploring religious symbolism
in diverse art forms past and present in Central America, Africa and
Southeast Asia. His current research is on the Indonesian reaction to the
rise of Islamic fundamentalism and on the nexus of archaeology and fashion
in Indonesia. His review of (Un)common Ground: Creative Encounters across
Sectors and Disciplines is especially welcome since, as a study of
cross-sector collaborations between the academic and commercial worlds, he
is able to comment on it from the ground of his own field experience.



These and the rest of the reviews for February 2008 are at <
www.leonardo.info/ldr.html> along with the archive of all the work of our
review panel.



Michael Punt

Editor-in-Chief

Leonardo Reviews



< Take Your Time: Olafur Eliasson >

Curated by Madeleine Grynsztejn

San Francisco Museum of Modern Art Exhibition

Catalogue, edited by Madeleine Grynsztejn

Thames & Hudson, 2007

272 pages, 200+ color reproductions

Hardcover: $50

Language: English

ISBN-10: 0500093407

ISBN-13: 978-0500093405



Reviewed by Amy Ione

The Diatrope Institute

2342 Shattuck Ave, #527

Berkeley, CA  94704 USA

ione [at] diatrope [dot] com



After spending several afternoons with Take your time: Olafur Eliasson,
engaging with light-filled kaleidoscopic environments, his free-standing
sculpture, his series of wall-mounted photographic stills, and his
reconfiguration of elements (e.g., moss, water, rock, etc.), it is clear
that Eliasson's reputation as a seasoned and influential artist is well
deserved.  Words are not capable of replicating the real time sensory
engagement with the ordinary spaces that he transforms into sites of wonder.
Indeed, it is even hard to say whether the results are art, science,
architecture, play, or something else entirely. Fortunately, for those not
yet acquainted with his work, the full-scale survey now on display at the
San Francisco Museum of Modern Art (SFMOMA) will also travel to New York,
Dallas, and Sydney, Australia (see below). Suffice to say that Take Your
Time captures Eliasson's ability to promote an awareness of the conventions
of seeing and stimulates a critical attitude toward the processes of
perception as well. It is an effective space for displaying his distinctive
energy, inviting the viewer's active participation, and raising perceptual
questions. On display are the six fundamental aspects of his practice: a
distinctive use of mirrors to displace the viewer's perception of both
object and self; an exploration of light and optical phenomena via immersive
environments that interact with the viewer for full effect; the use of
kaleidoscopic elements to bring the outdoors into the gallery, merging
nature with culture; a deep attention to and manipulation of landscape
referents; a disposition toward scientific methods and materials, including
the willful exposure of the creative process; and, finally, photographic
suites of the Icelandic landscape.



Among the most tantalizing pieces in the show is the One-way Colour Tunnel
(2007), a walk-through structure built on the Museum's thirty-eight-foot
pedestrian sky bridge and visible from the atrium five stories below.
Serving as one of two entrances to the show, (the other one is from off the
elevator), this piece demonstrates how effectively the artist takes
advantage of this museum's architectural features (much the way the Sol
LeWitt exhibition at SFMOMA did several years ago). Saying that this work's
position and visibility invites the viewer in, while accurate, would seem to
underplay the degree to which each installation stimulates active
participation. Constructed with stainless steel, color-effect acrylic, and
acrylic mirrors, two aspects of the construction continued to fascinate me.
One is that it evoked the kaleidoscopes I used as a child. These devices
contained mirrors and colored objects, and when held to the light and
turned, an evolving symmetrical pattern would emerge. Within the One-way
Colour Tunnel, it is as if you have walked into a kaleidoscope. Ambient
light seamlessly meshes with the object, and the pattern alters with your
movement. This sensation of natural immersion feels more organic than
computer-assisted virtual reality, although no less effective. The second
aspect of this piece that fascinates me is its involvement with the light
that surrounds the tunnel, much of which comes through the many windows at
the museum. Each time I walked through the tunnel, I wondered how much the
colors would change from day to day or even as the sun followed its course
throughout the day.



Multiple Grotto (2004), an enchanting stainless steel piece owned by SFMOMA,
also has perfect pitch. Here, too, the artwork is a dramatic extension
beyond the tubular kaleidoscope that one holds. The cones that form this
walk-in sculpture are based upon crystalline patterns found in nature. When
standing within its core and gazing out through the myriad openings, the
viewer sees the kaleidoscopic colors of the surrounding environment turned
into a pattern that changes as other people travel around outside of the
sculpture.  From the outside, it is obvious that the open, outer ends of the
cones have different shapes and angles, with some having three sides and
others four. This influences the geometry of the patterned reflections that
form on the mirrors, although I cannot comment specifically on how. What I
can say is that the installation created a meditative feeling (in a sublime
sense) without removing my cognitive impulse to know how it worked, although
this comparison may sound like a self-contradiction.



More thought-provoking than meditative is The Model Room, a collection of
objects intended to provide a glimpse into Eliasson's creative process, (e.g.,
Möbius strips, mirrored geodesic domes, quasi-crystals made of foamcore and
foil, kaleidoscopes, and intricate lattice shapes based on mathematical
principles). These maquettes and mixed media models features the
inquisitiveness that is at play in Eliasson's studio. Some of the catalogue
essays mention that these studies are often unsuccessful explorations. Yet,
overall they express a rigor that belies the sensual triggers within the art
itself. His studio, it seems, serves as a laboratory for investigating
diverse materials and forms and, within this space, he seems to balance the
intuitive and mathematical sides of his mind. On the one hand, the clutter
brings to mind the curiosity cabinets of earlier eras. But, on the other
hand, when walking amid the experiments, it is evident that the
predominantly geometrical shapes on display are strikingly different from
his artistic installations. It is not just a question of the clutter versus
the sparseness of the artistic enterprises. It is also that the mathematical
inclination seemed to predominate. Thus, while said to represent a playful,
creative side of his work, the objects do not suggest the kind of
playfulness frequently associated with art. I can recall art instructors
telling me long ago that you need to know the rules before you can break
them. This is the comment that comes to mind when reflecting on The Model
Room.



What also comes to mind in this studiolo is Eliasson's aspiration that his
art should stimulate communication. Each time I visited the show I found
myself engaging with strangers and friends as we discussed our perceptions
and how all of the exhibits "worked." In The Model Room, however, I found
that Eliasson himself was the person I wanted to communicate with about the
various objects. Talking to others was simply speculative and no one else
could say what his goal was with each model, or explain precisely how he
expanded on what he learned when he moved his "exercises" into the art.
(Similarly, when it seemed that one of the stills in The Domadalur Daylight
Series [South] [2006] was out of order, I would have liked to ask him if
this was the case.  Unfortunately, I could not find this series reproduced
in the catalogue.)



A short review cannot touch upon the variety of experiences available at the
show. Much could be said about the mist and rainbow of Beauty (1993), the
spectral panoramic within the 360º Room for All Colours (2002), the smell
and texture of the Moss Wall (1994), and Remagine (2002), a room with
spotlights that creates a moving illusion of distance and depth. All deserve
more attention, as does the second Eliasson show at SFMOMA, Your Tempo (on
view at SFMOMA until January 13, 2008), which features a work created as
part of a long-running art car program sponsored by BMW. It is intended to
focus our attention on the relation between car design and global warming.
This exhibition also includes another suite of photographs and a short film
focusing on a series of workshops in the artist's studio.



The large-format, high-quality catalogue that accompanies Take Your Time
does a fine job in critically placing Eliasson's work and supplementing the
display.  Edited by Madeleine Grynsztejn, who also curated the show, this
publication includes more than two hundred color reproductions and 6 essays
that survey Eliasson's most significant works from 1990 to the present.
Eliasson's conversation with Robert Irwin offers a glimpse into the
practices of both artists. Enhanced by a photograph of them speaking and
supplemented by reproductions of Irwin's work that make it easy to see their
stylistic affinities, it alone is worth the price of the book. Several
essays reference The Weather Project, exhibited at the Tate Museum from
2003-2004 and no doubt Eliasson's best-known work. Other tantalizing
projects that I wish I could detail here are also brought into focus (e.g.,
Green River and Frost Activity). Several sections of photographs document
his career to date. These images are large enough to offer a sense of the
work, with many angles and details offering further clarification. I was
fascinated to see how malleable the installations are. For example, the
dimensions of the rooms in the reproductions for the Moss Wall and the Room
for One Colour as shown in the reproductions are clearly different from the
rooms used at SFMOMA. Even from the printed visuals it was easy to imagine
how my sense of the space would change had I experienced the alternative
environments, where the rooms appeared larger and lower than the ones in the
SFMOMA space. Many of the essays also integrate how Eliasson has been
influenced by thinkers outside the art world who have commented on
perceptual experience, (e.g., Merleau-Ponty, Bergson, Varela, etc.).



While exceptional in most respects, Take Your Time is not flawless. Some
pieces, such as the site-specific One-way Color Tunnel (2007), complement
the SFMOMA space well. At other times, I thought the overall layout had some
drawbacks. I missed the 360º Room for All Colours (2002) room on my first
visit, found it on the second walkthrough, and missed it the third time, to
my amazement, because I had planned to show it to a companion during the
visit.  The layout also provides two points of entry, which seemed unusual
to me after reading the catalogue. Grynsztejn, for example, writes in her
essay that Eliasson often opens his exhibitions with a Room for One Colour
(1997) to underline the productive operation of our perceptual qualities. If
one takes the elevator, the show does indeed begin that way. However, taking
the stairs brings one in through the One-way Color Tunnel, which I think is
a better place to start.  I entered both ways, on different days, and think
the bridge offers a more striking entry point.



Also noteworthy is the degree to which this exhibition immediately brings to
mind the Light and Space artists, James Turrell and Robert Irwin in
particular. For example, the Room for One Colour (1997) reminded me of
Turrell's Ganzfeld spaces, although Eliasson's work seems to have more
conceptual affinities with Irwin's approach. Eliasson does distinguish
himself from these older artists with his decision to expose the mechanical
apparatus so that viewers can ponder how the pieces are contrived. Notion
Motion (2005) shows his approach well. Visitors enter a darkened gallery
with a floor of wooden planks and a gray floor-to-ceiling scrim. It quickly
becomes apparent that stepping on some of the raised planks will change the
wave pattern rippling on the scrim. Upon leaving this space one discovers
that, behind the scrim, is the apparatus that pilots the display: a
spotlight is focused on a large, shallow basin of water and the performative
act creates the ripple effect on the water's surface that is projected onto
the vertical scrim.



All in all, Eliasson's effectiveness stems from his ability to bring you
into the created environment. Take Your Time does so admirably. After seeing
the show several times, I concluded that the title, Take Your Time, which
struck me as a bit clichéd initially, is an apt one. Each time I walked away
from the exhibits, the magic of Eliasson's creations continued to linger and
my reflections drew me back to the rewarding process of being with the work.
Without a doubt, this show is a must-see for all people interested in the
varied ways in which art, science, and natural phenomena converge to create
extraordinary, multisensory experiences. Artists, art historians, vision
scientists, philosophers, and general enthusiasts will, I believe, also find
that the catalogue is a definitive and comprehensive resource.



Tour schedule: San Francisco Museum of Modern Art: September 8, 2007, to
February 24, 2008.  The Museum of Modern Art, New York, and
P.S.1Contemporary Art Center: April 20 to June 30, 2008.
Dallas Museum of Art: November 9, 2008, to March 15, 2009.  Museum of
Contemporary Art, Sydney, Australia: summer 2009.



< (Un)common Ground: Creative Encounters across Sectors and Disciplines >
Edited by Cathy Brickwood, Bronac Ferran, David Garcia and Tim Putnam
BIS Publishers, Amsterdam, 2007
159 pp. Paper.
ISBN: 978-90-6369-166-0

Reviewed by Jonathan Zilberg
jonathanzilberg [at] gmail [dot] com

(Un)common Ground: Creative Encounters across Sectors and Disciplines is an
inspiring collection of reflective case studies of multi-dimensional
cross-sector collaborations between the academic and commercial worlds,
specifically in the context of a partnership between the Utrecht School of
the Arts (HKU) and the media center Virtueel Platform, with support from
Arts Council England. The book itself, written in the spirit of "radical
pragmatism," emerged from a seminar for media experts at Amsterdam's Cross
Media Week in 2006. Its aim is to investigate the dynamics of
interdisciplinary practice and identify research methodologies so as to
better understand how academic research and the creative industries involved
in new media can engage in collaborations in mutually enriching ways. Above
all, it is the intriguing notion of uncommon rather than common ground that
make this such an intellectually interesting book, that is, in participatory
challenges and in the contingencies, the incommensurability and the
provisional relations through which knowledge emerges in interdisciplinary
cross-sector collaborations.

True to the title, each chapter reveals how creativity emerges from uncommon
ground and how inter-disciplinary projects that nurture this natural
incommensurability can produce unintended creative consequences. One of the
most interesting aspects of the study is how it self-reflectively documents
the unfolding of its own creation. The way in which it does so not only
provides a useful model for conceptualizing, organizing, managing and
documenting such projects but a record of some interesting new ventures. For
instance, in the realm of art education, a guild system has been revived to
provide a transitional space for art students entering the market place.
Other ventures can be found in the emergent fields of inclusive design and
consumer driven innovation and in the use of inclusive design in the public
sphere in grassroots creative communities, and much more. In addition,
(Un)common Ground describes the emergence of tactical innovation media labs
and lab culture as a service industry that can be combined with educational
projects so as to provide a context for enabling generative and
constructivist learning environments linking academia and industry. In
short, no one interested in working in new media and cross sector
inter-disciplinary collaborations can afford not to read this book.

That being said, the problematic aspect of this study lies in its underlying
idealist sense that there is an irresolvable contradiction between
creativity on the artist's part and control in industry, that is between the
desire for uncontrolled expression and the power and need of the organizer
to facilitate and control that expression for the purpose of the
collaboration. Beyond that tension, the most interesting insights in this
study have to do with how knowledge emerges in such contexts. Here it is Ann
Galloway's fascinating conclusion, which stands out as remarkable. Galloway
explores why we need to closely examine the scars and seams that in effect
structurally define these projects. As she relates, it is important to
understand what gets cut, where, when and why, and of how knowledge comes to
lie in the fold. Thus beyond the markedly brief case studies, it is
Galloway's reflection combined with Trebor Scholz's reprinted article "The
Participatory Challenge" from Curating Immateriality (2006) that provide the
kind of intellectual labor that both intellectually oriented managers and
artists will want to attend.



Some of these more theorized discussions are indeed surprisingly
stimulating, surprising in terms of how, while they come across as
intellectually playful, they are nevertheless rigorous and important for
understanding new media and the changing nature of the world in the age of
mass participation, or should we say potential mass participation. For
instance, Charles Leadbeater introduces the notion of the beach ethic,
drawing on the ordered and self-regulated behavior we experience on beaches
without overt control. His insights into the profound shifts occurring in
contemporary society make for fascinating reading. When read against the
tensions expressed in the participatory and collaborative challenges as
evident in the wide-ranging discussion of ownership, constraints and dissent
in open and closed systems in Ferran's article, the fully collaborative
intellectual nature of this project becomes particularly evident.



There are several interesting issues relating to collaborative projects that
stand out in this study. Historically, the project is interesting because it
documents the creation of a new artists' guild society in Holland, where
such guilds first originated, but this time in the institutionalization of
interdisciplinary cross-sectoral collaborations. In terms of team building,
the project is interesting as these collaborations rely on bringing together
individuals who have sufficient common ground in terms of their broad
competencies and uncommon ground in their respective specialist depth. And
yet, despite the claims for a unique productive nexus of professionalism and
achievement of the aims of the interdisciplinary creative quest, stark
contradictions and shortcomings emerge - indeed uncommon ground.



Two central assumptions of the study are questionable: the said rarity of
successful collaborations and the importance of accepting anti-consensus
over the importance of achieving consensus. Moreover, it is perhaps telling
that after the collaborations, every artist stated that they would have been
keen to accept a job with the companies they had worked with and yet in no
instance did the companies make any such offers. The question then might be
asked that if these type of collaborations were as successful as claimed, in
terms of being innovative and economically productive, then why did industry
not hire any of these artists with the mutual diplomatic caveat instead of
allowing for the possibility of future such internships and collaborations?



What has been left unsaid here, what has been cut out to a large degree, is
industry's perspective, wherein in fact lies the essential differences in
the critical folding process. These are the questions that I am left with,
especially considering how exceedingly scant the bibliographies are in terms
of engaging the enormous literature on collaborations more generally. This
is particularly revealing, perhaps, in that interdisciplinary cross-sectoral
collaborations are highly productive when common ground and common aims are
established to achieve specific ends.  One is left wondering whether
collaborations involving new media are so different from other forms of
collaboration that the larger literature on collaboration could not have
been bridged, abridged or - in the language of this study - folded in.
Simply put, in the cutting and folding process, the whole history of
collaboration in the arts, science, academia and industry has been left out
of the equation.



Besides the challenge for more academically rigorous work, it is arguable on
another level that the flaw in this study lies in the privileging of the
anti-consensus model. Artists are herein being treated as gifted outsiders
whose egos have to be protected in order to sustain the collaboration.
Crudely put, they have to be tolerated for their potential creative input in
a process in which the requirements of business to achieve particular types
of products for specific ends are seen oppositionally as antithetical to the
creative process. For instance, in the spirit of allowing for uncommon
ground and an anti-consensus model the concerns of the managers are set
aside in order not to dampen the artist's creativity. In these instances, as
predicted by business, the results were indeed unsuccessful. It seems to me
that there is a double standard at work in which the knowledge of the
managers of the requirements of the market is not given equal standing as
the need to pamper the artist. On the other hand, when one examines any
successful creative industry, I would contend, that acute creative consensus
and acceptance of the need to sometimes make difficult and contentious
decisions is part of the process of creating any great work of art, product
or project. It is surely this delicacy over avoiding rather than accepting
conflict that weakens this project in its practical dimensions over and
above the acceptance of the plurality of difference.



Indeed, in order to analyze and reflect upon this range of experience, an
anthropologist, Samuelle Carson, was hired by Arts Council England to report
upon the Interact Programme in which artists were placed in creative
industrial contexts. In stark contrast to the other articles in this study,
Carson emphasizes a great deal of common ground and how the real differences
devolve upon ownership of intellectual property generated during such
collaborations. In significantly furthering this discussion, Bronac Ferran
provides a critical article on contracts, "Models of Ownership in Challenges
of Contemporary Creativity," which highlights the 2006 Intellectual Property
Summit: Codes and Creativity through drawing together comments by key
figures in new media collaborations such as Roger Malina. In this domain, it
is particularly interesting to read how contracts are seen as boundary
objects that allow for security and common ground.



Ultimately perhaps, it is the dynamic between creativity and control that
emerges as this study's contribution, an issue of substance to which Sholz
and Galloway add powerful insight. However, all in all, considering that the
seminar in Amsterdam (out of which this book emerged) was organized in the
spirit of a radical pragmatism with the explicit goal of examining "what
actually happens" in collaborations so as to dramatize differences, surely a
more nuanced perspective on power and the irreducible difference between
pure and applied creativity is required. In order for managers, educators
and art and design professionals to engage in productive cross-sector
collaborations, one has to achieve at least provisional common ground in
order to create a successful product or manage a successful collaboration.
And there not only should we nurture and accept friction as conflict zones
in which decisions as to what to cut and how to fold inevitably have to be
made but draw on the virtually galactic history of such experience both
positive and negative.



For instance, perhaps the starkest contradiction in the inter-disciplinary
era lies in the claim that while academic institutions are populated by the
most creative, innovative and individualistic of people, these same
institutions, in contrast to industry when required, show the greatest
resistance to change. In some degree this is certainly the case in the sense
that fully interdisciplinary work can only be done from the professional
safety of a firm location within one's own discipline. In fact, as
interdisciplinary work is deeply constrained by turf wars between and within
disciplines, it might best be seen as a zone of productive conflict akin to
the folding process defining uncommon ground. While the struggle between
cultural studies and anthropology is a particularly divisive example, when
one considers the extraordinary vitality of the emergence of new
cross-connecting sub-fields in biology, genetics and biochemistry, the vast
productive nexus of university research and industry and the whole history
of the industrial revolution and design, and the response to it in the Arts
and Crafts Movement, never mind the penultimate example of Leonardo Da Vinci
as an arts and scientist arms consultant, one has to wonder at the way in
which this new Dutch guild assesses the assumed irresolvable differences
between business and academia, arts and sciences, process and product.
Perhaps the greatest value of better understanding uncommon ground then is
that it provides us with a means to achieving more productive common ground.



______________________________________________________



LEONARDO, VOL. 41, No.1 (January 2008)
TABLE OF CONTENTS AND SELECTED ABSTRACTS
______________________________________________________





< Editorial: A Call for New Leonardos > by Roger F. Malina



_______________________



Special Section: Art Embodies A-Life: The VIDA Competition



< Art Embodies A-life: The VIDA Competition > by Nell Tenhaaf



Abstract: Artificial life artworks hold a unique place in the art world, one
that has been largely mapped by the VIDA international competition through
its annual recognition of outstanding works based on A-life. Works that have
received awards since the VIDA competition began in 1999 (25 prize-winning
artworks and 56 honorary mentions) have gained viewer appreciation and
popularity at the same level as any other kind of art. Yet these works
define a territory of their own, delineated here through characteristics of
A-life art that arise from both the artist's studio and the research lab and
that mark the 25 awarded artworks. Following this article, the Leonardo VIDA
gallery presents a selection of eight prize-winning works that show the
breadth of the competition to date; each is discussed here.



The VIDA gallery: Paula Gaetano; France Cadet; Federico Muelas; Scott
Draves; Michelle Teran and Jeff Mann; Haruki Nishijima; María Verstappen and
Erwin Driessens; Marc Böhlen and JT Rinker



_______________________



Artist's Article



< Fractured Cybertales: Navigating the Feminine > by Juliet Davis



ABSTRACT: The author considers ways in which her interactive artworks
"fracture" narratives relating to femininity and critique web-design
conventions that often encode these narratives. In the process, she
discusses how interactive media and electronic culture provide unique
opportunities for exploring gender.

_______________________



Special Section: Leonardo on Leonardo da Vinci



< Introduction: Leonardo and Leonardo da Vinci > by David Carrier
< Leonardo da Vinci and Perpetual Motion > by Allan A. Mills



ABSTRACT: Leonardo da Vinci illustrated several traditional forms of
"perpetual-motion machine" in small pocket books now known as the Codex
Forster. He was well aware that these designs, based on waterwheel/pump
combinations, mechanical overbalancing hammers or rolling balls, would
not---and could not---work.
< L'Arte dei "Romori": Leonardine Devotion in Luigi Russolo's Oeuvre > by
Luciano Chessa



ABSTRACT: The author has discerned a deep interest in the occult arts at the
core of Luigi Russolo's Art of Noises. Such an interest is confirmed by
Russolo's admiration for Leonardo da Vinci. Leonardo's writings on music and
acoustics constituted in fact a scientific and spiritual paradigm for
Russolo; the former's mechanical musical-instrument projects were important
models for Russolo's own, from 1913's intonarumori to the nuovo istrumento
musicale a corde of 1931. Perhaps because of the futurists' ambivalent
position toward the figure of Leonardo (proto-futurist or passatista),
Russolo profusely quoted Leonardo but carefully avoided mentioning any
borrowing.



< Leonardo, Nonlinearity and Integrated Systems > by Ian M. Clothier



ABSTRACT: In one of his lesser-known studies of flow, Leonardo da Vinci in
1513 came upon yet another question he could not answer: When blood hits the
wall of the heart, does the flow split in two? In 1977, this question was
answered by Albert Libchaber in an experiment that became a cornerstone of
chaos theory. Can Leonardo's question, Libchaber's solution and notions of
integrated systems be drawn together to create a whole? While this
trajectory has its limitations, the journey has some rewards, taking in
Leonardo's cosmology, chaos theory, poststructuralist philosophy, the
Polynesian worldview, the Internet and the weather.



< The Proportional Consistency and Geometry of Leonardo's Giant Crossbow >
by Matthew Landrus



ABSTRACT: The traditional scholarly appraisal of Leonardo's Giant Crossbow
design dismisses it as a fanciful object, although often with praise of it
as a quintessential example of his technical draftsmanship. The author
offers evidence of Leonardo's likely intent that the drawing function as a
reliable plan with which readers of a treatise on military engineering could
consider a strategy, or an imaginative solution (a fantasia), for building
the full-scale giant crossbow. At issue are the agreements between the
illustrated dimensions and the written specifications, the proportional
consistency of those dimensions and the possible use of Archimedean geometry
to determine the primary dimensions.

_______________________



Special Section: REFRESH! Conference Papers



< Introduction: The Reception and Rejection of Art and Technology:
Exclusions and Revulsions > by Edward Shanken



< Gordon Pask: Cybernetic Polymath > by María Fernández



ABSTRACT: Despite his influence in art, architecture and theater, British
cybernetician Gordon Pask is rarely acknowledged in histories of digital
culture and virtually unknown in the history of art. Pask is better known as
a theoretician than as an artist or designer, although his machines, artwork
and theories were closely related. This article investigates the relevance
of specific aspects of Pask's theories to his best-known artwork,
TheColloquy of Mobiles, to illustrate his characteristic unification
of science
and art, and theory and material experimentation. Select works of
contemporary art are discussed to indicate Pask's significance to
contemporary art practices.


< From Technophilia to Technophobia: The Impact of the Vietnam War on the
Reception of "Art and Technology" > by Anne Collins Goodyear



ABSTRACT: Using the Los Angeles County Museum of Art's 1971 exhibition "Art
and Technology" as a case study, this essay examines a shift in attitude on
the part of influential American artists and critics toward collaborations
between art and technology from one of optimism in the mid-1960s to one of
suspicion in the early 1970s. The Vietnam War dramatically undermined public
confidence in the promise of new technology, linking it with corporate
support of the war. Ultimately, the discrediting of industry-sponsored
technology not only undermined the premises of the LACMA exhibition but also
may have contributed to the demise of the larger "art and technology"
movement in the United States.



< Vladimir Bonačić: Computer-Generated Works Made within Zagreb's New
Tendencies Network (1961–-1973) > by Darko Fritz



ABSTRACT: Scientist Vladimir Bonačić began his artistic career in 1968 under
the auspices of the international New Tendencies movement (NT). From 1968 to
1971 Bonačić created a series of "dynamic objects"---interactive
computer-generated light installations, five of which were set up in public
spaces. The author shows the context of Bonačić's work within the Zagreb
cultural environment dominated by the New Tendencies movement and network
(1961--1973). The paper shows his theoretical and practical criticism of the
use of randomness in computer-generated art and describes his working
methods as combining the algebra of Galois fields and an anti-commercial
approach with custom-made hardware. It seems that Bonačić's work fulfills
and develops Matko Meštrović's proposition that "in order to enrich that
which is human, art must start to penetrate the extra-poetic and the
extra-human."

_______________________



From the Leonardo Archive



< Letterpress Language: Typography as a Medium for the Visual Representation
of Language >  by Johanna Drucker

_______________________



Leonardo Reviews



Reviews by Rob Harle, Nick Cronbach, Amy Ione, George Shortess, Jan Baetens,
Stefaan Van Ryssen, Allan Graubard, Craig Hilton, Michael R. (Mike)
Mosher,Geoff Cox, Mike Leggett, Kathryn Adams

_______________________



Transactions



< Graph Theory: Linking Online Musical Exploration to Concert Hall
Performance > by Jason Freeman



< The Seven Valleys: Capturing the Numinous in a 3D Computer Game Engine >  by
Chris Nelson



< Obliterated Bodies: An Installation > by Ersan Ocak and Safak Uysal



< Picbreeder: Collaborative Interactive Evolution of Images > by Jimmy
Secretan, Nicholas Beato, David B. D'Ambrosio, Adelein Rodriguez, Adam
Campbell and Kenneth O. Stanley



______________________________________________________



LEONARDO NETWORK NEWS
______________________________________________________



< Leonardo Connects with Educators and Students >



As part of an ongoing effort to connect with the educational community,
Leonardo/ISAST continues to promote several initiatives under the Leonardo
Educators and Students Program. These include participation in conferences
and events in the areas of art, science, technology and pedagogy through the
Leonardo Education Forum, publication of Ph.D., MA and MFA thesis papers in
the Leonardo Abstracts Service (LABS), job postings on the Leonardo
International Faculty Alerts list (LIFA) and special discounts on student
memberships. Students working in or interested in art, science and
engineering are invited to join the Leonardo community with an annual
associate membership to Leonardo/ISAST at the special student rate of $50 (
U.S.), $53 (Canada) or $83 (all other countries). Benefits include associate
membership in the organization, discounts on books and invitations to join
us at conferences and symposia, including the College Art Association
Conference, SIGGRAPH, ISEA and others. Leonardo/ISAST is also interested in
connecting with educational organizations and organizations with similar
goals and interests through the Leonardo Organizational Membership Program,
which was initiated in 2004 and continues to expand with new member
organizations worldwide. Through the program, Leonardo/ISAST connects
members of the Leonardo network and with organizations, faculty and students
who are working at the confluence of art, science and technology. For more
information about the Leonardo Educators and Students Program, visit: <
leonardo.info/isast/educators.html>. For more information about student or
organizational memberships, please visit the members page of Leonardo
On-Line: <leonardo.info/members.html>.





< Leonardo Electronic Almanac Named Official Media Sponsor of ISEA 2008 >



We are pleased to announce that the Leonardo Electronic Almanac is the
official media partner for the conference of the International Symposium on
Electronic Art (ISEA) 2008, which is to be held in Singapore, 25 July to 3
August 2008. The conference will be held alongside workshops, courses,
exhibitions, performances and other events over the duration of ISEA2008.
The conference, as in previous ISEAs, is expected to bring together artists,
theorists, historians, curators and researchers of media arts from around
the world to jointly explore the most urgent and exciting questions in the
field. The five themes of ISEA2008 (Locating Media, Wiki Wiki, Ludic
Interfaces, Reality Jam and Border Transmission) are especially focused on
eliciting a wide range of international scholars and artists.





< Leonardo Collaborates on Art and Climate Project >



In celebration of Leonardo's 40th anniversary, Leonardo is collaborating on
a three-year project with Regional Cultural Centre Letterkenny. The
collaboration, tied to the Leonardo/OLATS Pioneers & Pathbreakers Project
and directed by Annick Bureaud, will include an exhibition coupling pioneers
in art, science and technology with younger artists working in the same
conceptual territories. In addition, the collaboration includes a three-year
project, coordinated by the Leonardo Lovely Weather Art and Climate Working
Group, which explores the ways in which artists and scientists are working
together to address issues around global warming and climate change. The
Leonardo co-sponsored YASMIN network initiated a discussion around the topic
in November 2007 led by Janine Randerson. The thread is available on-line at
<www.media.uoa.gr/yasmin/>. Leonardo seeks to document the works of artists,
researchers and scholars involved in the exploration of weather and climate
(change) and is soliciting texts for *Leonardo* and Leonardo Transactions,
special issue proposals for the Leonardo Electronic Almanac and book
proposals for the Leonardo Book Series. More information about the
collaboration and how to submit material is available at: <
www.leonardo.info/isast/spec.projects/lovelyweather.html>.





< Leonardo Book Series Enjoys Another Successful Year >



The Leonardo Book Series (LBS) continues to buzz with activity, with 6 new
titles published in 2007 and many more in the pipeline. New titles in 2007
included: *Digital Performance,* by Steve Dixon; *MediaArtHistories*, edited
by Oliver Grau; *From Technological to Virtual Art,* by Frank Popper; *
META/DATA*, by Mark Amerika; *Signs of Life*, edited by Eduardo Kac; and *The
Hidden Sense*, by Crétien van Campen. In June 2007, the publication of
Eduardo Kac's book *Signs of Life* was celebrated in Paris, France with a
roundtable discussion between Kac, Frank Popper, Roger Malina and Annick
Bureaud (as moderator), on the role and issues of publishing for new art
forms. In July 2007 LBS authors Mark Amerika and Alex Galloway each gave
keynote addresses at the Tate Modern in London for the "Disrupting
Narratives" symposium. In November 2007 LBS Editor-in-Chief Sean Cubitt, LBS
author/editor Oliver Grau (*MediaArtHistories)* and LBS author Lev Manovich
(*The Language of New Media)* participated in a telelecture, hosted by
Danube University, titled "Remixing Cinema: Future and Past of Moving
Images." The LBS continues to welcome new proposals by authors interested in
publishing material in the converging realm of art, science and technology.
Editorial guidelines are available on-line: <
http://leonardo.info/isast/leobooks.html>.





< Discussion on Tenure in Art/Science/Technology Departments >



A discussion has been initiated on the Leonardo Education Forum (LEF) list
about promotion and tenure for faculty in art/science/technology
departments. See <artsci.ucla.edu/LEF/node/104>.

The discussion was initiated by LEF in response to a paper outlining criteria
being developed at the University of Maine in the U.S.A. The paper, titled
"New Criteria for New Media," authored by Joline Blais, Jon Ippolito and
Owen Smith in collaboration with Steve Evans and Nate Stormer, is available
on the LEF web site: <artsci.ucla.edu/LEF/node/95>.

LEF is interested in approaches by other universities for evaluating and
promoting young faculty in hybrid practices that may involve professional
activity in both the arts and sciences or engineering, traditional scholarly
publishing or new on line publishing mechanisms.

Leonardo Education Forum is focused on the professional interests of
educators and young faculty as well as young professionals intending to
enter teaching careers. To join the LEF discussion list, visit the LEF web
site: <artsci.ucla.edu/LEF/>

2007--2008 Chairs: Eddie Shanken (Chair); Andrea Polli (Co-Chair), Nina
Czegledy (Co-Chair), Victoria Vesna (Co-Chair)
2007/8 Graduate and Emerging Professional Chairs: Mariah Klaneski, Josh
Levy, Justin Cone


< Smart Textiles: Science and Technology of Textile Art >

A number of articles have been published in *Leonardo* and *Leonardo Music
Journal* on topics related to the textile arts. The Smart Textiles special
project expands on Leonardo's archive of textile art documentation by
focusing on textile artists and scientists around the world who work with
smart textiles or the new textiles science and technology.

The project is supported by the Marjorie Duckworth Malina Fund, which honors
the memory of a key longtime supporter of Leonardo/ISAST. The project
recognizes Marjorie's dedication to the ideals of international cooperation
by emphasizing the participation of artists throughout the world.

Artists and researchers interested in writing about their work involving the
science and technology of smart textile and clothing arts are invited to
view the Leonardo Editorial Guidelines and related information at <
leonardo.info/Authors> and send in a manuscript proposal to <*
leonardomanuscripts at gmail.com>.***

A list of articles previously published in *Leonardo* and *LMJ* over the
years is available on the Leonardo web site at: <
www.leonardo.info/isast/journal/calls/smartextiles_call.html>.



< Leonardo Day at UC Berkeley New Media Festival >



Leonardo/ISAST is pleased to host a day-long symposium on June 3, 2008,
devoted to art, science and technology as part of the UC Berkeley New Media
Festival in Berkeley, CA. The two-day academic conference will be augmented
with digital art exhibitions, social events and campus events and is
scheduled to occur immediately before the ZeroOne Festival in San Jose, CA.
One day of the UC Berkeley festival will be hosted by the UC Berkeley Center
for New Media and directed by Richard Rinehart (Digital Media Director &
Adjunct Curator, Berkeley Art Museum University of California at Berkeley).
The other day will be hosted by Leonardo/ISAST as part of the Leonardo 40th
anniversary celebrations. The theme of Leonardo Day is "Remix: From Science
to Art and Back in the Digital Age"; it will include presentations by Steve
Wilson, Bronac Ferran, Jim Crutchfield, Chris Chafe, Michael Joaquin Grey,
Laura Peticolas, Douglas Kahn, Ruth West, Gordan Wozniak and Wayne Lanier.
More information about the event is available on the Leonardo web site: <
www.leonardo.info>.



< In memoriam: Karlheinz Stockhausen > By Annick Bureaud



The German composer Karlheinz Stockhausen died 5 December 2007 at his
home in Kürten (Germany). Unanimously regarded as one of the most
important figures in contemporary music, Stockhausen composed a large
number of works that have profoundly marked the second half of the
20th century. A pioneer of electronic music in Köln in the early
1950s, the inventor of the Momentform and a genuine visionary who was
involved in numerous innovations, Stockhausen will be remembered for
his unwavering desire to discover new aesthetic horizons.



In 2002, Bruno Bossis wrote a very detailed notice about
Stockhausen---to which he very kindly contributed by providing
information and images---in the framework of the Leonardo/Olats
Pioneers & Pathbreakers project

<www.olats.org/pionniers/pp/stockhausen/stockhausen.php>.



Leonardo would like to thank him again and pay homage to the great
artist he has been.



< In memoriam: Dimitris Skoufis >



Dimitris Skoufis, the co-publisher, webmaster and member of the Board of
Directors of the non-governmental organization Artopos <www.artopos.org>, is
no longer with us. After an unequal battle with cancer, he passed away on
the morning of Thursday, 22 November 2007. His early departure at the age of
54 bereaves his friends and colleagues of an impressive mind and a big
heart. "Art in the Age of Biotechnological Revolution," a bilingual
book-catalogue, subsidized by the I. Kostopoulos Foundation, to be published
by Futura Publications, is dedicated to his memory. Dimitris Skoufis was an
electrical engineer from the University of Patras who had struggled against
the military Greek regime of the late 1960s and early 1970s. He was a
multifaceted, talented person, a pioneer in Internet theory and practice and
multilingual. Skoufis was a man of a concrete literary and philosophical
background, a remarkable columnist for *ANTI* magazine and a gifted teacher
at the Mass Media Studies Department of the University of Athens. He had
been dearly loved by his students at the university and his professor
Michalis Meimaris, as well as by his colleagues at Oracle, where he
contributed as a localization consultant. His loss leaves a serious,
irreplaceable gap, and all of us who cared for him are in mourning.

_____________________________





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

______________________________________________________



BYTES

______________________________________________________





< Rensselaer Polytechnic seeks Electronic Arts Department Head >


The School of Humanities and Social Sciences at Rensselaer Polytechnic seeks
a prominent artist, writer or educator, in any area of electronic art or
music, to lead an innovative electronic arts department. The candidate
should have a proven teaching, professional and administrative track record.
The spectrum of responsibilities for this position would range from
teaching, to interfacing with EMPAC (the Experimental Media and Performing
Arts Center) and the Institute, to mentoring and supporting faculty and
staff. This position requires a Ph.D., MFA, or other terminal degree. The
candidate should be eligible for appointment at Associate or Full Professor
rank with tenure.

The iEAR Studios (integrated Electronic Arts at Rensselaer) of the
Department of the Arts at Rensselaer is dedicated to interdisciplinary
creative research in electronic arts. As an art program situated within a
technological university, it offers a uniquely creative environment for
development and realization of innovative music and art, performance and
interdisciplinary art works. The department's Ph.D. in Electronic Arts, MFA
degree program, and thriving undergraduate programs (BS E-ARTS and EMAC)
attract accomplished faculty and students. The department's iEAR Presents!
is a longstanding public performance series. In fall 2008, Rensselaer will
open EMPAC, which will become a major research center. Rensselaer is located
in Troy, New York, in the vibrant and growing Capital District area, 150
miles north of New York City. Please see the impressive array of faculty,
students and projects: http://www.arts.rpi.edu


To apply, send a resume, a cover letter describing your qualifications and
interest in our program, and a sample of your work. Letter of recommendation
may be requested after receipt of your application. Work samples may be in
the form of scores, articles, books, videotapes, DVDs, CDs, websites, or
other media.  Applications will be considered beginning January 15, 2008,
and will be accepted until the position is filled. Applications should be
sent to: Igor Vamos, Chair, Faculty Search Committee, iEAR Studios, Arts
Department, West Hall, Rensselaer Polytechnic Institute, 110 8th Street,
Troy, NY 12180 USA tel: 518-276-4778, fax: 518-276-4370 email:
vamosi at rpi.edu.



_____________________________



< Cleveland Institute of Art seeks Assistant/Associate Professor for
Biomedical Art Department >



The Cleveland Institute of Art is accepting nominations and applications for
a Biomedical Art faculty member in the Institute's Department of Biomedical
Art.  The Department is committed to providing the student with a solid
foundation in the basic natural and medical science, new media theory, and
applied and fine art intersections of Art, Science, and Technology.  Students
develop conceptual and technical skills in traditional and digitally
integrated media.



The curriculum emphasizes: research & knowledge, levels of accuracy and
visual communication, values of concept development and educational media,
information design and theory, problem solving & critical thinking,
cumulative technical skills and proficiency, innovative integration of both
digital 2D/3D media and interactivity, and strong professional and
presentation/oratory skills.  The importance of collaborations,
interdisciplinary research, and professional projects are integral to
curricular goals and objectives.  The Department of Biomedical Art supports
a BFA program of study.



The Cleveland Institute of Art is seeking a qualified individual to help
expand the current department faculty and fill a full-time ranked
Assistant/Associate Professor position with a focus on natural science art,
media theory, and technology.



Qualifications: Minimum of Masters degree from accredited university or
college of arts, sciences, and/or technology; record of professional
activity, exhibitions, lectures, and published work; administrative &
leadership skills are essential; quality driven & experienced in project
management, and strong ability to communicate within an interdisciplinary
environment; teaching experience at an institution of higher learning
preferred; ability to convey technical & conceptual information at different
levels for students; good organizational skills in both written and verbal
lectures, research, and broad communications; flexibility in communication
style for different majors and faculty collaborations; strong research and
knowledge in natural sciences, art, media, and technology; demonstrated
technical proficiency in digital media with an emphasis on: 2D image
development, knowledge of 3D imaging and integration into time-based media,
web & interactive media, and aptitude to learn innovative technologies; a
demonstrated knowledge in visual problem solving, research methods, science,
art, and new media theory, technology, and professional experience in both
client-driven and fine-art-driven fields.



The Cleveland Institute of Art is a comprehensive school of art and design
located in Cleveland's culturally rich district of University Circle.  As
one of sixteen majors, the Department of Biomedical Art has developed strong
curricular collaborations across the Institute's departments and with
surrounding institutions such as academics at Case Western Reserve
University in Departments of Biology, Anatomy, Cognitive Science, etc.  The
ability to work with clinicians and professional medical illustrators at the
Cleveland Clinic (an internationally known hospital and research facility)
is also possible.  The available resources of the immediate institutions are
significant and range from superlative collections of the Cleveland Museum
of Art, the Cleveland Museum of Natural History with a collection of
skeletons of 3,000 humans and 1,000 primates, and the Cleveland Botanical
Gardens, to the Allen Medical Library with a broad medical rare book
collection that includes early editions of Vesalius and Albinus.



All full-time ranked faculty members participate in departmental and
school-wide committees, curriculum development, advising of students, and
assessment of programs.



Applications should include: curriculum vitae; portfolio of professional
work (CD-ROM, DVD, & website); No more than 20 examples demonstrating a
broad depth of media & skills; statement of philosophy on teaching; vision
statement as to the future direction of art, science, technology, and the
education of students involved in the contemporary evolution of the field of
biomedical art (formerly medical and scientific illustration, as it is
nationally recognized); examples of student work (if applicable); names and
contact information of 3 references; SASE for return of materials.



Please mail all application materials: Biomedical Art Search, Attn: Tanya
Lee Shadle, The Cleveland Institute of Art, 11141 East Boulevard, Cleveland,
OH 44106



Position begins August 2008. The department's review of candidates'
credentials is scheduled to begin January 15, 2008 and will continue until
the position is filled.  Incomplete applications will not be reviewed.  The
Institute offers a competitive salary and comprehensive benefits
package.  Academic
transcripts and background check authorizations will be required for
finalists.  Rank and compensation are commensurate with experience and
qualifications.



For further information please contact Tanya Lee Shadle at tshadle at cia.edu.



The Cleveland Institute of Art is an affirmative action/equal opportunity
employer. Visit our website at www.cia.edu



_____________________________



< Cleveland Institute of Art Seeks Full-Time Faculty Design Theorist >



The Cleveland Institute of Art seeks qualified applicants for a full-time
faculty position as Design Theorist at the undergraduate and graduate
levels. Candidates should have extensive knowledge of current approaches to
theory as integral to culture and society.  A primary emphasis will be on an
interdisciplinary engagement of production; global politics; ethics;
semantics and semiotics; and convergent media. The successful candidate will
be engaged in program and curriculum development. Opportunities exist for
innovative collaboration and joint program development with neighboring
institutions such as Case Western Reserve University. Position begins July
2008.



Qualifications: Ph.D. is preferred in one of the following: physics;
mathematics; philosophy; cognitive science; technology studies; media
studies; information studies; design; or other appropriate field.  Applicants
should show evidence of professional activity and demonstrate promise of
contributing to curricular development at both the undergraduate and
graduate levels. The successful candidate will have the opportunity to teach
in the Liberal Arts and Studio areas.



Position Requirements: Participation in school-wide committees and
assessment of programs is required by full-time ranked faculty members.



Review of credentials will begin January 10, 2008. Interested candidates
must submit letter of interest summarizing qualifications and teaching
philosophy; CV; sample syllabi; and 3 letters of reference to: Design
Theorist Search Committee, Attn: Tanya Lee Shadle, The Cleveland Institute
of Art, 11141 East Blvd., Cleveland, Ohio 44106-1710, tshadle at gate.cia.edu



An equal opportunity employer. Visit our web site at www.cia.edu



Application packet will be sent to the final candidates along with request
for academic transcripts.



________________________________________________________________



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

________________________________________________________________



Nisar Keshvani: LEA Editor-in-Chief

Nicholas Cronbach: LEA Editor

Kathleen Quillian: LEA e-news digest Coordinator

Michael Punt: LR Editor-in-Chief

Andre Ho: Web Concept and Design Consultant

Roger Malina: Leonardo Executive Editor

Stephen Wilson: Chair, Leonardo/ISAST Web Committee

Craig Harris: Founding Editor



Editorial Advisory Board:

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

Michael Naimark, Julianne Pierce



Gallery Advisory Board:

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



fAf-LEA Corresponding Editors:

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

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

Elaine Ng, Marc Voge



________________________________________________________________



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

________________________________________________________________





Editorial Address:

Leonardo Electronic Almanac

PO Box 850
Robinson Road
Singapore 901650

keshvani [@] leoalmanac [dot] org



________________________________________________________________



Copyright (2008), Leonardo, the International Society for the

Arts, Sciences and Technology

All Rights Reserved.



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



________________________________________________________________



< Ordering Information >



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



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



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



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



For Leonardo and LMJ subscription queries contact:

journals-orders [@] mit [dot] edu



________________________________________________________________



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

________________________________________________________________



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



Leonardo - Advertising

211 Sutter Street, suite #501

San Francisco, CA 94108



phone: (415) 391-1110

fax: (415) 391-2385

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

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



________________________________________________________________



* ~ * ~ * ~ * ~ * ~ * ACKNOWLEDGEMENTS * ~ * ~ * ~ * ~ * ~ *

________________________________________________________________





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



________________________________________________________________



< End of Leonardo Electronic Almanac >

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