Leonardo (Oxford, England)最新文献

{"title":"A Collaborative Approach in Mechanistic Music-Based Intervention and Pain Research: NCCIH Research Networks.","authors":"Debra S Burns, Joke Bradt, Jeffery A Dusek","doi":"10.1162/leon.a.2555","DOIUrl":"10.1162/leon.a.2555","url":null,"abstract":"<p><p>This paper describes three research networks funded by the U.S. National Center for Complementary and Integrative Health (NCCIH) and the National Endowment for the Arts (NEA). The networks seek to advance the mechanistic understanding of music-based interventions (MBIs) for pain management. The networks address critical gaps hindering MBI research, including inconsistent terminology, lack of mechanistic understanding, and insufficient objective measures. The Music4Pain Network focuses on the development of a taxonomy, a mechanistic framework, and research priorities; the ENSEMBLE Network promotes cross-disciplinary collaboration, collation of real-world data from clinical settings, and biomarker identification; and the Audio Analgesia Network emphasizes computational methods and innovative technologies to advance mechanistic research in MBIs. Together, these networks form the Music and Health Consortium, conducting collaborative research through specialized working groups, pilot funding opportunities, and training programs to improve the rigor and mechanistic understanding of MBIs for pain management.</p>","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"58 6","pages":"618-622"},"PeriodicalIF":0.3,"publicationDate":"2025-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC13183391/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147977539","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"<i>Audible Garden</i> : Transcoding Literati Traditions in Landscape Representation Through a Multimodal Approach","authors":"Youngjun Choi, H. Lee, Jinjoon Lee","doi":"10.1162/leon_a_02704","DOIUrl":"https://doi.org/10.1162/leon_a_02704","url":null,"abstract":"Abstract This paper analyzes the integration of East Asian literati traditions with contemporary multimedia through two artworks. It proposes a multimodal transcoding framework converting video frames into multisensory outputs via data-driven visualization and sonification. Using a modified turntable, the system interprets an artificial marble disc, created from the artist’s daily creation, to depict mental space using sumi ink. This aligns with literati traditions of expressing inner worlds through landscape paintings as contemplative practice. The study explores how translating these embodied practices into multimodal manifestations offers new perspectives in new media art while broadening the representations of landscape in an intercultural context.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"58 4","pages":"365-372"},"PeriodicalIF":0.0,"publicationDate":"2025-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://direct.mit.edu/leon/article-pdf/doi/10.1162/leon_a_02704/2510112/leon_a_02704.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147878792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Frieder Nake and the Ethics of Cold War Computer Art","authors":"Cindy Evans","doi":"10.1162/leon_a_02446","DOIUrl":"https://doi.org/10.1162/leon_a_02446","url":null,"abstract":"In 1971, artist Frieder Nake denounced the production of computer art. Paradoxically, Nake, a pioneer of computer art, participated in groundbreaking exhibitions across Western and Eastern Europe in the 1960s. These shows blurred boundaries between artists and scientists to evaluate the viability of art as visual research for its aesthetic and social potential. This article reexamines Nake’s position in context, from his initial understanding of generative art’s redemptive political role and his later view post-1968, following revolutions that demonstrated computers’ entanglement with the North Atlantic capitalist military-corporate research complex.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"27 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91039594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Unification of the Arts: A Framework for Understanding What the Arts Share and Why","authors":"Jan Baetens.","doi":"10.1162/leon_r_02437","DOIUrl":"https://doi.org/10.1162/leon_r_02437","url":null,"abstract":"texts that “the lines are ever-transferring, constantly generating, constantly renewing, never fully built, as if always on the brink of their own vanishing,” which is not only good but also serves as a leitmotif for much of the work here. And that’s just a peripheral we see. The computer, operating on a trivial level, isn’t even on show. But it’s present by its absence, as it were, and bits of paper would not remotely be as conceptually redolent. Now what comes? Just look at some of the 14 section topics: Mainframe Mystique, Mathematical Agents in the Computational Imagination, Reboot: Mondrian and Klee in the Computer Lab, Art and Computer in the Age of Protest, Coding Dance and Dancing Code, Social Cybernetics, Information as Art, Weaving, the hugely influential New Tendencies and so on. The striking thing is that the chronological and conceptual categories often map quite well onto general trends and problematics in art. Someone leafing through the photos might not immediately know that they concerned computer art. These days, the medium is nearly always the message. Earlier it was. . . different. I can’t quite put my finger on it. There is a great difference between, say, Edward Ihnatowicz’s large interactive robotic sculpture Senster, completed in 1970, and . . . Oh, I’ve got it I think: That great work was about the interaction it generated. People even got married in front of it as it hovered “proudly” in the background, responding positively to gentle sounds and gestures, shying away from loud noise or violent movements. People’s gazes were on others’ interactions. Today it would be about the thing with which the public incidentally interacted. No one gets married in front of . . . well, you know the sort of stuff. Philips, of electrical goods fame, showed Senster in their flying saucer– like Evoluon, in Eindhoven in the Netherlands. To them it was a spectacle, shown in a literal segment of circus ring. When it took too much attention away from their fridges and light bulbs, they discarded it (it has since been rebuilt), allegedly without even telling the artist. (The director of the Evoluon told me he was very sad about this. He himself had completely understood what the work was really about, seeing it every day, with and without visitors.) This is what hinders much history of the computer-based arts: they are seen as images, or spectacles, but they are much more than that. Simpler, quieter, often more in tune with minimalism and conceptualism. Hence, again, the failure of artbots, only dealing with what things look like, or we could better say, actually nothing. We could make art using artbots, but it would not be what the bots produced. Tasked with showing images about artbotor AI-art, the bots show images indistinguishable from those generated by first-level prompts. So, the computer arts of 1952 to 1982 could have been so important in the history of mid-century art. Well, I have news: They were central, in themselves. It’s not that","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"60 1","pages":"542-543"},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79475875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Our Monsters","authors":"","doi":"10.1162/leon_e_02444","DOIUrl":"https://doi.org/10.1162/leon_e_02444","url":null,"abstract":"","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"58 1","pages":"554-555"},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84467934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Literature’s Elsewheres: On the Necessity of Radical Literary Practices","authors":"Jan Baetens.","doi":"10.1162/leon_r_02443","DOIUrl":"https://doi.org/10.1162/leon_r_02443","url":null,"abstract":"of Amarillo Ramp, completed on his behalf by Tony Shafrazi, Nancy Holt, and Richard Serra. Inside the Spiral is a robust example of the degree to which his art continues to stimulate us today. I highly recommend the volume to those interested in ecological art, the creative process, environmental concerns, and interdisciplinary studies. It will no doubt become the definitive volume on this artist for a long time. It is enhanced with an extraordinary collection of images (photographs, posters, artwork, etc.), including a section of plates, and is divided into six parts: Prologue and Background; Prehistory and Early Painting; Clandestine Fantasies, 1962– 1964; Mutation of Artistic Persona, 1965–1968; Professional Consummation, 1969–1970; and Expansion and Returns, 1971–1973. Following the study itself, Boettger includes 50 pages of notes and a condensed list of books in Smithson’s library. Finally, it is noteworthy that the way in which Smithson reached outside of the traditional gallery is increasingly common today. Despite his abbreviated career, he was a pioneer in this respect. His trajectory left me wondering how his art would have grown had he lived another thirty or forty years. With Smithson, I find the question of what might have come later particularly compelling given how radically artmaking, technology, and our interest in the environment have evolved in recent decades. How environmental change is so evident today is particularly thought-provoking in relation to Smithson’s legacy, because his earthwork work is alive and has become a part of our larger narrative as a result.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"103 1","pages":"552-553"},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85842990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Touching Variables: Decolonial Approaches and New Tools for Ecological Data Visualization","authors":"Katie Anania, Cooper Stiglitz","doi":"10.1162/leon_a_02445","DOIUrl":"https://doi.org/10.1162/leon_a_02445","url":null,"abstract":"In this article the authors activate decolonial feminist art history as a transdisciplinary protocol for organizing quantitative data. In foregrounding precolonial calculation tools as the basis for a new data visualization method, they present questions about how scientists might negotiate multiple interrelated variables in their research, opening more possibilities for narrating complex causes and effects of anthropogenic climate change and facilitating discussions about the relationship between climate change and settler-colonialism through visual means. While data science has historically prioritized Cartesian and Euclidean geometry as the most efficient tools for data visualization, the authors draw on Indigenous calculation tools that allow for more visual and semantic flexibility than the x-y axis.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"25 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85861268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Invention and Innovation: A Brief History of Hype and Failure","authors":"E. Ferrara","doi":"10.1162/leon_r_02441","DOIUrl":"https://doi.org/10.1162/leon_r_02441","url":null,"abstract":"social embedding, which is characterized by what is called in French artification, on the one hand, and intermediality, on the other hand. “Artification,” that is, the integration of a nonartistic medium in the institutional artistic realm, is a relatively recent phenomenon in France (it goes back roughly to the early 1980s), which explains the profound mutability of this medium: The position of photography is less rigid than that of other art forms, and for this reason the medium is capable of permanently redefining itself in relation to changing contexts and conditions. This mutability involves a persistent reflection on what photography is but also on what it can do. Medium specificity is far from being the final horizon of photography as art today, but since the status of the medium is still relatively open, it continues to be on the radar. This formal and technical concern helps avoid any form of blatant political instrumentalization, even in the case of photographers with a direct political agenda. Intermediality, that is, the possibility of combining photography with other media, either in one single production such as a book or in a sequence of linked performances (a set of photographs moving from a website to a museum installation, for example), is a feature that reinforces the social and political impact of photography, which can progressively build new and different forms of interaction with various types of audiences. One easily understands that in an ecocritical perspective, artification and intermediality are vital characteristics as well as crucial advantages of a medium that aims at exploring the permanently changing relationships between art and environment. Yet what does the author mean by these relationships? Méaux explains from the first page that her book prioritizes a very particular type of photography, namely the type that aims at questioning our conventional ways of thinking of the Anthropocene. Photography, in this regard, is seen as an artistic medium with a strong cognitive as well as political dimension, for it forces the audience to rethink the mutual dependence of nature and culture (to put it very simply), to ask new questions on the forms and impact of the photographic medium itself, and eventually to make room for these issues in the larger social debate. The two major sources of inspiration of this critical take on photography and the Anthropocene are, for Méaux, first, John Dewey and his book Art as Experience (1932), a work that dismantles the dichotomy between life and art, and second, Jacques Rancière, whose ideas on the distribution of the sensible have given a new political meaning to formal experimentalism as a way of making room for underprivileged or despised experiences by equally unacknowledged or misrepresented social groups and individuals. In Méaux’s book, the photographic projects that depart from ecological concerns help reject false or fossilized ideas on the nature/culture divide, to start with","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"3 1","pages":"547-549"},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76479157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Using a Drift Diffusion Model to Validate the Quantification of Style Prototypicality as Assessed by the Viewers of Paintings","authors":"Shigen Fang Ogata, Yoshimasa Tawatsuji, T. Matsui","doi":"10.1162/leon_a_02433","DOIUrl":"https://doi.org/10.1162/leon_a_02433","url":null,"abstract":"\u0000 When appreciating a painting, people often classify it into a style. The extent to which the painting is regarded as a typical example of the style is called the style prototypicality. The authors propose a method of quantifying style prototypicalities and experimentally validate this method using the drift rate parameter of the drift diffusion model. This parameter is calculated from participants’ decision-making response times. The authors find a positive correlation (r = .88, p < .001) between the drift rates and the quantified prototypicalities for the paintings used in this study, confirming the psychological appropriateness of the proposed quantification method.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86005372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Energy Is Never Lost: A Portrait of Swiss Artist Margrit Fischer-Hotz","authors":"Margrit Fischer-Hotz, Maya Minder","doi":"10.1162/leon_a_02447","DOIUrl":"https://doi.org/10.1162/leon_a_02447","url":null,"abstract":"\u0000 Margrit Fischer-Hotz, born in 1938, is a Swiss artist based in Zug. She began painting using mixed media in the second part of her life and developed an intense and inspired artistic career after the death of her husband, Walter E. Fischer, a renowned Swiss nuclear and particle physics scientist who was instrumental in founding the Paul Scherrer Institute in the late 1980s. The artistic work of Fischer-Hotz is largely inspired by research in physics, biology, space research, and the great scientists of the past century and of our time. She testifies here about her journey and her approach.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"206 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80441705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}