{"title":"Photographie Contemporaine et Anthropocène","authors":"Jan Baetens.","doi":"10.1162/leon_r_02440","DOIUrl":"https://doi.org/10.1162/leon_r_02440","url":null,"abstract":"microhabitats or pocket forests to help people reimagine their place in nature, a “new ecology” (p. 169) without boundaries. In a special chapter on symbiotic ways of thinking, Zonca sees that fungus “cultivates” alga in a “nutritional strategy” to help it symbiotically survive (p. 174). Fungus cannot support itself, but when merged with alga as lichen, both flourish. This organism raises biological, philosophical, and political questions of individuality. In miniature, lichen supports other tiny organisms, so it’s a symbol of a forest: part consists of and contributes to the whole. Lichens, as nineteenth-century German and Russian botanists began to realize (not without controversy), represent plural entities, a form of communalism or at best mutualism. Symbiosis means two beings are cohabiting one organism without parasitism, both sharing one life externally and internally. This idea was confirmed late in the nineteenth century with the realization that fungi on plant roots were also symbiotic. In fact, many ecological theories of that time were driven by lichen studies. Following a long tradition of thinkers before, up to, and beyond Plato, Zonca continues his discussion of symbiosis with the idea that sympathetic harmony among species rests on a political foundation. By the 1870s in France, mutualism was viewed as social and biological, with voluntary association and shared assistance: Nature was not widely held to be a cooperative rather than as justifying capitalistic competition. He cites work by Lynn Margulis, who posited that on a cellular level, with the sharing of interacting genetic materials, evolution is fundamentally symbiotic. He goes on to note how symbiotic ideas from biology now touch many disciplines, from the arts to economics. None of this thinking reduces Darwin’s opinion about the struggle for existence. Links between organisms, Zonca admits, can become tentative. He suggests, therefore, that the idea of symbiosis not include shades of mutualism. A focus, rather, should be on an indefinite relationship that contains competitive cooperation epitomized in the fungus (earth)/alga (sea) lichen that’s laden with microbes so that the whole is almost void of singular identity. In nature, the secret to success is not dominance but political interdependence with a lack of separation. Symbiosis is not later acquired but integral to the formation of lichens. Thus, the concept of individuality is held in question, since what is considered a single organism is indeterminately open to other formations in potential process. This is a powerful metaphor that can shape not only ecological but also social thought. It’s not just that genes respond to the environment but that symbiotic partnering with the environment contributes to an organism’s genetic constitution, as is evident in lichens. Artists and poets capitalize on the notion of ecological fragmentation, according to Zonca. Symbiosis is about affiliating qualities and capacities to in","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"56 1","pages":"546-547"},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87592969","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":"Art as Enquiry: Theoretical Perspectives on Research in Art and Science","authors":"Kate McCallum","doi":"10.1162/leon_a_02450","DOIUrl":"https://doi.org/10.1162/leon_a_02450","url":null,"abstract":"\u0000 As the question of art-practice-as-research is considered, a reasonable way to assess its validity is to compare the aims and practices of art with those of traditionally research-oriented disciplines like science and philosophy. Examination of ideas from the philosophy of science and art theory suggest shared emphases on rigour by community consensus, and on the generation of new ways of seeing and of thinking.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"37 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74028968","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":"Luminous skins: Costume as a central element of a swarm-based scenography","authors":"Iztok Hrga","doi":"10.1162/leon_a_02449","DOIUrl":"https://doi.org/10.1162/leon_a_02449","url":null,"abstract":"\u0000 Luminous skins are interactive light-costume hybrids that reimagine the boundaries of the performers’ physical bodies, broadcast their feelings and alter environment. They are the central element of a performance that requires no stage space, no fixed lighting, no wall outlets and no lighting technicians. The performers manage to dance through the darkness with the light they wear. The costumes are equipped with sensors and actuators and communicate wirelessly and in real time with other scenographic elements. Together, they form a swarm-based scenography that involves close coordination between the performers and responsive technology to create visually dynamic and immersive atmospheres.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"132 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80013486","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":"Urban Intonation: Listening to the Rats of New York City","authors":"B. House","doi":"10.1162/leon_a_02448","DOIUrl":"https://doi.org/10.1162/leon_a_02448","url":null,"abstract":"\u0000 From urbanization to biomedical science, rats can be found in the foundations of modernity. Communicating ultrasonically above the ∼20 kHz limit of human hearing, rats are also well-adapted for the human-built environment and its anthropogenic noise. For the sound installation Urban Intonation, the author recorded rats on the streets of New York City with an ultrasonic microphone and resampled and remixed the audio for playback over a human public address system, repositioning the voices of rats in order for us to reconsider our relationship to our oft-reviled nonhuman cohabitants.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73290451","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":"Life in the Posthuman Condition: Critical Responses to the Anthropocene","authors":"Jacob Thompson-Bell","doi":"10.1162/leon_r_02438","DOIUrl":"https://doi.org/10.1162/leon_r_02438","url":null,"abstract":"for instance the old-style difference between liberal versus mechanic arts or the more recent distinction between fine arts and applied arts. The very existence of different types of art, all of them now institutionalized as separate disciplines, and their struggle for cultural prominence (we should not forget that the Renaissance term of paragone means less “comparison” than “struggle” between the arts), have not ended with the post-Romantic desire to obtain the fusion of all arts in a Gesamtkunstwerk or the contemporary tendencies toward intermediality, transmediality, interdisciplinarity, deskilling, collective and collaborative production, or the renewed dialogue with longtime “non-art” forms of creation such as science. This book by Steven Brown is an attempt to build a new single theoretical framework aiming at a better understanding of what all arts have in common. Deeply rooted in cognitive perspectives and maintaining a permanent although very critical dialogue with biological and Darwinian takes on art, the novelty of this approach can be situated at three levels. First, Brown shifts the focus of the investigation from specific works of arts to art in general. While certainly giving many examples throughout the whole book, the author defends a very general and quite abstract approach that tends to supersede all that is too specific or contextual—hence also the strong critique of the cultural, that is Western, biases of much biological reading of art as implicitly framed by typically Western objects and practices. Second, he also introduces a definition of art that is quite different from what we usually understand by that word. Indeed, the author abandons the conventional definitions of art as (1) an object, (2) a quality of beauty in an object, or (3) an indicator of craftsmanship or creativity. Instead, art is defined here as “a process of performance,” with special reference to public display, group participation, and “specialized public performances and group rituals” (p. 4). This is of course a very radical and, at first sight, somewhat counterintuitive reduction of what is understood by the notion of art, but for Brown it is the best possible way to grasp what arts have in common from a biological and evolutionary point of view: The forms and functions of art, which all have to do with expression but also with creation and communication not only in personal or individual terms but also at the level of the group and in terms of collectivity building, can only become visible thanks to this particular methodological and conceptual framing, which accepts leaving aside our spontaneous ways of thinking on art. Third, the unifying approach defended by Brown is not at all an attempt to produce a one-size-fits-all structure. The author acknowledges fundamental differences between art forms, most importantly those between re-creation and coordination, the former referring to the “inherently narrative and symbolic nature of the arts” (p. 37)","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"5 1","pages":"543-545"},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75639962","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}
Alejandro Albornoz Rojas, Rogério Bordini, Cândida Luiza Borges da Silva, A. Crawshaw, Yuxiang Dong, Majli af Ekenstam, Cornelia Erdmann, Nicolas Holt, Rebecca Mott, Mikhel Proulx, Ana Rewakowicz, B. Vandeput, Weidi Zhang, M. Zolotova
{"title":"Top-Rated LABS Abstracts 2022","authors":"Alejandro Albornoz Rojas, Rogério Bordini, Cândida Luiza Borges da Silva, A. Crawshaw, Yuxiang Dong, Majli af Ekenstam, Cornelia Erdmann, Nicolas Holt, Rebecca Mott, Mikhel Proulx, Ana Rewakowicz, B. Vandeput, Weidi Zhang, M. Zolotova","doi":"10.1162/leon_a_02435","DOIUrl":"https://doi.org/10.1162/leon_a_02435","url":null,"abstract":"This thesis presents practice-based research, where voice and poetry both are inspiration and material. It includes a portfolio of acousmatic compositions and a text, a compositional rationale based on Chilean poet Vicente Huidobro’s aesthetics called Creacionismo , which aims to create artistic works by combining materials from reality through an equilibrium between rationality and intuition. To examine how this rationale operates within the compositions, an analytical methodology is applied using poietic and neutral analyses of the tripartite model proposed by Jean-Jacques Nattiez (1990) and Stéphane Roy (2004). The first describes the author’s creative process, and the second details the pieces’ constitutive elements considering Pierre Schaeffer’s sound objects (1966), Denis Smalley’s spectromorphology (1997), levels of spatial function by Annette Vande Gorne (2010), and two original analyses developed by the author: voice type and speech-sound type. The analyses show the pieces’ structure, and consequently how Huidobro’s theory has been applied successfully to acousmatic composition, generating the notion of acousmatic-creationist. The main outcome of this thesis is a new artistic strategy balancing rationality and intuition within acousmatic composition and placing poetry as a driving force in the use of voice, merging artistic practice and theory in a recursive action.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"5 1","pages":"527-533"},"PeriodicalIF":0.0,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81577930","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":"Inside the Spiral: The Passions of Robert Smithson","authors":"Amy Ione","doi":"10.1162/leon_r_02442","DOIUrl":"https://doi.org/10.1162/leon_r_02442","url":null,"abstract":"and provide larger space for compassion. Thus, instead of waiting for the next Godot-like technological leap to solve its worries, humanity needs to move into a more realistic perspective of what is sustainable and what is not in terms of technological expectations, as Smil suggests in Chapter 5, devoted to “Techno-optimism, Exaggerations, and Realistic Expectations.” Smil reminds readers of the costs and consumption involved with the society we live in (e.g. 370 million tons of plastic per year, 150 million tons of ammonia, 1.8 billion tons of steel, and 4.5 billion tons of cement). One certainty is unshakable for the author: To tackle any problem efficiently, we need to know the facts and start with data accompanied by the exploration of their underlining principles and the macro-systems within which they emerge. Such exploration could move us to be either surprised, indignant, or confident, but the need remains to be continuously and timely informed and aware. This book is an educative overview of the overpromises that too frequently accompany claims about technology, from new cures for diseases to AI, about which the author is definitely impatient:","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"22 1","pages":"549-552"},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87640561","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}
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