{"title":"Newton Harrison and the Trial by Fire","authors":"L. Bon","doi":"10.1162/leon_a_02381","DOIUrl":"https://doi.org/10.1162/leon_a_02381","url":null,"abstract":"","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"5 1","pages":"303-303"},"PeriodicalIF":0.0,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76369864","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":"On Newton Harrison: An Open Mind and a Bad Attitude","authors":"R. Barnett","doi":"10.1162/leon_a_02379","DOIUrl":"https://doi.org/10.1162/leon_a_02379","url":null,"abstract":"","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"13 1","pages":"300-301"},"PeriodicalIF":0.0,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82322838","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":"Programmoire: Refiguring Witchcraft for a Creative Agency via Computational Art Practice","authors":"Batool Desouky","doi":"10.1162/leon_a_02376","DOIUrl":"https://doi.org/10.1162/leon_a_02376","url":null,"abstract":"Abstract This paper provides a reflection on a practice-based computational art project titled Programmoire that explores the presence of computation within the medieval Arabic tradition of magic squares in both its mathematical origins and its magical mutation. The research speculates on an alternative history for technology rooted in the history of magic. Through examining the shared use of symbolic logic and active syntax between coding languages and symbolic magic, the project asks what technology can look like if used as a magical tool and how artistic practice can guide this exploration.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"146 1","pages":"244-250"},"PeriodicalIF":0.0,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79954220","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":"Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick and Ruiz","authors":"Will Luers","doi":"10.1162/leon_r_02395","DOIUrl":"https://doi.org/10.1162/leon_r_02395","url":null,"abstract":"quite distinct terms in understanding technology sometimes matters. This is one of the key issues in Endless Intervals, which undoes the entanglement of digital and electronic. Jeffrey West Kirkwood revisits the prehistory of what we now call “the digital” to remind us that the division of a flow to produce a sign did not start somewhere in the mid-twentieth century but has a history that precedes even the controlled use of electricity as an energy source and a resonance that extends beyond technology to how the work of the mind has been understood. In this, the book follows Hugo Munsterberg, a prolific writer and strenuous advocate of public engagement with science who drew a connection between cinematic form and the psyche. More exactly, the way that narrative strategies imported from literature, theater, and film and moving image technologies were used in the cinema developed conventions that seemed to make explicit some ideas of how human cognition worked. Quite what the causal link was between these conventions—if there was one—is not a primary concern of film criticism at the beginning of the twentieth century, when Munsterberg was active. What was important, however, was how a particular theory of human psychology was made apparent in productions for the cinema at the time. Endless Intervals makes a considerable effort to link what it calls early cinema and period psychology with a very well-informed account of the various players and moves in European theories of psychology, in particular the role of instrumental experimental psychology and the struggles at the time in Germany. It is a fascinating and intricately woven story that makes its case within its own terms but is not entirely convincing, in that while it is at pains to use precise language in some areas, in others it is less precise, as, for example, film, cinema, and the cinematographe become interchangeable terms at moments when it matters. Similarly, the invocation of early cinema, which may be a reasonable academic and publishing category, makes no sense in a context that predates the cinema as an institutional form of reception that developed its own modes of production and film form to maximize profits. Cinema is quite distinct from many other affordances of the technology that were also developing as products, including things called topicals, topographics, instrumental film, educational film, surveillance film, and of course narrow-gauge cinematography. Narrow-gauge film became a dominant format for the amateur film-maker and the “home movie” industry, which persists today and vastly exceeds the “footage” of mainstream cinema in the circuits of the estimated 15 billion mobile phones in use in 2021. Moreover, early cinema was a term that did not exist for people like Munsterberg and only took off in the late 1970s when material that was not widely available was released by the archives and ignited new interest in a form of film-making that was unfamiliar and dismissed as p","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"5 1","pages":"328-330"},"PeriodicalIF":0.0,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75124222","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":"Giving Bodies Back to Data: Image Makers, Bricolage, and Reinvention in Magnetic Resonance Technology","authors":"Roberta Buiani","doi":"10.1162/leon_r_02389","DOIUrl":"https://doi.org/10.1162/leon_r_02389","url":null,"abstract":"to offer critiques of big business and big science. Rogers is especially interested in whether an artist engaged in credible scientific procedures might still be called an artist, or if a scientist might themselves be considered an artist based on their engagement of the public imagination. In Chapter 6, Rogers discusses her own curatorial project, Art’s Work in the Age of Biotechnology. She explains how her intention was to establish public dialogue with, and participation in, scientific processes and knowledge-making procedures, not to fill a perceived knowledge deficit. It seems clear that Rogers’s ASTS project has stemmed from this kind of curatorial work. As a curator, she forms links between works to create new material assemblages through which knowledge may be produced. Similarly, the vision of art-science that Rogers outlines involves artists re-skilling, speculatively designing, or otherwise imaginatively engaging scientific protocols, to render novel assemblages of materials, people, and technologies that problematize art and science boundary concepts. One area that might be interesting to unpack further is the division of art and science processes into either “material” or “rhetorical” categories. Although Rogers acknowledges that these terms are imperfect, there perhaps remains a risk that, by describing everything in terms of material/ rhetorical agency, her analysis establishes new categories of division, even as she breaks down art/science dualisms. The rhetorical associations of a system cannot be changed without changing the materials assembled therein, and conversely, as the materials networked change, so too do the rhetorical positions through which they speak. That said, I sympathize with Rogers’ position: She is both a theorist aiming for a systematic analysis of art-science and a member of the art-science community. Adopting accessible, albeit imperfect, terms is arguably more impactful as a form of advocacy than would be a purist theoretical project with a correspondingly more limited audience. I think Rogers’s approach is commendable for this practical stance. It is clear how her theories can be applied, and so her work moves beyond the purely critical into the practically useful, which, if the intention is to build more equitable, aesthetically inclusive systems of knowledge, is an essential criterion for success. In this respect, Rogers comes across as sharing much with her case studies, such as the Blaschkas, whose scientific models she describes as “cutting-edge heuristic apparatuses” (p. 222); this definition could equally well be applied to Rogers’s own theoretical project.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"19 1","pages":"322-324"},"PeriodicalIF":0.0,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76782125","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":"Eco-Art: On the Topography of the Harrisons","authors":"Carinne Knight","doi":"10.1162/leon_a_02382","DOIUrl":"https://doi.org/10.1162/leon_a_02382","url":null,"abstract":"","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"7 1","pages":"306-307"},"PeriodicalIF":0.0,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82741228","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}
D. Doyle, Richard Glover, Martin Khechara, Sebastian Groes
{"title":"Exploring the Third Space in Art-Science: The Identifying Successful STARTS Methodologies Project","authors":"D. Doyle, Richard Glover, Martin Khechara, Sebastian Groes","doi":"10.1162/leon_a_02377","DOIUrl":"https://doi.org/10.1162/leon_a_02377","url":null,"abstract":"Abstract During a series of interviews undertaken in Identifying Successful STARTS Methodologies (2019–2021), a research project that analyzed strategies utilized by recent STARTS Prize winners and nominees, a number of the artists and scientists described having needed to build a “third space,” or to meet on “another plane,” in order to communicate and find a common language for art-science collaborations. The project team, from University of Wolverhampton (U.K.), collaborated with Ars Electronica and STARTS on the research and found ways to explore the third space concept in three collaborative art-science projects.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"19 1","pages":"257-261"},"PeriodicalIF":0.0,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75171171","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}
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号
