Leonardo Journal Volume 48, Issue 4, 2015

Leonardo is a print journal, published five times a year. Leonardo is edited by Leonardo/the International Society for the Arts, Sciences and Technology, and published by the MIT Press.

ONLINE ACCESS: Subscriptions to Leonardo include access to electronic versions of journal issues available on The MIT Press website.

ORDER: Subscriptions, individual issues and articles can also be ordered from The MIT Press.

PAST ISSUES: Browse tables of contents and abstracts of past issues of Leonardo and LMJ

SPECIAL SIGGRAPH ISSUE

TABLE OF CONTENTS

ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art: Lillian Schwartz

by Sue Gollifer


Art papers

Art Papers Introduction

by Victoria Szabo

Articulating Media Arts Activities in Art-Science Contexts

by Angus Graeme Forbes

ABSTRACT: This paper discusses the conflicting expectations for media artists taking part in art-science collaborations. Despite the increasing opportunity to participate in these interdisciplinary projects, it can be unclear how media arts activities are best articulated, or even if they need to be defined at all. Additionally, this paper examines a methodological framework widely used in the visualization community for identifying different visualization tasks within research activities. Inspired by its success, this paper proposes a new methodological framework for media arts activities in art-science contexts. This framework splits media arts activities into overlapping areas: generation, augmentation, provocation and mediation, providing a useful way to articulate the broader importance of media arts in interdisciplinary collaboration.

Ethics, Ecology and the Future: Art and Design Face the Anthropocene

by Kayla Anderson

ABSTRACT: Art and design have become platforms for discussing the long-term implications of technology and modernity, most recently in relation to ecological crisis and the Anthropocene. While artists, designers and curators seek to raise awareness of the Anthropocene, it is important to remain critical of the narratives these practitioners develop. This paper provides a brief critique of how these issues are being addressed in the cultural sphere, suggesting that works of critical, conceptual and speculative design may be best suited to addressing the Anthropocene as they foster critical thinking about how we relate to technology and science, how we organize ourselves politically and socially, and how we define ourselves in the broader ecological assemblage. Artists and designers discussed include Marina Zurkow, Una Chaudhuri, Oliver Kellhammer, Fritz Ertl and Sarah Rothberg; Anthony Dunne and Fiona Raby; and Jae Rhim Lee.

The Dual Skins of a Media Façade: Explicit and Implicit Interactions

by Claude Fortin and Kate Hennessy

ABSTRACT: In the fall of 2013, Mégaphone, an architectural-scale interactive “Speakers’ Corner,” was deployed  outdoors after dusk in downtown Montréal, Canada. This urban art installation included a monumental  media façade designed to display a transcription of some of the words uttered into the microphone by  end users. Driven by the system’s two temporal modalities—a performative “live mode” and an archival  “sleep mode”—the video projections revealed the dual skins of a media façade that spanned almost an  entire city block. This article examines how activists appropriated Mégaphone to transform an ordinary  building into an urban mausoleum. 

The Bailey-Derek Grammar: Recording the Craft of Wire-Bending in the Trinidad Carnival

by Vernelle A.A. Noel

ABSTRACT: This paper presents work on the development of a shape grammar that records the dying, undocumented craft of wire-bending in the Trinidad Carnival. This craft is important for the building and continuation of cultural heritage and identity. Due to the lack of prior research in this non-Western design practice, the author conducted site visits, interviews and observations, and visually examined wire-bent artifacts in Trinidad to develop this grammar. This paper presents the materials, steps and shape rules that begin to synthesize the craft, as well as one design. This study and the resulting grammar have positive implications for design education and practice.

Impossible Figure Generator

by Esteban García Bravo and Jorge A. García: Yturralde

ABSTRACT: This research highlights José María Yturralde’s most significant involvement and contributions to early computer art from 1968 to 1973. Yturralde collaborated with artists and scientists to expand and redefine his understanding of shapes, and explored ways that the mainframe computer could be used as a tool for complementing his art practices. He is known for developing a mathematical model with which he was able to create a highly sophisticated program where Penrose geometries could be recombined algorithmically. However, there is limited evidence and access to the code of the actual software. The authors' goal is to further understand Yturralde’s contribution by developing a re-significance of his model, which they have accomplished through a modern interpretation of manuscripts.

Light Pattern: Writing Code with Photographs

by Daniel Temkin

ABSTRACT: This paper explores the author’s Light Pattern project, a programming language where code is written with photographs rather than text. Light Pattern explores programming languages as the most direct conduit between human thinking and machine logic. It emphasizes the nuance, tone and personal style inherent in all code. It also creates an algorithmic photography structured by the programs one writes, but not ultimately computer-generated. The paper looks at connections to both hobbyist/hacker culture (specifically esolangs) and to art-historical impulses and movements such as Fluxus and Oulipo.  


HYBRID CRAFT ART GALLERY

Hybrid Craft: Showcase of Physical and Digital Integration of Design and Craft Skills

by Amit Zoran

ABSTRACT: This article introduces the Hybrid Craft exhibition, positioning 15 hybrid projects in the context of today’s Maker culture. Each project demonstrates a unique integration of contemporary making practice with traditional craft. The presenters in the show represent a wide range of professional backgrounds: independent makers, students and teachers, designers associated with research institutes, and commercial organizations. The background of Hybrid Craft, the makers and their works, including tool-making, jewelry, bowl-making and interactive design, are presented. The discussion focuses on integrating human skill and design to introduce a diverse portfolio of technologies used in this hybrid making process.

FEATURING WORKS BY Seppo O. Valjakka, Brian Chan, Atar Brosh, Rab Gordon, Yael Friedman, Justin Marshall, Katie Bunnell, Tavs Jorgensen, Factum Arte, Shane Hope, Peter Schmitt, Leah Buechley, Jie Qi, Jennifer Jacobs


Leonardo Network News

Updated 23 July 2014