Leonardo Journal Volume 50, Issue 1, 2017

Leonardo is 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.

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TABLE OF CONTENTS

Editorial

Greater Earth
by Arthur Woods

Leonardo Gallery

Exhaustion Aesthetics

by Carolyn L. Kane

Gallery Artists: Cory Arcangel, Jon Satrom, Rosa Menkman, Team Doyobi and
Andrew Benson.


Artists’ Articles

Sounds of Time and Place

by Jerry Fishenden

ABSTRACT: The author describes various aural techniques developed as part of the origination of the sonic content of compositions themed on palimpsests of time and place. Field-based recordings, authentic and synthetic impulse responses, convolution reverb and the use of third-party sounds retrieved via open programmatic interfaces are considered. The role of usability feedback is also discussed, specifically its beneficial impact on informing the development both of the compositions and the techniques they utilize. An initial mobile phone application is described, together with continuing work to develop additional mobile experiences.

ArtMaps: A Technology for Looking at Tate’s Collection

by Gabriella Giannachi, Rebecca Sinker, John Stack, Cristina Locatelli, Laura Carletti, Dominic Price, Derek McAuley, Tim Coughlan and Steve Benford

ABSTRACT: This article presents ArtMaps, a crowdsourcing web-based app for desktop and mobile use that allows users to locate, move and annotate artworks in the Tate collection in relation to one or more sets of locations. Here the authors show that ArtMaps extends the “space” of the museum and facilitates a new pluriperspectival way of looking at art.


Artists’ Notes

Conservation Science and Contemporary Art: Thinking
about Tenerife

by Luke A’Bear, James Curtis Hayward and Meredith Root-Bernstein

ABSTRACT: Art has long been seen as a way to illustrate conservation science for public outreach, especially to children. However, art has a greater role to play as a partner in interdisciplinary practice. Here we explore four examples where early-career conservationists have used the production of artwork inspired by contemporary art movements to engage critically and emotionally through the formalisms of art with conservation issues on the island of Tenerife. The authors suggest that the production of art by conservationists and as conservation (and vice versa) is key to learning to translate between art and science, leading to broader interdisciplinarity.

Expectations versus Reality of Artificial Intelligence: Using Art to Examine Ontological Issues

by Giuseppe Torre

ABSTRACT: The author presents three of his artworks that engage with issues surrounding artificial intelligence (AI) research. The artworks provide a means for discussing issues that are predominantly ontological rather than technical; while the author used a variety of computational methods in the development of the artworks, he did not make use of any AI techniques and tools. The discussion is carried on in a speculative manner that draws from concept art, academic research and sci-fi culture.


General Articles

From Goal-Oriented to Constraint-Oriented Design:
The Cybernetic Intersection of Design Theory and
Systems Theory

by Thomas Fischer and Laurence D. Richards

ABSTRACT: In this article the authors discuss facilitation as a way to develop creative equality in art-science based on their experiences working on an art-science project. They suggest that the space in which representatives from the domains of sciences and arts come together to collaborate is a trading zone in which novel links and relationships can be created. They introduce the notion of “boundary method” to describe facilitation as a method that can endure different meaning-making strategies and meanings employed by stakeholders yet still retain its utility for encouraging creativity at a cross-disciplinary interface rather than within a dominant discipline.

Facilitating Creative Equality in Art-Science: A Methodological Experiment

by Matthias Wienroth and Pippa Goldschmidt

ABSTRACT: This article explores the topic of scientific discovery in two cases of intersections between imaging technologies and sleight-of-hand magic in the domain of nontheatrical film and media. The first case is the French psychologist Alfred Binet’s use of chronophotography to study magicians in the 1890s. The second is the reanimation of Binet’s study by cognitive (neuro)scientists beginning in the early 2000s using eye-tracking cameras and other digital-imaging devices. The author focuses on how both cases treat the magician as a medium of discovery and how both use optical devices to “see” visual processes related to the experience of wonder.


General Notes

A Review of Literature on Information Visualization

by Phillip Gough

ABSTRACT: Engaging a general audience with scientific research can be effectively assisted by visualization. Visualization art has the potential to engage users with data in a way that gives the audience deep and reflective insights into information. This article reviews relevant literature on different methods and practices of visualization from the analytical to artistic. The literature shows that beautiful presentations of data, in a clarified context, can help an audience with little understanding of the data domain gain deep, meaningful insights into information.

Koffka’s Aesthetic Gestalt

by Branka Spehar and Gert J. van Tonder

ABSTRACT: A neglected theory of aesthetics by the eminent Gestaltist Kurt Koffka is reviewed with the hope that it will spark new interest in the Gestalt contribution to art. Koffka’s particular emphasis on the art object, its perceptual qualities and its relation with the intentional self holds the potential for advancing scientific theories of aesthetic experience.


Theoretical Perspective

Perceptual Learning, the Mere Exposure Effect and Aesthetic Antirealism

by Bence Nanay

ABSTRACT: It has been argued that some recent experimental findings about the mere exposure effect can be used to argue for aesthetic antirealism: the view that there is no fact of the matter about aesthetic value. The aim of this article is to assess this argument and point out that this strategy, as it stands, does not work. But we may still be able to use experimental findings about the mere exposure effect in order to engage with the aesthetic realism/antirealism debate. However, this argument would need to proceed very differently and would only support a much more modest version of aesthetic antirealism.

Mere Exposure and Aesthetic Realism: A Response to
Bence Nanay

by James E. Cutting

ABSTRACT: Where does the quality of an artwork reside? Is it in the work or in the perceiver and her culture? Belief in the former can be called aesthetic realism, the latter aesthetic antirealism. Bency Nanay suggests that the author, Cutting, is an antirealist because he has found that multiple brief exposures to an artwork enhance viewers’ judgments of it. In fact Cutting is agnostic on the distinction, but as a scientist is unable to discern how quality might be objectively measured in art.


Statements

Conceptual and Aesthetic Dimensions of an ECG/RESP
Sensor Artwork

by Yi-Huei Chen and Wen-Shu Lai

ABSTRACT: This article aims to explore an innovative application pairing optical fibers with an electrocardiography (ECG)/respiration (RESP) sensor in art. The constructed interactive work Clock Inside Out not only reflects multifaceted human life but also coexists with the body in the world. Thus, the body is extended to take on a technological character and portrayed as a heteromerous embodiment. Following an analysis of the artwork, the article elaborates on the aesthetic and corporeal phenomena arising from it and concludes with the new meanings and implications carried by the artwork.

CODEX: Mapping Co-Created Data for Speculative Geographies

by Tom Corby, Gavin Baily and Stefano de Sabbata

ABSTRACT: This article discusses a series of artworks named CODEX, produced by the authors as part of a collaborative research project between the Centre for Research in Education, Art and Media (CREAM), University of Westminster and the Oxford Internet Institute. Taking the form of experimental maps, large-scale installations and prints, the series shows how big data can be employed to reflect upon social phenomena through the formulation of critical, aesthetic and speculative geographies.


From Softimage to Postimage

by Ingrid Hoelzl and Rémi Marie

ABSTRACT:With the digital revolution, the photographic paradigm of the image has become supplemented with an algorithmic paradigm. The result is a new kind of image capable to gather, compute, merge and display heterogeneous data in real time; no longer a solid representation of a solid world but a softimage—a programmable database view. In today’s neurosciences and machine vision, the very concept of “image” as a stable visual entity becomes questionable. As a result, the authors propose that the need exists to radically expand the definition of image and abandon its humanist and subjective frame: The posthuman image—which the authors propose to call the postimage—is a collaborative image created through the process of distributed vision involving humans, animals and machines.


Structuralizing the Fluxus Way of Life: The Social Network
of Fluxus

by Rooni Lee, Yunkyu Sohn and Wonjae Lee

ABSTRACT: Fluxus is often understood as an avant-garde art movement led by George Maciunas in the 1960s. Such a narrative, however, is limiting as it overlooks the contribution of other prominent Fluxus artists. This article aims to challenge what is referred to as the Maciunas-based paradigm in its temporal scope and ideological homogeneity through the adoption of social network analysis.


Biokinesis: A Soft Kinetic Architectural Skin

by Jae Wan Park and Ju Yeon Kim

ABSTRACT: This article proposes a soft kinetic architectural skin that represents natural, formative intelligence. Biokinesis is an interactive kinetic installation that performs soft, dynamic movements through morphological transformations based on a genetic algorithm. In this article, the authors present new possibilities for the kinetic skin by interpreting mechanical movements as holistic, biological dynamics.


The Death and Lives of hitchBOT: The Design and Implementation of a Hitchhiking Robot

by David Harris Smith and Frauke Zeller

ABSTRACT: In the early morning hours of 1 August 2015, as it waited for its next ride on a Philly park bench, unknown assailants destroyed hitchBOT. Arms torn from its body, legs broken, gutted of its electronics, it was left discarded in a park, minus its smiley-face LED head. Around the world headlines announced the death of a much-loved robot, children and adults shed tears, haters hated on Philadelphia, cartoonists and musicians paid tribute, journalists wrote obituaries and the publicly minded rallied to support a rebuild. The authors share the story of the life and times of their creation, hitchBOT the hitchhiking robot.


Special Section: Trust Me, I’m an Artist: Part 2

Molding the Signifier: Codesculpting the Possible Shapes of a Future Consciousness

by Ivor Diosi

ABSTRACT: This article introduces the art/science/transmedia project Molding the Signifier and maps out its wider cultural and societal connotations, reach and significance, with specific reference to its staging within the Trust Me, I’m an Artist event (an EU Creative Europe-funded project) that took place in Prague in 2015. As the work itself strives to artistically bridge and synthesize recent—in the opinion of the authoring artist group—existentially highly relevant results in science, so the article provides an overview and synthesis of their art/science fusion approach and methods.

Molding the Signifier by Ivor Diosi: An All-too-Human Victor

by Ondřej Cakl

ABSTRACT: In this curatorial consideration, the author reveals factors that most essentially influenced the decision to present Ivor Diosi’s artwork Molding the Signifier, as part of the Trust Me, I’m an Artist EU project event in Prague (16–19 November 2015). It questions the notion of AI as it currently exists, suggesting that the ideas of “artificial,” “independent” or “higher” intelligence and existence are all too human (and from that point of view therefore dangerous). As curator of the event, the author argues that Molding the Signifier, although it does not confront existing legislation, does question the ethical core of the essential latent purposes of biotechnologies as a means of human creativity.

Heirloom: Living Portraits of and for the Artist’s Daughters Created out of Their Own Cultured Cells

by Gina Czarnecki and John Hunt

ABSTRACT: This article presents the artwork Heirloom created by artist Gina Czarnecki and scientist John Hunt. Heirloom grows living portraits of Gina Czarnecki’s daughters from their own cells cultured from buccal swabs. The resulting artwork is an ongoing exploration in “culture,” “nurture” and “media” from the scientific, parental and artistic perspectives. The experiment is ongoing as new methods for sustaining life outside the lab have been developed for this work, potentially facilitating future DIY biotechnology for others and helping with maxillofacial reconstruction in the future. Heirloom has been presented within Trust Me, I’m an Artist, an EU Creative Europe supported project.

Displaying the Researched Body: Growing Cell Portraits in a Medical Museum

by Louise Whiteley, Karin Tybjerg and Bente Vinge Pedersen

ABSTRACT: In Heirloom, artist Gina Czarnecki and scientist John Hunt grow portraits of the artist’s daughters from the daughters’ own cells onto glass casts of their faces. This required the development of novel scientific techniques to allow the growth of human cells in a gallery. Heirloom was exhibited at Medical Museion as a part of the EU Creative Europe project Trust Me, I’m an Artist. Here, the authors discuss three key issues raised by the artwork and its curation; (1) consent and ownership with regard to bodily materials, (2) biological portraiture and identity, and (3) DIY and depicting the future.


Special Section: Highlights from the IEEE VIS 2014 Arts Program (VISAP’14): Part 1

Introduction by Guest Editors Angus Forbes and Fanny Chevalier

What Public Visualization Can Learn from Street Art

by Sandy Claes and Andrew Vande Moere

ABSTRACT: As public visualization is becoming increasingly popular, our physical environment should be considered an intrinsic component of its design because of the various rich, interpretative meanings that it inherently possesses. As many concepts of street art deliberately deploy such meanings within the environment in order to convey particular messages, the authors believe it can act as a valuable resource for public visualization design. The authors thus discuss four distinct rhetoric strategies to demonstrate how street art practices can relate to their environment and how these relationships can trigger critical reflection for public visualization.

Amsterdam—Olfactory Art and Smell Visualization

by Kate McLean

ABSTRACT: Creating a smellmap of a city is a subjective, collaborative exercise. During a series of smellwalks local participants foreground their sense of smell and name perceived aromas emanating from the urban smell-scape. Data and conversations arising from the walks are “analyzed,” and a representative smellscape of the city is visualized as a map. Scents—the nasal stimuli and a catalyst for discussion—accompany the map. As a map of what we do not know, indications of geolocated smell possibilities and ephemeral scents combine visualization with the olfactory to place the emphasis on human interaction with sensory data to create meaning and an understanding of place.

Spatial Correlation: An Interactive Display of Virtual
Gesture Sculpture

by Jung Nam and Daniel F. Keefe

ABSTRACT: Spatial Correlation is an interactive digital artwork that provides a new window into the process of creating freeform handcrafted virtual sculptures while standing in an immersive Cave virtual reality (VR) environment. The piece originates in the lab, where the artist’s full-body, dance-like sculpting process is recorded using a combination of spatial tracking devices and an array of nine synchronized video cameras. Later, in the gallery, these raw data are reinterpreted as part of an interactive visualization that relates the three spaces in which the sculpture exists: 1) the physical lab/studio space in which the sculpture was created, 2) the digital virtual space in which the sculpture is mathematically defined and stored, and 3) the physical gallery space in which viewers now interact with the sculpture.

Automatically Generating Animations from Escher’s Images

by Danny Bazo

ABSTRACT: This article presents a real-time interactive software tool for automatically selecting and rearranging windowed regions of a single large image into frame-by-frame animations. Demonstrated on the tessellating, morphing pictures created by M.C. Escher, the software tool uses image-processing algorithms to compute a path through an image, traveling along visually similar regions and presenting them as a short looping movie.


Leonardo Reviews

Reviews by Jan Baetens, Giovanna L. Costantini, Hannah Drayson, Amanda Egbe, George K. Shortess and Charissa N. Terranova


Leonardo Network News


Endnote

Non-Sculpture

by Philip F. Palmedo


Supplemental Files Available

See <mitpressjournals.org/toc/leon/50/1> for supplemental files (e.g. video clips, sound files, additional images) related to articles in this issue.


About the Cover

Kate McLean, Smellmap: Amsterdam, 2014. During a series of smellwalks in Amsterdam, participants identified distinct aromas emanating from the city environment. Data and conversations arising from the walks were analyzed, and a representative smellscape of the city was visualized as a map. (© Kate McLean) See article by Kate McLean in this issue.

 

Updated 31 January 2017