Recognition of Leonardo's Outstanding Peer Reviewers
As a result of 50 years of publishing work on the cutting edge, Leonardo has become the leading international peer-reviewed journal on the use of contemporary science and technology in the arts and music and, increasingly, the application and influence of the arts, design and humanities on science and technology.
Constructive peer reviews are critical to Leonardo’s publication process. Leonardo relies on its expert peer reviewers to address work across disciplines with academic rigor and a sympathetic intelligence that provides our authors with insights that allow them to present their work as strongly and clearly as possible.
In 2017 we commenced a quarterly recognition of exceptional peer reviewers in our network. This month we extend our gratitude and congratulations to the following for their in-depth and deeply constructive feedback on papers under consideration for publication.
Martin Jarmick is a media producer and teacher finishing a PhD in the Center for Digital Arts and Experimental Media (DXARTS) at the University of Washington. His current research practice concerns the poetic and technological potential of virtual reality as expanded cinema, and his collaborations with choreographers, musicians, theater, engineers and game-designers have exhibited nationally and internationally.
Ellen Pearlman is a new media artist, critic, curator and educator. She is on faculty at Parsons/New School University in New York City and an Assistant Professor Senior Researcher at RISEBA University in Riga, Latvia. A Fulbright World Learning Specialist in Art, New Media and Technology, Ellen received her PhD from The School of Creative Media, Hong Kong City University where her thesis "Noor: A Brain Opera" was awarded top ranked thesis for 2018 by Leonardo LABS Abstract.
Paul Vickers is a computer scientist and a chartered engineer based in Newcastle-upon-Tyne, UK. His research focuses on data sonification, that is, how sound can be used to communicate data and information. Of particular interest is the role of aesthetics in successful sonification design and how accounts of embodied listening experience can help to explain and understand how people interact with sonic representations of data.