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Breakthrough

Dawn working on Dream Vortex Prototype 4 in her Middlebrook Studio at the Djerassi Resident Artists program. Dawn working on Dream Vortex Prototype 4 in her Middlebrook Studio at the Djerassi Resident Artists program.

The Glass Bead Game and a High School Fantasy

Let the cerebration begin! I have only experienced 3 of the first 72 hours of Scientific Delirium Madness but the words and ideas and laughter are flying. A dream since I first took this job, since I first met Carl Djerassi (the Program's founder), since I first experienced the work of Nina Wise and Ralph Abrams vis The Kepler Story, I was overwhelmed by emotion during yesterday's orientation.

Scientific Delirium Madness Is about to Begin!

Six scientists and six artists are about to embark on the month-long Scientific Delirium Madness residential retreat starting 1 July 2014 in Woodside, CA. Thanks to Margot Knight, Executive Director of the Djerassi Resident Artists Program (DRAP), Leonardo/ISAST and DRAP have joined forces for this art/science residency for our first collaboration.

LMJ25 Call for Papers: The Politics of Sonic Art

Call for Papers: LMJ25 -- The Politics of Sonic Art For Volume 25 of Leonardo Music Journal we are soliciting articles (papers of up to 3,000 words) and shorter statements (750-1,000 words) that address the role of politics in the creation and dissemination of music and related sonic arts, especially in those genres employing new technological tools. Possible areas of attention include (but are not limited to):
  • The mechanisms by which sonic art can represent and communicate political content without recourse to language.

Art-Science Is a Conceptual Blend

Editorial by Jack Ox

The art world is, as always, engaged in the boomlets of the moment; right now, that includes art-science. This is a good reason to establish a procedure for determining what art-science is. For instance, is it art-science if a painter makes a painting of a Petri dish?

Algorithmic Art

Editorial by Frieder Nake

“One might justifiably question the artist’s role in images that are not merely assembled by the computer in its capacity as a tool, but generated directly by it. Where is the human input?” Lambert, Latham and Leymarie recently raised this question [1].

The core of their question is as old as computer art (about 50 years). I prefer calling such work algorithmic art; although algorithmic art does not necessarily involve a computer, this term is more distinctive.

Can the Arts Help to Save the World?

Editorial by Ricardo Dal Farra

We live in a world that is reaching a critical point, at which the equilibrium between a healthy environment, the energy our society needs to maintain or improve this lifestyle and our interconnected economies could quickly change, from the current complex balance to a completely new reality wherein unbalance would be the rule and human beings would have to become more creative than ever before in order to survive. Have the arts a role in all this? Do artists have a responsibility in this context?