Published by The MIT Press with editor-in-chief Sean Cubitt, the Leonardo Book Series includes books by artists, scientists, researchers and scholars that present innovative discourse on the convergence of art, science and technology. Envisioned as a catalyst for enterprise, research and creative and scholarly experimentation, the series enables diverse intellectual communities to explore common grounds of expertise. Led by editor-in-chief Sean Cubitt, the series provides for the contextualization of contemporary practice, ideas and frameworks represented by creative individuals and teams driving innovations in art, science and technology.
Where to Find Leonardo Books
Books from the MIT Press are available at fine booksellers worldwide. Individuals who wish to order directly from the publisher may do so through the MIT Press website or by calling their toll-free number (800.405.1619). Browse our catalog of titles and click links in the books' descriptions that will take you directly to the MIT Press website. Many Leonardo Book Series books are also available as eBooks that can be purchased and stored on your personal digital bookshelf. Each eBook is available in either PDF or ePub versions, or in both PDF and ePub versions.
The evidential role of matter—when media records trace evidence of violence—explored through a series of cases drawn from Kosovo, Japan, Vietnam, and elsewhere.
The close interdependency of animal emissaries and new media from early European colonial encounters with the exotic to today's proliferation of animals in digital networks.
From Leonardo Invisible Colors The Arts of the Atomic Age By Gabrielle Decamous How art makes visible what had been invisible—the effects of radiation, the lives of atomic bomb survivors, and the politics of the atomic age.
An exploration of artworks that use weather or atmosphere as the primary medium, creating new coalitions of collective engagement with the climate crisis.
Why embodied approaches to cognition are better able to address the performative dimensions of art than the dualistic conceptions fundamental to theories of digital computing.
“France’s most famous unknown artist,” the innovative media provocateur Fred Forest, precursor of Eduardo Kac, Jodi, the Yes Men, RT Mark, and the Guerilla Girls.
When media translate the world to the world: twentieth-century utopian projects including Edward Steichen’s “Family of Man,” Jacques Cousteau’s underwater films, and Buckminster Fuller’s geoscope. Aug 2017
First person accounts by pioneers in the field, classic essays, and new scholarship document the collaborative and creative practices of early social media.
An account of a major international art movement originating in the former Yugoslavia in the 1960s, which anticipated key aspects of information aesthetics.
How new media and visual artists provide alternative ways for understanding and visualizing the entanglements of media and the environment in the Asia-Pacific.
How philosophers and theorists can find new models for the creation, publication, and dissemination of knowledge, challenging the received ideas of originality, authorship, and the book.
An examination of digitality not simply as a technical substrate but also as the logical basis for reshaped concepts of labor, subjectivity and collectivity.
An examination of experimental cinema and media art from the Arabic-speaking world that explores filmmakers’ creative and philosophical inventiveness in trying times.
A critical mapping of the multiplicities of Finnish artist and technology pioneer Erkki Kurenniemi—composer of electronic music, experimental filmmaker, inventor, collector, futurologist.
An argument that the collaborative multimedia projects produced by Stan VanDerBeek in the 1960s and 1970s anticipate contemporary new media and participatory art practices.
An historical roots, key practitioners, and artistic, theoretical, and technological trends in the incorporation of new media into the performing arts.
An investigation of the aesthetics and politics of new visual media under twenty-first-century capitalism, from console games to virtual reality to video installation art.
Leading scholars take a wider view of new media, placing it in the context of art history and acknowledging the necessity of an interdisciplinary approach in new media art studies and practice.
An argument that video is not merely an intermediate stage between analog and digital but a medium in its own right; traces the theoretical genealogy of video and examines the different concepts of video seen in works by Vito Acconci, Ulrike Rosenbach, Steina and Woody Vasulka, and others.
The uncommon sensory perceptions of synesthesia explored through accounts of synesthetes' experiences, the latest scientific research, and suggestions of synesthesia in visual art, music and literature.
The theory and practice of bio art, a new art form that uses the materials and processes of biotechnology, with examples of work by such prominent artists as Eduardo Kac and Marc Quinn.
The first collection of writings on poetry that is composed, disseminated, and read on computers; essays and artist statements explore visually arresting, aurally charged, and dynamic works that are created by a synergy of human beings and intelligent machines.
Blending artist theory, personal memoir, satire and fictional narratives, a noted net artist constructs a poetics of net art that parallels his practice.
As our computers become closer to our bodies, perspectives from phenomenology and dance can help us understand the wider social uses of digital technologies and design future technologies that expand our social, physical, and emotional exchanges.
A cultural field guide to software: artists, computer scientists, designers, cultural theorists, programmers, and others define a new field of study and practice.
An influential and respected historian of art and technology analyzes the development of immersive, interactive new media art; includes detailed looks at the work of such artists as Nam June Paik, John Maeda, and Jenny Holzer.
In this multidisciplinary look at the practice of art that takes place across a distance, theorists and practitioners examine the ways that art, activism, and media fundamentally reconfigured each other in experimental networked projects of the 1970s and 1980s.
Author Galloway argues that the founding principle of the Net is control, not freedom, and that the controlling power lies in the technical protocols that make network connections (and disconnections) possible.
Technoromanticism pits itself against a hard-headed rationalism, but its most potent antagonists are contemporary pragmatism, phenomenology, hermeneutics, surrealism, and deconstruction—all of which subvert the romantic legacy and provoke new narratives of computing.
Coyne examines the entire range of contemporary philosophical thinking—including logical positivism, analytic philosophy, pragmatism, phenomenology, critical theory, hermeneutics, and deconstruction—comparing them and showing how they differ in their consequences for design and development issues in electronic communications, computer representation, virtual reality, artificial intelligence and multimedia.