/      ____
  /      /     /\
 /      /--   /__\
/______/____ /    \
=============================================================
Leonardo Electronic Almanac                 Volume 8, No. 5
                                            May, 2000
Craig Harris,  Executive Editor
Patrick Maun,  Gallery Editor/Curator
Craig Arko,    Coordinating Editor
Michael Punt,  LDR Editor-in Chief
Roger Malina,  LDR Executive Editor
Kasey Asberry, LDR Coordinating Editor

Editorial Advisory Board:
Roy Ascott, Michael Naimark, Simon Penny, Greg Garvey,
Joan Truckenbrod

                         ISSN #1071-4391
=============================================================
                           ____________
                          |            |
                          |  CONTENTS  |
                          |____________|

=============================================================

INTRODUCTION

<  This Issue  >
                                  Craig Harris

FEATURE ARTICLES
                                                                    
<  An Artist's View of Space Science - Part II  >
                                  by Leah Lubin                                  

<  An Analytical Approach to Form Transformation  >
                                  by Lin Hsin Hsin                                  

LEONARDO DIGITAL REVIEWS

<  This Month's Reviews  >
                                  Michael Punt
OPPORTUNITIES

<  The University of New Mexico College of Fine Arts - 2 listings  >
<  Sonic Circuits Commission  >

ANNOUNCEMENTS

<  The Inspiration of Astronomical Phenomena -- Third Conference  >
<  MOSAIC 2000  >
<  Spatialization Competition: The Space of Sound  >
<  The Inaugural Dennis Rosen Memorial Lecture  >
<  Leonardo Defense Fund Donations from EMF  >
<  OLATS News - Special Frank Malina  >
<  Sonic Circuits International Electronic Music Festival  >

ACKNOWLEDGMENTS
LEA WORLD WIDE WEB ACCESS
LEA PUBLISHING & SUBSCRIPTION INFORMATION

=============================================================
                           ________________
                          |                |
                          |  INTRODUCTION  |
                          |________________|

=============================================================

<  This Issue  >
                                  Craig Harris, Executive Editor

LEA 8-5 CONTENTS

In LEA Volume 8 Number 5 we feature the Part II of a 3-part
installment called "An Artist's View of Space Science," by Leah Lubin.
In Part II we find out about some of the artist's early influences,
and the article is accompanied by several images of the artist's work.
Also this month is a feature article by Lin Hsin Hsin, a frequent
contributor to LEA. In "An Analytical Approach to Form Transformation"
the author explores the conceptual modeling, configuration,
manipulation and viewing mechanisms of the formation and
transformation of digital sculptures.

There are several opportunities and announcements. Take note of the
extension of the submission deadline for the Sonic Circuits commission
project. We're hoping to receive some exciting proposals, so consider
this as a very real possibility for that web performance project that
you have been hoping to mount.

Thanks to all of you who have subscribed to LEA since we reimplemented
the subscription service on the journal. Your participation is
critical to the future of the activity.

=============================================================
                    _______________________
                   |                      |
                   |  FEATURE ARTICLES    |
                   |______________________|

=============================================================

<  An Artist's View of Space Science - Part II  >
                                  by Leah Lubin                                  

Leah Lubin
Email: <leah_lubin@worldnet.att.net>
URL: <http://home.att.net/~leah_lubin/index.html>

An artist sits dreaming in her Skylonda, Woodside, California studio.
Studio and home in a redwood forest. The month is May in the year
2000.

Dreaming of her challenge, an opportunity to write and talk about her
focus. The focus of her paintings. The direction of her work. A
precious chance to once again connect.

Every story must have its starting point, and hers was to be found
deep in her childhood.

An Israeli child relocated at the age of six to the deep north of
England. Dealing with sudden cold and an unknown language. The
developing inner world was all that existed. Floating, learning,
learning to be alone.

Things got better when at the age of eleven she moved to London. By
now, a master of her new language and with an artist developing eyes
she was ready for London and all her splendor.

For it was London and its architectural magnificence and fine art that
prepared her.

Prepared her for a great challenge given to her by her art college
teachers.

That yes, she must be the best artist she could technically be, but
even more important, it was what she said, what she focused about. The
message, the new ideas that her work would represent, that would judge
her.

Put value to her art and its statements the driving force of her life.

At first, it was all about painting and drawing the human body. Her
focus in art was "the model". Many body types. Of course the human
body is beautiful in every form so this work kept her busy for quite a
few years. For the love of the body has quite a hold. But apparently
not strong enough because abstraction found it's way in next.

Shapes, new from within her being, her soul sprung forth taking over
her previously realistic state of mind.

New works based on human form with other realms, other realities come
about.

Paintings like "Playing In The Band", "Extended Family", "Between Two
Worlds", "Spirit World", "Her Other Self". Drawings like "As He
Moves", "Have We Landed".

But, still she felt a need for an even more pure message, a more
direct way of opening the heart of the viewer. Because the viewer, the
audience for the artist is like our every breath, a need that cannot
be denied. The viewer, the listener, the reader, the primal force of
recognition, the mirror of work.

It was around then, already an artist for at least ten years, that she
began researching and painting the purity and the overwhelming beauty
of the Cosmos. Pictures brought to Earth form far off galaxies,
comets, formations of planets, our Moon, their moons, deep space. The
seemingly endless beauty just out of our visual reach.

A haven of possibilities to remind us of the beauty of our existence.

An inspiration like no other of our galactic world given to us for
life and inspiration as we grow as a people.

When we on Earth face our darkest days, when we take responsibility
for our freedom to bring peace on Earth as a choice. It is the beauty
of our Cosmos, our universe that will inspire us. Natural and
untouched by man, unchanged by our efforts, more amazing than we can
fathom. These are the vast visual lessons that will help put us in our
place. One part, the human aspect of the world we all share.

Part II. of a three part series on the subject of "Artist's View of
Space Science". Part I. appeared in the Leonardo Electronic Almanac,
Volume 8, Number 2, February 2000.

... [Content omitted: Ed.] ...

[Ed. note: the complete content of this article is available at the
LEA website: <http://mitpress.mit.edu/e-journals/LEA/>.]


*************************************************************

<  An Analytical Approach to Form Transformation  >
                                  by Lin Hsin Hsin                                  

An Analytical Approach to Form Transformation
by Lin Hsin Hsin
IT Inventor, Artist, Poet
Singapore
Email Form: <http://www.lhham.com.sg/lhh.html>
URL: <http://www.lhham.com.sg/>

Abstract

Unlike traditional sculptures which are carved, molded, shaped and
formed using natural or synthetic material such as stone, wood, marble
or metal, digital sculptures are formed either by scripting or 3D
tools digitally. In contrast with traditional sculptures which can be
partially animated by wind, temperature, pressure or installed
electrical or mechanical parts as a non-metamorphic entity, digital
representation of figurative or abstract 3D forms can continued to be
shaped and reshaped, formed and transformed into numerous (new) forms
over a defined timeline. As such, the succession of this series of
transformation is termed animated sculptures. These animated 3D forms
are to be viewed on screen with different time, location and
background.

This paper attempts to present an analytical approach to the
conceptual modeling, configuration, manipulation and viewing
mechanisms of the formation and transformation of digital sculptures
by algorithm driven scripting methods and timeline driven 3D tools. It
discusses the discoveries of technical problems manifested in
conversion incompatibilities between file formats, the approximation
of true color representation and deficiencies in Web-enabling
capabilities as well as offers possible corrections for these issues.
Beyond which, it provides a platform of integrating the manifold
polygonal meshes and solid models with aesthetic vision from concept
to the visualization and realization of animation in 3D surface
transformation embedded with optimal compression.

Introduction

Unlike traditional sculptures which are carved, molded, shaped and
formed using natural or synthetic material such as stone, wood, marble
or metal, digital sculptures are formed either by scripting or 3D
tools digitally. In contrast with traditional sculptures which can be
partially animated by any of the combinations of wind, temperature,
pressure or installed electrical or mechanical parts as a
non-metamorphic entity, digital representation of figurative or
abstract 3D forms can continued to be shaped and reshaped, formed and
transformed into numerous (new) forms over a defined timeline using
algorithm driven scripting methods and timeline driven 3D tools. As
such, the succession of this series of transformation is termed
animated sculptures. These animated 3D forms can perform discrete or
continuous animation in standalone or networked mode, viewed on screen
at any time, location and background across time zones.

... [Content omitted: Ed.] ...


[Ed. note: the complete content of this profile is available at the
LEA website: <http://mitpress.mit.edu/e-journals/LEA/>.]

=============================================================
             ______________________________
            |                          	   |
            |    LEONARDO DIGITAL REVIEWS  |
            |    		    2000.05        |
            |______________________________|


Editor-in Chief: Michael Punt
Executive Editor: Roger Malina
Managing Editor: Kasey Rios Asberry

Please visit the LDR website for this month's reviews.

Michael Punt
Editor in Chief
Leonardo Digital Reviews
<http://mitpress.mit.edu/e-journals/Leonardo/ldr.html>

=============================================================
Visit Leonardo Digital Reviews online to read these reviews in full
together with the latest postings in LDR Raw as they come in.
<http://mitpress.mit.edu/e-journals/Leonardo/ldr.html> Your comments
are welcome at <kasberry@humanorigins.org>

=============================================================
                           _________________
                          |                 |
                          |  OPPORTUNITIES  |
                          |_________________|

=============================================================

<  The University of New Mexico College of Fine Arts - 2 listings  >

Geoffrey Batchen, Chair
Artist-in-Residence Search Committee
College of Fine Arts
The University of New Mexico
Albuquerque NM 87131-1396
Email: <gbatchen@unm.edu>
URL: <http://www.unm.edu/~finearts/jobs.htm>

1)

The University of New Mexico
College of Fine Arts
Notice of Vacancy
Artist-in-Residence in Electronic Arts

POSITION: Artist-in-Residence, one semester to two-year academic
appointment as a visiting professor in the College of Fine Arts at The
University of New Mexico. This will be a joint appointment with the
Arts Technology Center and the Albuquerque High Performance Computing
Center.

RESPONSIBILITIES: Pursue creative research and teach one course per
semester to upper level and graduate students in the area of the
candidate's expertise. Creative work related to the Southwest and/or
the sciences is encouraged. Work created will be exhibited during the
residency.

RANK & SALARY: Visiting Assistant or Associate Professor; salary
between $25,000 and $30,000 per semester. A studio and support budget
will be provided. Appointment subject to available funding.

APPOINTMENT BEGINS: January 16, 2001

MINIMUM QUALIFICATIONS: Artist creating in new media with a national
exhibition record.

PREFERRED QUALIFICATIONS: Artist who possesses conceptual
understanding of new media, has experience collaborating with other
artists, is conversant with the technology of computing and
visualization, has university teaching experience and a terminal
degree.

INTERVIEW: Two or more candidates will be invited to The University of
New Mexico to meet students and faculty. Faculty committees and the
administration will interview the finalists.

APPLICATIONS: Application materials must include: (1) letter of
application; (2) resume; (3) samples of creative work in appropriate
format (a minimum of 12 still images and/or 10 minutes of real-time
work); (4) names and complete addresses (including telephone, FAX
numbers, e-mail addresses) of three references. Please include a
self-addressed stamped envelope if you want materials returned. Only
complete applications will be considered.

DEADLINE: For best consideration application materials must be
received by August 15, 2000; however, position will remain open until
filled.

Complete applications must include all four (4) materials as described
under applications. Please send all pertinent materials to: Geoffrey
Batchen, Chair, at the above address.

The University of New Mexico is located in Albuquerque, New Mexico, a
city of 500,000 on the Rio Grande at an altitude of 5,200 feet. The
University of New Mexico is a large, diverse state university with a
faculty of more than 1,200 serving approximately 26,000 students. The
College of Fine Arts offers undergraduate and graduate degrees in Art
and Art History, Music, Theatre and Dance, and Media Arts. The college
enjoys access to state-of-the-art performance facilities. The Arts
Technology Center is dedicated to fostering research and artistic
production in the area of emerging technologies. The Albuquerque High
Performance Computing Center provides a focus for research and
education in advanced high performance computing, interdisciplinary
applications, and state-of-the-art communications.

2)

Artist-in-Residence in Electronic Arts

The University of New Mexico invites applications for
Artist-in-Residence in Electronic Arts; a one-semester to two-year
academic appointment as visiting professor in the College of Fine Arts
with a joint appointment in the Arts Technology Center and the
Albuquerque High Performance Computing Center. Residents will pursue
creative research and teach one course per semester. Salary will be
$25,000 to $30,000 per semester. Appointment subject to available
funding. Appointment begins January 16, 2001.

MINIMUM QUALIFICATIONS: Artist creating in new media with a national
exhibition record.

PREFERRED QUALIFICATIONS: Artist who possesses conceptual
understanding of new media, has experience collaborating with other
artists, is conversant with the technology of computing and
visualization, has university teaching experience and a terminal
degree.

APPLICATIONS: Application materials must include: (1) letter of
application; (2) resume; (3) samples of creative work in appropriate
format (a minimum of 12 still images and/or 10 minutes of real-time
work); (4) names and complete addresses (including telephone, FAX
numbers, e-mail addresses) of three references. Please include a
self-addressed stamped envelope if you want materials returned. Only
complete applications will be considered.

DEADLINE: For best consideration application materials must be
received by August 15, 2000; however, position will remain open until
filled. Send applications to: Geoffrey Batchen, Chair, at the above
address.

The University of New Mexico is an Equal Opportunity/Affirmative
Action Employer and Educator.

*************************************************************

<  Sonic Circuits Commission  >

Leonardo Electronic Almanac
Email: <lea@mitpress.mit.edu>

Sonic Circuits should be an announcement. We'll have a profile
appearing in November, but at this point there's nothing to profile.
Make sure that we show the deadline for submission. Also, here is a
commission notice that I would like to repost, with a mention of an
extension of deadline.

LEA COMMISSION OPPORTUNITY

LEA is pleased to be participating again this year in the Sonic
Circuits festival. The festival launches in November 2000, and is a
collaboration between Leonardo Electronic Almanac, the American
Composers Forum, and the Walker Art Center. In addition to a
constellation of performances in Minneapolis and St. Paul, several
works are selected to become part of a travelling set of works to be
performed at Sonic Circuits festivals around the globe. For Sonic
Circuits VIII we are fortunate to be able to offer a commission for
new work, underwritten by the Jerome Foundation. Three commissions are
offered this year, and LEA is administering one of them.

LEA is seeking to foster a new collaborative performance work to be
created by a musician or music group working with new media, and a
visual artist or visually-oriented group working in new media. The
work should be a Web-based performative piece, capable of being
featured as a live performance work on the Internet, lasting
approximately 15 minutes, with a version that can reside in the
permanent LEA Gallery Archive.

The commission fee is $3,000, to be divided equally among
collaborators, inclusive of expenses pertaining to creation of the
work. The piece will be presented during the launching festival in
November 2000 in the Twin Cities, with the expectation that the
performance will be web-cast, and it will be featured in the LEA
Gallery in November's issue of the journal. The artists will also need
to prepare a profile describing their work, their collaboration, and
the resources employed to create and present the work. Artists will
retain ownership of their work, offering LEA rights to present the
work at the festival, and non-exclusive rights to publish the work in
LEA and in the LEA Archive.

Proposals should be sent to <lea@mitpress.mit.edu>, and should include:

a) biographical statements for all artists,
b) a clear and detailed description of the proposed work,
c) a description of how the work is to be performed at the festival,
d) a description of how the work would function as part of the
   permanent LEA Gallery Archive,
e) pointers to samples of work by the artists participating in the
   collaboration, and
f) a project budget.

The deadline for consideration has been extended to August 10, 2000.
Decisions will be made by August 15, 2000. The work needs to be
completed and prepared for presentation no later than October 20,
2000, in order to ensure that the work is completed on time, and to
allow for festival presenters to properly prepare for performance.

=============================================================
                           _________________
                          |                 |
                          |  ANNOUNCEMENTS  |
                          |_________________|

=============================================================
<  The Inspiration of Astronomical Phenomena -- Third Conference  >

Prof. Salvatore Serio
Palermo Observatory (Chair, Local Organizing Committee)
Email: <insap3@oapa.astropa.unipa.it>

Dr. Rolf M. Sinclair
Chevy Chase MD (International Organizing Committee)
Email: <rolf@santafe.edu>

Prof. Raymond E. White
Steward Observatory (International Organizing Committee)
Email: <REWhite1933@aol.com>

URL: <http://ethel.as.arizona.edu/~white/insap>

THE INSPIRATION OF ASTRONOMICAL PHENOMENA -- THIRD CONFERENCE
Palermo (Sicily), Italy -- December 31, 2000-January 6, 2001
CALL FOR APPLICATIONS AND PAPERS

Dear Colleagues:

We wish to inform you of the up-coming Third International Conference
on The Inspiration of Astronomical Phenomena ("INSAP III"). This
meeting will explore mankind's fascination with the sky by day and by
night, which has been a strong and often dominant element in human
life and culture. The conference will provide a meeting place for
artists and scholars from a variety of disciplines (including
Archaeology and Anthropology, Art and Art History, Classics, History
and Prehistory, the Physical and Social Sciences, Mythology and
Folklore, Philosophy, and Religion) to present and discuss their
studies of the influences that astronomical phenomena have had on
mankind.

The first two meetings (Castel Gandolfo, 1994; Malta, 1999)
successfully brought together for the first time people from just such
a range of disciplines to address topics of common interest. Papers
from the first meeting were published in "Vistas in Astronomy" (1995)
and in "Leonardo" (1996), and those from the second will appear
shortly in book form. These papers (described on our Website under
"the First (or Second) INSAP Conference") give an idea of the range of
subjects presented at these meetings. A similar publication is planned
for the third meeting.

The meeting will be held overlooking the Mediterranean, a few minutes
from the center of Palermo, and will start with a New Year's Eve (and
Millennium Eve) banquet December 31, 2000. The meeting rooms will
include ample space for display (and sale) of works of art by
attendees.

Full information on INSAP III and on the earlier conferences, and an
application form for the upcoming meeting, can be found on our
website, or obtained from the undersigned. Attendance will be by
invitation from among those applying. All presentations and
discussions will be in English.

This Conference is sponsored by the Palermo Observatory, the Vatican
Observatory, and the Steward Observatory, and is hosted by the Palermo
Observatory as part of the bicentennial of the discovery there of the
first asteroid, Ceres, on the nights of January 1-3, 1801.

*************************************************************
<  MOSAIC 2000  >

Conference Committee:
David H. Salesin
University of Washington

Carlo Sequin
University of California, Berkeley

Craig S. Kaplan
University of Washington

Email: <mosaic2000@cs.washington.edu>
URL: <http://www.cs.washington.edu/mosaic2000/>

MOSAIC 2000

Millennial Open Symposium on the Arts and Interdisciplinary Computing
21-24 August 2000
University of Washington Seattle, Washington

Whenever mathematics has encountered the arts, works of subtle beauty
and harmony have emerged. The discovery of mathematical perspective
during the Renaissance revolutionized painting. The interest in
four-dimensional geometry during the early part of this century
motivated the idea of multiple viewpoints in cubism. The Islamic art
that M.C. Escher found during his visits to the Alhambra inspired him
to create tilings using animal forms. More recently, the Torqued
Ellipses of Richard Serra were deeply influenced by mathematics and
architecture.

MOSAIC 2000 will bring together artists, mathematicians, architects,
and computer scientists, as well as musicians, writers, and poets to
explore the opportunities at the intersections of their fields. The
symposium will feature an exciting series of invited presentations
from renowned artists and researchers, refereed paper presentations,
as well as short informal talks and discussion on topics chosen based
on the interests of the conference participants.  There will also be
an informal display area open to all participants to exhibit visual
art, sculpture, puzzles, and other objects of interest.

The latest known details about the conference are available at the
website.

* Fields of Interest

MOSAIC 2000 encompasses a broad range of fields as they relate to
mathematics and/or computer technology, including, for example:
architecture; computer-aided design and fabrication; 2D geometric art;
sculpture; origami; mathematical visualization; the structure of
music, poetry, and dance; and tesselations and tilings. More detailed
desciptions of some fields of interest can be found at
<http://www.cs.washington.edu/mosaic2000/fields.html>.

* Invited Speakers

MOSAIC 2000 will include a series of invited talks by leaders in
mathematics, architecture, sculpture, poetry, and music. For an
up-to-date list, please see:
<http://www.cs.washington.edu/mosaic2000/invited.html>.

* Getting More Information

MOSAIC 2000 was originally planned to be the ISAMA 2000 conference. We
are no longer directly supported by ISAMA.  For more information about
ISAMA and their annual conference, please visit
<http://www.isama.org>.

If you have questions, desire more information, or are interested in
leading a workshop or seminar, please contact the conference
committee. You can also keep abreast of announcements and updates by
subscribing to the MOSAIC 2000 mailing list. See
<http://www.cs.washington.edu/mosaic2000/mailinglist.html> for
instructions.

We hope you can join us for this enlightening and energizing
experience!

*************************************************************
<  Spatialization Competition: The Space of Sound  >

Send to: Competition 'The Space of Sound' 
Musiques et recherches 3, place de Ransbeck 
1380 Ohain
Fax: +322 3510094
Email: <musiques.recherches@skynet.be>
 
SPATIALIZATION COMPETITION 'THE SPACE OF SOUND'
Interpretation of acousmatic works 

Acousmatic : Recorded piece composed in studio, projected on
loudspeakers in concert with the intervention of no live sound
sources. The competitors will spatialize the compulsory works on two
different sets of loudspeakers, that of Musiques & Recherches (chamber
music format) which will be installed at the Chapelle de Boondael in
Brussels, and that of the GRM (Groupe de Recherches Musicales of INA
in Paris (full orchestra format) installed at the Theatre Marni. Only
stereo works will be played.

1. The competition is open to all persons registered by mail not later
than July 6th 2000  (according to the postmark). There is no
registration fee. To register, the competitor must send in the
registration form (attached) correctly completed, a photo of
him/herself, the title of the work he/she has chosen, the name of the
author and a short commentary on the work.

2. Preselection will take place from 15 to 17 October 2000 and
concerns a compulsory piece and  a piece chosen by the preselection
jury from a list of stock pieces which will be made known to the
candidate after his/her registration. Preselection will take place
using Musiques & Recherches' spatialization system (36 loudspeakers),
in the Chapelle de Boondael, Brussels. The compulsory piece will be
communicated to the candidate two months before the competition. A
graphic transcription of this piece will be sent by the competitor to
Musiques & Recherches by 20th September at the latest (according to
the postmark). The quality of this transcription will be taken into
account in the preselection. The final selection which will take place
from 19 to 22 October 2000 will judge a second piece chosen by the
finals jury from the list of stock pieces communicated to the
competitor after his/her registration, and a piece chosen by the
competitor, possibly a personal composition. The final selection will
take place on the acousmonium of the INA-GRM at the Theatre Marni,
Brussels. A maximum of six finalists will be selected.

3.  All stock pieces must be prepared by the candidate. The jury's
choice will be communicated to the candidate the day before his/her
participation in the preselection part of the competition, and the day
before his/her participation in the finals.

4. During the competition, each competitor will therefore present four
pieces:
 
- In preselection, a compulsory stereo piece (chosen by the
  preselection jury of the acousmatic composition competition
  'Metamorphoses') with its transcription, and a stock piece chosen by
  the jury from a list presented to the candidate. These will be played
  on the loudspeaker orchestra of Musiques & Recherches.

- In the finals, a work chosen by the competitor and a stock piece
  chosen by the jury from a list presented to the candidate to be
  played on the GRM Acousmonium.

5. The maximum duration of each piece is approximately 15 minutes.
Rehearsal periods will be programmed for each competitor: two,
two-hour rehearsals per candidate are planned for, on each of the
set-ups. Stereo listening equiment will be available to candidates.

6. The competition is open to the public and will take place within
the framework of the 7th International Acousmatic Festival 'The Space
of Sound' which will take place in Brussels from 13th to 22nd October
2000.

7. Prizes will be awarded at the end of the Festival, 22nd October
2000

8. The decisions of the jury will be final.

9. The organiser does not undertake to pay for travelling and
accomodation expenses of the candidates, but will provide a list of
accomodation addresses, on request. The candidate will have free
access to the festival.

10. The original French version of the present regulations is the sole
and incontestable reference.

Jury:

Preselection: Francois Bayle, Francis Dhomont, Denis Smalley,
Christian Calon, Robert Normandeau, Hans Tutschku, Annette Vande
Gorne;

Final selection: Francois Bayle, Francis Dhomont, Denis Smalley,
Daniel Teruggi, Christian Zanesi.

Prizes (to be confirmed) 
From the European Commission, General Directorate for Culture (100 000
BF).
Invitation to be interpreter-installer for the next M&R festival. 
Voucher for equipment to be supplied by a partner. 

*************************************************************
<  The Inaugural Dennis Rosen Memorial Lecture  >

For further press enquiries, please contact
Mr Nicholas Rosen
Email: <nick@online-agency.com>

Public Lecture       

The Royal Institution of Great Britain
Science as Theatre
The inaugural Dennis Rosen memorial lecture

to be given by

Professor Carl Djerassi (Writer and Chemist, Stanford University)

on Friday June 30th 2000, 7.30pm.

Science is inherently dramatic--at least in the opinion of
scientists--because it deals with the new and unexpected. But does it
follow that scientists are dramatic and that science can become the
stuff of drama? While science-in-theatre is a very rare genre, recent
developments suggest that the tide may change.

Carl Djerassi, inventor of the contraceptive pill, is Professor of
Chemistry at Stanford University in California, and one of the few
American scientists to have been awarded both the National Medal of
Science and the National Medal of Technology.

THE DENNIS ROSEN MEMORIAL TRUST - First annual lecture

The Dennis Rosen Memorial Trust was established to continue the work
of the late Dennis Rosen, (until his death, Reader Emeritus,
University College London, Dept of Crystallography)  promoting the
arts in their widest sense amongst scientists and to encourage a
deeper understanding of science by artists.

The Trust is an educational charitable trust, which will be promoting
an annual lecture at the Royal Institution on the subject of science
and the arts. In addition it will establish studentships for artists
at scientific institutions and for scientists at arts institutions.

Dr. Rebecca Rosen, a trustee and daughter of Dennis Rosen, said: "As
the pace of scientific change quickens and the practical and moral
consequences of the changes become more profound, there is an
increasing need to break down the barriers between science and the
arts.  The Trust programme will cover topics which promote dialogue
between the two groups, exploring the origins of the differences,
encouraging a better understanding of each other's work and examining
the social consequences of the divide between arts and sciences."

*************************************************************
<  Leonardo Defense Fund Donations from EMF  >

Electronic Music Foundation (EMF) distributes past issues of Leonardo
Journal and Leonardo Music Journal as well as Leonardo compact discs.
EMF has announced that it will donate the proceeds from its sales of
these publications to the Leonardo Legal Defense Fund. For information
on these publications, go to:

<http://www.cdemusic.org>

and click on the picture of Leonardo. Or read about Loenardo in the
news column.

Or go here:

<http://www.cdemusic.org/special/leonardo.html>.

*************************************************************
<  OLATS News - Special Frank Malina  >

1 - Conversation of Frank J. Malina with Jean Gorin, Xavier De La Salle
and Cesar Domela

URL:
<http://www.olats.org/pionniers/malina/arts/entretGorinSalle.shtml>

OLATS is publishing a conversation of Frank J. Malina with the artists
Jean Gorin, Xavier De La Salle, and Cesar Domela. The four of them
talk at length about significant issues such as: art and the
expression of spirituality, contemporary architecture and its
evolution towards " the biological development of structures ",
representational art versus abstract art, etc. This conversation, at
times tinged with humorous remarks, is an excellent approach to
kinetic art and is - more generally speaking - a reflection on
creation.

(Text in English)

2 - An unpublished monograph on Frank J. Malina by Frank Popper: Frank
Malina, Artist and Scientist : Works from 1936 to 1963

URL: <http://www.olats.org/pionniers/malina/arts/monographUS.shtml>

We are pleased to announce that Frank Popper's monograph on Frank
Joseph Malina is now published in Olats. Frank Popper, who engaged
himself in the theoretical analysis of kinetic art when public
interest in this movement was relatively small, has extensively
written about Frank Malina. In his words, Malina's "kinetic pictures
form already a very important 'oeuvre' and the radical innovation
operated by such an artistic undertaking deserves very close
attention, particularly because, aesthetically speaking, no label can
easily be attached to Malina's art. While using an interesting new
technique he remains a true painter in the sense that colour and
colour changes play a decisive role in his pictures" (excerpt from
Frank Malina, artist and scientist: Works from 1936 to 1963 by Frank
Popper, p. 1)

( Text in English)

3 - A Conversation of Frank J. Malina on His Artworks with Frank Popper (1963).

URL:
<http://www.olats.org/pionniers/malina/arts/entretMalinaPopper.shtml>

(Text in English)

4 - OLATS presents a chapter from Frank Popper's essay, "L'Art
cinetique": "Tableaux lumineux: Palatnik, Malina, Calos, Vardanega,
Martha Boto, Albrecht, Healey. Hoenich: robot art".

URL: <http://www.olats.org/pionniers/malina/arts/artCinetique.shtml>

(Text published in French with the permission of the Dunod Publishing
House, Paris.)

5 - Opening of a virtual gallery devoted to Frank Malina's work

URL: <http://www.olats.org/pionniers/malina/galerie/galerie.shtml>

A virtual gallery dedicated to Frank Malina's artwork has been just
inaugurated. With a selection of 50 works (to be completed), the
exhibition is an overview of the artist's contribution to op'art, and
kinetic art.

Comments by Frank Malina himself give a deeper insight into the
artist's process of creation.

( Text written mostly in French )

*************************************************************
<  Sonic Circuits International Electronic Music Festival  >

Sonic Circuits International Electronic Music Festival: 

Sonic Circuits VIII
<http://www.soniccircuits.com>

Sonic Circuits CDs
<http://www.composersforum.org/noframe/innova/sonic.html> 

Connect With The Circuit!

Composers:

Be on a CD of tape-works, broadcast around the world; Have your score
realized by new performers; Have your video art seen across the US and
abroad.

Performers:

Be on a roster and receive invitations to perform live.

Presenters:

Produce your own festival event-our DIY kit will facilitate your
programming. Just send in your electronic musical work (if you plugged
something in to make it, it qualifies - style no object). Selected
works will be promoted to venues and radio stations for one year. Over
200 composers and artists have been programmed since 1993.

Sonic Circuits is a festival with a difference; it comprises a caravan
of curated works which travels the world to form the basis for a
multitude of events throughout the season. Any musical works or acts
which involve electronic technology (e.g., works for electro-acoustic
tape, live performance with electronics, video art, new media art,
sound art...) may be submitted for program consideration. The 20-30
selected works are offered to more than 40 venues across the globe
and, in addition, the CD of tape works is sent to numerous radio
stations.

Entries are curated in four categories: 

Tape: 

Works intended for tape alone are produced on a run of 1,000 CDs.
These are used for playback at live events, for promotion to radio
stations, and are available worldwide on the innova label.

Video: 

Works for video (VHS-NTSC) with a strong sound component are compiled
and sent to each venue for projection during live events.

Score: 

Works for instrument and tape that can be realized from a score.
Samples are put on the web site so venues with local performers
interested in learning the piece can request performance materials.

Live Acts: 

Works performed by their creators. Samples and contact info are put on
the web so venues can invite you to perform. Sonic Circuits does not
currently have a budget for artist fees.
  

=============================================================
  ___________________
 |  ACKNOWLEDGMENTS  |
 |___________________|

=============================================================

LEA and Leonardo/ISAST gratefully acknowledges Al Smith and The Malina
Trust for their support of Leonardo Electronic Almanac.
____________________________________________________________
  ________________
 |      LEA       |
 | WORLD WIDE WEB |
 |     ACCESS     |
 |________________|

The LEA Word Wide Web site contains the LEA archives, including all
back issues, the LEA Gallery, the Profiles, Feature Articles,
Publications, Opportunities and Announcements. It is accessible using
the following URL: <http://mitpress.mit.edu/e-journals/LEA/>
____________________________________________________________
   ________________
  |      LEA       |
  |  PUBLISHING &  |
  |  SUBSCRIPTION  |
  |  INFORMATION   |
  |________________|

Editorial Address:

Leonardo Electronic Almanac
718 6th Street SE
Minneapolis, MN 55414-1318
Tel: (612) 362-9390
Fax: (612) 362-0097
Email: <lea@mitpress.mit.edu>
_____________________________________________________________

Copyright (2000), Leonardo, the International Society for the Arts,
Sciences and Technology

All Rights Reserved.

Leonardo Electronic Almanac is published by:

The MIT Press Journals
Five Cambridge Center
Cambridge, MA 02142 USA

Reposting of this journal is prohibited without permission of
Leonardo/ISAST, except for the posting of news and events listings
which have been independently received. Leonardo/ISAST and the MIT
Press give institutions permission to offer access to LEA within the
organization through such resources as restricted local gopher and
mosaic services. Open access to other individuals and organizations is
not permitted.
_____________________________________________________________
<  Ordering Information  >

Leonardo Electronic Almanac is free to Leonardo/ISAST members and to
subscribers to the journal Leonardo for the 1999 subscription year.
The rate for Non-Leonardo individual subscribers is $35.00, and for
Non-Leonardo institutional subscribers the rate is $50.00. All
subscriptions are entered for the calendar year only.

Send orders to: <journals-orders@mit.edu>

Please include full mailing address or MIT Press account number,
telephone and fax numbers, and e-mail address. Please send
VISA/MasterCard information as well.
_____________________________________________________________
  _______________
 |  ADVERTISING  |
 |_______________|

Individuals and institutions interested in advertising in Leonardo
Electronic Almanac, either in the distributed text version or on the
World Wide Web site should contact <journals-info@mit.edu> at MIT
Press for details.
===================================================================
<  End of Leonardo Electronic Almanac 8(5)  >
===================================================================