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Leonardo Electronic Almanac                 Volume 8, No. 6
                                            June, 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
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                           ____________
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                          |  CONTENTS  |
                          |____________|

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INTRODUCTION

<  This Issue  >
                                  Craig Harris

FEATURE ARTICLES
                                                                    
<  The Media Arts Dictionary Project  >
                                  by Louise Poissant                                  

<  Towards a Third Culture | Being in Between  >
                                  by Victoria Vesna                                 

PROFILES

<  Aesthetics - Mathematical and Computational  >

LEONARDO DIGITAL REVIEWS

<  This Month's Reviews  >
                                  Michael Punt
OPPORTUNITIES

<  Florida State University School of Music  >

ANNOUNCEMENTS

<  Makepeace Tsao obituary  >
<  Letter to the Editor  >
<  DePaul Launches New Computer Graphics & Animation Program  >
<  LIFE 3.0 International Competition  >
<  MTAC 2001 -  Multidisciplinary Digital-Media Conference  >
<  Telepresence - Art - Telepistemology Publication  >
<  OLATS News - Virtual Africa  >

ACKNOWLEDGMENTS
LEA WORLD WIDE WEB ACCESS
LEA PUBLISHING & SUBSCRIPTION INFORMATION

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                          |  INTRODUCTION  |
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<  This Issue  >
                                  Craig Harris, Executive Editor

LEA 8-6 CONTENTS

In LEA Volume 8 Number 6 we are pleased to be implementing the first
installment of Louise Poissant's Media Arts Dictionary Project. This
project has been in development for several years, and it is great to
be launching it for LEA readers. In addition, this month we feature
Victoria Vesna's perspective "Towards a Third Culture | Being in
Between." Our Feature Profile offers a look at the International
Society for Mathematical and Computational Aesthetics.

Makepeace Tsao, a longtime friend and supporter of Leonardo/ISAST and
the arts community, has passed away. We will certainly miss him.

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                   |  FEATURE ARTICLES    |
                   |______________________|

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<  The Media Arts Dictionary Project  >
                                  by Louise Poissant                                  


Louise Poissant
Groupe de Recherche en arts mediatiques (GRAM)
Department d'arts plastiques,
Universite du Quebec a Montreal
C.P. 8888, Succ. Centre-Ville
Montreal (Quebec), H3C 3P8, Canada
E-mail: <poissant.louise@uqam.ca>
URL: <http://mitpress.mit.edu/e-journals/LEA/NMD/nmdhome.html>

The Media Arts Dictionary project was born out of the desire to name
and define the many and varied forms of art that have developed in
conjunction with technology. A whole lexicon is being created to
describe the many processes, techniques, instruments, critical and
aesthetic concepts---in short, the entire emerging culture---of this
immense laboratory workshop.

The original electronic version of this dictionary (in French)
contains about 2,000 entries, illustrations, examples of works,
references and comments from artists and experts
<http://www.comm.uqam.ca/GRAM/Accueil.html>. English translations of
selected dictionary entries can be found at the following Web site:
<http://mitpress.mit.edu/e-journals/LEA/NMD/nmdhome.html>.

In several issues of the journal, Leonardo will publish excerpts from
the dictionary, grouped by subject matter or field. The terms selected
for this installment are definitions of various art forms related to
new media. The terms and definitions have thus far been chosen by the
Groupe de recherche en arts mediatiques (GRAM); however, interested
artists and researchers are invited to submit additions and comments
to Section Editor Louise Poissant. These contributions will be added
to the electronic version of the dictionary, with credit given to the
authors. In this way, the dictionary project will gradually become a
collective project in which all significant contributions will find a
place.


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

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


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

<  Towards a Third Culture | Being in Between  >
                                  by Victoria Vesna                                 


Practice must always be founded on sound theory.
  -Leonardo Da Vinci

Artists working with computer and other technologies that are a
product of the scientific world are also informed and inspired by the
exciting innovations and discoveries taking place in science. We are
keenly interested in what the cultural critics and commentators from
the humanities have to say on the meaning and impact these discoveries
and innovations have on culture and society. Scientists can relate and
understand our work easier primarily because we use the same
tools-computers. Because our work and tools are in constant flux, we
are forced to articulate the reasoning and meaning informing the art
produced, which has traditionally been the role of art critics and
historians. This creates room for an active dialogue with both
humanists and scientists. Thus we are placed in between these "Two
Cultures," which creates a triangle and promises to an emergence of a
Third Culture. This is a privileged and dangerous position, at least
in this transitional stage. Therefore it is important to take a look
at the background and current status of these Two Cultures.

The Ghost of CP Snow persists

Much of the discussion concerning the triangle of art, science, and
technology can be traced back to CP Snow's famous annual Rede lecture
at Cambridge on May 7th, 1959. The phrase 'Two Cultures' entered into
a cultural controversy and debate that has endured remarkably long.
The title of Lord Snow's lecture was "The Two Cultures and the
Scientific Revolution." He identified the two cultures as the literary
intellectuals and the natural sciences, and he pointed to the
curricula of schools and universities as the source of the problem.

In the second edition of The Two Cultures, in 1963, Snow added a new
essay, "The Two Cultures: A Second Look." In that essay he suggested
that a new "Third Culture" would emerge and close the gap between
literary intellectuals and scientists. (Snow, 1963, pg. 53) It is
significant to note that Snow originally named his lecture "The Rich
and the Poor" and intended this to be the centre of his argument:
"Before I wrote the lecture I thought of calling it 'The Rich and the
Poor,' and I rather wish I hadn't changed my mind." (Snow, 1964, pg.
79) He remained dissatisfied with the Two Culture concept and had on
several occasions tried to refine the claim. In his last public
statement he makes clear that the larger global and economic issues
remain central and urgent: "Peace. Food. No more people than the Earth
can take. That is the cause." (Snow, 1968, pg. 220)

Art, Science and Technology: Building the Triangular Bridge

Scientist-artists originally conceived and designed bridges. The
power-structure-behind-the-king, seeing great exploitability of the
bridge for their own advantaging, accredited workers and materials to
build bridges. (Fuller, 1981, pg. 27)

But it seems that there is still much work to be done in building the
bridge between the humanities and the sciences. John Brockman, editor
of a book of essays entitled The Third Culture, negates Snow's
optimistic prediction that a day will come when literary intellectuals
will communicate effectively with scientists. Instead he makes the
claim that the contemporary scientists are the third culture and
alludes that there is no need for trying to establish communication
between scientists and literary intellectuals, who he calls the
"middlemen." (Brockman, 1995, pg. 18) Although the choice of people in
his book is significant, [1] the mere fact that it is comprised almost
completely of Western white men, with the exception of Lynn Margolis
with her essay "Gaia is a tough Bitch" makes it impossible to take his
proposition seriously. But it does point to the continuing gap between
the humanities and sciences and clearly shows that the bridge being
constructed is still very fragile.

The bridge is triangulated and made into a more stable structure with
the work of artists who are utilising new technologies and are in
active dialogue with both sides. Artists using technology are uniquely
positioned in the middle of the scientific and literary/philosophical
communities, and we are allowed "poetic license," which gives us the
freedom to reinforce the delicate bridge and indeed contribute to the
creation of a new mutant third culture. By utilising tools familiar to
scientists and collaborating with the scientific community, we are
getting closer to an atmosphere of collaboration and mutual respect.

This road, however, is not without dangers of which to be wary. It is
a delicate mission to be in between disciplines that are themselves in
a tenuous relationship. Perhaps the greatest danger is for artists to
look to the literary, philosophical, and theoretical circles for
interpretations of scientific data and then further reinterpret their
versions without checking back with the scientists. Much postmodern
writing borders on linguistic play with mathematics and scientific
terminology that serves to alienate the scientific community, which
has used precise methods to arrive at those theories. This is not to
say that one should blindly accept all products of the scientific
community, but simply to suggest that any working relationship needs
to be based on mutual respect and dialogue. The other danger that
faces those 'in between' working on creating 'something else' is the
general attitude of theory being above practice, prevalent in both
humanities and sciences. At this stage, it is in the practice of art
that the freedom lies to make assertions that are beyond the rational
and beyond necessary methodology of proving a thesis. Practice
informed by theory, utilising a methodology which makes it accessible
to both worlds, is the key. Or, conversely, theory informed by
practice.

Currently, much of this bridge-building work takes place in
universities for more reason than one. First, at this point, with no
market in place, it is impossible to make a living outside of academia
and industry. Between the two, academia is generally friendlier to
someone searching for a yet-to-be-defined path than industry, with its
pressures to produce. Second, academia is a natural environment in
which one can have access to good bandwidth and updated equipment.
Third, and perhaps most important, academia allows artists contact
with scholars from many disciplines. In order to function and
communicate effectively in this context, one must learn the etiquette
and language of various disciplines. The challenge, then, is to do
this without losing the intuitive, 'wild' aspect, the practice, that
taps into the silent, the unknown, the mysterious.

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


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


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                          |  PROFILES         |
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<  Aesthetics - Mathematical and Computational  >

International Society for Mathematical and Computational Aesthetics
Professor Michael Leyton
Rutgers Center for Cognitive Science
Email:  <MLeyton@msn.com>
URL: <http://www.rci.rutgers.edu/~mleyton/ISMA.htm>
 
The Society is a division of the International Society for Group
 Theory in Cognitive Science
URL: <http://www.rci.rutgers.edu/~mleyton/GT.htm>

The computational analysis of design is now a enormous discipline
involving the interaction of high-level mathematics with advanced
programming technologies. All design attempts to satisfy two
constraints: functionality and aesthetics. Even a discipline as
functionally oriented as structural engineering, in fact, involves
aesthetic control over systems of non-linear equations. Aesthetics
allows for (1) productive unification of perception, reasoning, and
action, (2) understandability despite complexity, (3) generalization
and re-usability, (4) axiomatic economy and principled prediction.
Aesthetics is a major force in each of the following areas:

Computer-Aided Design and Manufacturing, Robot Motion Design: There
has been considerable convergence in mathematics across the different
types of CAD (e.g., in architecture and mechanical design), as well as
manufacturing by shape-sculpting technology, and robot motion design.
We note that Frank Gehry's Guggenheim museum at Bilbao was possible
because James Glymph imported into architecture a major program
designed by the French for aerospace engineering. The reason for the
converging unity is that each of the several disciplines involves
analysis of spatial systems of movement, control, and shape
deformation - whose natural description is Lie algebras, tensor
geometry with exterior differential calculus, and algebraic geometry.

Analysis of Artistic Masterpieces. Remarkable advances have been made
in the mathematical and computational analysis of major artistic
masterpieces - from the chorales of Bach, the piano sonatas of
Beethoven, to the paintings of Picasso and Raphael, etc. Again, these
analyses mainly involve Lie groups, Lie algebras, algebraic and
differential geometry.

Scientific Theory-Building and Reasoning: It has been well-recognized
that aesthetic criteria play a powerful role in determining the design
of theoretical models (e.g., irreducible representations of compact
Lie algebras predicted the particle systems of quantum mechanics), as
well as the dynamic equations of physics (e.g., Paul Dirac declared
that the design of his relativistic electron equation was determined
primarily by aesthetic criteria). The problem of insight in
theory-building, problem-solving, and reasoning generally has been
tackled with significant advances in AI - particularly in the
problem-reformulation community, which is based strongly on the
aesthetic supervision of discrete algebraic systems.

Software Design: It is clear that aesthetic criteria play a major role
in determining software cohesion and decomposition, e.g., module
decomposition in structured programming, object decomposition in
object-oriented technology. Furthermore, it is apparent that there has
been a remarkable interaction between the design of software and the
software of design - and that this self-referring advance is driven by
the need for aesthetic structuring of systems of computational
operations.

The International Society for Mathematical and Computational
Aesthetics is concerned with any design object, whether it be the
machine-sculpted surface of a car body, the Beethoven Hammerklavier
sonata, the Feynman propagator in quantum electrodynamics, or
re-usable software. We are concerned with advanced research in four
directions: (1) how the design decision-flow is controlled by
aesthetics; (2) what structural aspects of a design object are taken
to be aesthetic; (3) how aesthetic value is computed by the designer
and user; and (4) how aesthetics is integrated with function in the
design object.

The board members of this society are internationally known for their
extensive and highly-developed research on these issues. This research
includes, for example, analysis of large-scale integration in aircraft
design; comprehensive analyses of symphonies and paintings; grammars
for design (e.g., in architecture, structural engineering, computer
programming, manufacturing); classification systems for ethnic
artifacts; problem reformulation in AI; aesthetically powerful models
in astrophysics; systematizations of mathematical crystallography and
their application to design; cohomological unification in quantum
mechanics, etc.


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


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

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            |                          	   |
            |    LEONARDO DIGITAL REVIEWS  |
            |    		    2000.06        |
            |______________________________|


Editor-in Chief: Michael Punt
Executive Editor: Roger Malina
Managing Editor: Bryony Dalefield
Web Editor: Sudhira Hay

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>

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                          |  OPPORTUNITIES  |
                          |_________________|

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<  Florida State University School of Music  >

Send resume and 3 reference letters with letter of application to:

Jon R. Piersol
Dean Composition Search School of Music
Florida State University
Tallahassee, FL 32306-1180

Deadline: November 1, 2000 - Applications considered upon receipt.

Invitation for applications, appointment effective August 2001.

Position: Composer with expertise in electro-acoustic composition.

Salary/rank: Tenure-track position; rank and salary commensurate with
qualifications and experience.

Responsibilities: Responsibilities will include individual instruction
in composition; courses and seminars in electro-acoustic music; and
leadership in the development and administration of an important new
center for electro-acoustic composition, performance, and research.

Qualifications: Doctorate preferred; teaching experience in
composition and electronic music; active research and composition
profile.

Institution: The Florida State University is a comprehensive research
institution of 16 colleges and schools with 1,600 faculty serving a
student body of 35,000. The School of Music, with 80 faculty and over
1,000 students, offers a wide range of professional degrees in music,
baccalaureate through doctorate including the B.M., M.M., and D.M. in
Composition, and the B.M., M.M., and Ph.D. in Theory.

The University is situated in Tallahassee, Florida's beautiful, wooded
capital city, with an area population of over 240,000.  Located in the
"Big Bend" area of northern Florida, Tallahassee enjoys a mild change
of season, and proximity to the Gulf of Mexico.

Florida State University is an equal opportunity/affirmative action
employer.

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                          |  ANNOUNCEMENTS  |
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<  Makepeace Tsao obituary  >

To: Leonardo Colleagues
From: Roger Malina

I regret to inform you that long time Leonardo friend and Honorary
Editor Dr. Makepeace Tsao passed away last weekend. Makepeace was a
biochemist and painter. He helped move Leonardo to San Francisco in
1982 at a time when our future was in doubt and worked actively on the
Editorial Board since then. In 1995 he generously donated funds to
Leonardo/ISAST for the Leonardo Tsao Prize  which was awarded to Herve
Fischer and Ginette Major the organisers of Images du Future in
Canada. We will miss Makepeace.

If you wish to convey messages to the family you may contact Aimee
Tsao at <matsao@pacbell.net>.
 
*************************************************************
<  Letter to the Editor  >

To the Editor:

In regard to Joseph Nechvatal's provocative review, "Fontana
Articulates Cyber-Space in 1947" (LEA 8(4) April 2000), it may be of
prurient interest to know the incident that inspired Fontana to create
holes, "buchis," in his canvases.

URL: <http://mitpress.mit.edu/e-journals/LEA/ARTICLES/fontana.html>

Perhaps I have been privy to this information because of my
acquaintance with Franco Assetto, an artist from Turin, now diseased.
Assetto told me that on one of his many trips through France with
Fontana they needed a place to stay the night. Near by was a familiar
a whore house where they knew the Madame and so shared a room there.
Apparently Fontana had a difficult time going to sleep and while
tossing and turning noticed in the far corner a pin hole of a light
shining through the wall. He awakened Assetto and both investigated
what was not an apparition but a door with a peep hole for voyeuristic
purposes. It was then that Fontana excitedly proclaimed that "that was
it!" From then on he would make such holes through his canvases. And
so the buchis were invented!

Sonya Rapoport
Email: <rapop@socrates.berkeley.edu>
URL: <http://www.lanminds.com/local/sr/srapoport.html>


*************************************************************
<  DePaul Launches New Computer Graphics & Animation Program  >

Media Contact: Robin Florzak: 312-362-8592

Students who dream of becoming computer game developers, digital
graphics designers or technical directors in the entertainment
industry can gain the skills they need from DePaul University's new
computer graphics and animation undergraduate degree program. DePaul's
School of Computer Science, Telecommunications and Information Systems
(CTI) in Chicago will begin offering courses for the new bachelor's
degree in the fall.

The new program responds to the increasing demand for computer
graphics and animation specialists by the entertainment industry,
government agencies, business and manufacturing, said Professor
Rosalee Wolfe, director of CTI's division of computer graphics and
human computer interaction.

"Computer graphics has experienced explosive growth during the past 10
years," she said. "It has expanded beyond its traditional roots in
computer-aided design and flight simulation to embrace gaming, desktop
and Web publishing, interactive digital media and visual effects. This
growth is creating a ferocious demand for the rare employee who is
fluent in both art and technology."

The 48-course program will include studies in mathematics, art,
computer graphics and computer science, including courses in
animation, plug-in development and games development.

Students who earn the new degree have a wide range of career choices,
Wolfe said. "The American public bought 200 million computer games in
1999 and is expected to buy 25 percent more this year, creating new
jobs in computer game design," she noted. "New positions also are
emerging with the advent of feature-length, completely digitally
animated films, the Internet, e-commerce and digital publishing. In
addition, increasing numbers of businesses need people to create
digital simulations and visualizations of products before the first
physical prototype is manufactured."

The computer graphics and animation undergraduate degree program is
one of three new degrees CTI will launch in the fall. The others are a
bachelor's degree in network technologies and a bachelor's degree in
electronic commerce.

Expanded from a department to a school in 1995, CTI offers practical,
cutting-edge information technology education through graduate and
undergraduate degree programs and professional training. CTI enrolls
more than 1,300 undergraduates and 1,800 master's level students.
CTI's overall enrollment has increased approximately 25 percent each
year, the fastest growth among DePaul's eight schools and colleges.

*************************************************************
<  LIFE 3.0 International Competition  >

For further submission information and the application form, please
see
URL: <http://www.telefonica.es/fat/vida3>
 
For questions concerning eligibility of entries:
Nell Tenhaaf, Artistic Director
Email: <tenhaaf@yorku.ca>
 
All other inquiries:
Ana Parga
Email: <fat@telefonica.es>

LIFE 3.0 International Competition - Call for Participation
 
This is a call for submission of art works to the second edition of an
international competition on "art and artificial life." We are looking
for works in electronic and digital media that cross over with the
field of a-life research. Artists whose work uses digital synthesis
techniques and whose conceptual concerns are related to synthetic life
and artificial evolution, are invited to submit their pieces. The work
may employ techniques such as digital genetics, autonomous robotics,
recursive chaotic algorithms, knowbots, computer viruses, avatars,
evolving behaviours or virtual ecosystems.
 
An international jury (Daniel Canogar, Joe Faith, Machiko Kusahara,
Rafael Lozano-Hemmer, Sally Jane Norman and Nell Tenhaaf) will grant
three cash awards, with a first prize of US $5,000 (2nd Prize: $3,500
- 3rd Prize: $1,500), plus seven honorary mentions to the most
innovative electronic art projects related to a-life. Furthermore,
works that are awarded a monetary prize or selected for an honorary
mention will be included in a "Best of LIFE 3.0" video which will be
aired on specialty television programs and circulated at festivals
worldwide. Assessment will be based on video documentation submitted
along with an application form. The deadline for submission is
Thursday September 28, 2000.
 
The Life 3.0 International Competition is sponsored by the Fundacion
Telefonica in Madrid, Spain.

*************************************************************
<  MTAC 2001 -  Multidisciplinary Digital-Media Conference  >

Dr. John Tabor
Tel: 949-824-2818 
UCIArts Information  
University of California, Irvine
School of the Arts 300 Arts
Irvine, CA  92697-2775 
Email: <tabor@uci.edu>

Marketing Office: (949) 824-2189
Fax: (949) 824-1591 
Box Office (949) 824-2787
Email: <artstix@uci.edu>
URL: <http://www.arts.uci.edu>
Details :  <http://www.mtac.uci.edu>
See "Titles" page for examples of last year's papers.

MTAC 2001 -  Multidisciplinary Digital-Media Conference
 
February 8-10, University of  California at Irvine.
 
CALL FOR PAPERS  - to both Scientists and Artists
 
500-word Abstract of proposed conference presentation - by September
15th Paper detailing above - by Dec 15th.

Presentation of Paper (or demo described in the Paper) - at
conference.
 
This year we are deliberately moving the conference sharply towards
Artists - so as to rapidly balance our Artist-Science mix.
 
Artists are particularly invited to present innovative demonstrations
using or concerning Digital Media.
 
*************************************************************
<  Telepresence - Art - Telepistemology Publication  >

Dear Colleagues, dear Friends,

I'm happy to report that our new book is out now.

Please find information at:

<http://mitpress.mit.edu/telepistemology >

Dr. Oliver Grau
Kunsthistorisches Seminar                
Humboldt University Berlin                       
Dorotheenstr. 28; 10099 Berlin                                     
Tel: +49 (0)30 2093-4295 (direct)                  
Tel: +49 (0)30 2093-4288 (Secr)
Fax: +49 (0)30 2093-4209 
Email: <Oliver.Grau@culture.hu-berlin.de>
URL: <http://www.arthist.hu-berlin.de/arthistd/mitarbli/og/og.html>

"The Robot in the Garden: Telerobotics and Telepistemology in the Age
of the Internet"

 Edited by Ken Goldberg, UC Berkeley 

-----------------
Table of Contents
-----------------

1.	Introduction: The Unique Phenomenon of a Distance 
      Ken Goldberg, UC Berkeley, Engineering 
2.	Eden by Wire: Webcameras and the Telepresent Landscape 
      Thomas J. Campanella, MIT School of Architecture and Planning

Philosophy 

3.	Telepistemology : Descartes' Last Stand 
      Hubert Dreyfus, UC Berkeley, Philosophy 
4.	Vicariousness and Authenticity 
      Catherine Wilson, U. Alberta, Philosophy 
5.	Information, Nearness, and Farness 
      Albert Borgmann, U. Montana, Philosophy 
6.	Acting at a Distance and Knowing from Afar: Agency and Knowledge
    on the Internet
      Jeff Malpas, U. Tasmania, Philosophy 
7.	Telerobotic Knowledge: A Reliabilist Approach 
      Alvin Goldman, U. Arizona, Philosophy 

Art, History, and Critical Theory 

8.	The Speed of Light and Virtualized Reality 
      Martin Jay, UC Berkeley, History 
9.	To Lie and to Act: Cinema and Telepresence 
      Lev Manovich, UCSD, Visual Arts Department 
10.	Dialogical Telepresence and Net Ecology 
      Eduardo Kac, The School of the Art Institute of Chicago
11.	Presence, Absence, and Knowledge in Telerobotic Art 
      Machiko Kusahara, Kobe University 
12.	Exposure Time, the Aura, and Telerobotics 
      Marina Grzinic, Slovenian Academy of Science and Art 
13.	The History of Telepresence: Automata, Illusion,  and The
    Rejection of the Body
      Oliver Grau, Humboldt-University Berlin, Art History 

Engineering, Interface, and System Design 

14.	Feeling is Believing: A History of Telerobotics 
      Blake Hannaford, U. Washington, Electrical Engineering 
15.	Tele-Embodiment and Shattered Presence: Reconstructing the Body
    for Online Interaction
      John Canny and Eric Paulos, UC Berkeley, Computer Science 
16.	Being Real: Questions of Tele-Identity 
      Judith Donath, MIT Media Lab 
17.	Telepistemology, Mediation, and the Design of Transparent
    Interfaces
      Michael Idinopulos, UC Berkeley, Philosophy 

Postscript 

18.	The Film and the New Psychology (1945) 
      Maurice Merleau-Ponty 

Author Biographies 

Index 

                
*************************************************************
<  OLATS News - Virtual Africa  >

1 - The "Natural Order of Things" by Colette Gaiter:

URL:
<http://www.olats.org/africa/afriqueContinents/natural_order.shtml>

The "Natural Order of Things" by Colette Gaiter is a "personal
meditation on South African and U.S. society and culture after
spending two weeks in South Africa in August of 1999." Colette Gaiter,
an African American artist, explores the social and cultural
differences that separate people who like her have assimilated the
values from the Western world, and people from Africa who are still
connected to their ancestral culture. (Text in English)

2 - The Last Paintings of Luis Meque by Chiedza Musengezi

URL: <http://www.olats.org/africa/galerie/gal_meque.shtml>

Chiedza Musengezi reviews an exhibition of works by Luis Meque
organized in 1998 to commemorate the life and art work of a painter
who actively contributed to Zimbabwean artistic life. His last
paintings, characterized by predominantly dark colours and an
expressionist style, find their inspiration in urban scenes, in
portraits of marginal people and misfits. They also reveal Luis
Meque's daily struggle with illness and death. (Text in English)


3 - In the "Arts and Sciences" Section

URL: <http://www.olats.org/africa/artsSciences/rossie_toys_en.shtml>

Jean Pierre Rossie's presentation of his recent book: "Toys, Culture
and Society. An Anthropological Approach with Reference to North
Africa and Sahara" Jean-Pierre Rossie is a Social-Cultural
Anthropologist and Staff Member of Nordic Center for Research on Toys
and Educational Media (University of Halmstad, Sweden). For several
years, he has been working on the social representation and
significance of toys in North Africa. (Text in French and in English)

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LEA and Leonardo/ISAST gratefully acknowledges Al Smith and The Malina
Trust for their support of Leonardo Electronic Almanac.
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