/      ____
  /      /     /\
 /      /--   /__\
/______/____ /    \
=============================================================
Leonardo Electronic Almanac                 Volume 9, No. 7
                                            
Roger Malina,   Executive Editor
Molly Hankwitz, Guest Editor
Craig Arko,     Coordinating Editor
Michael Punt,   LDR Editor-in Chief

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

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

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

INTRODUCTION

<  This Issue  >
                                  Molly Hankwitz

FEATURE ARTICLES

<  Space as Narrative Context: Architecture as a Storytelling Medium  >
                                  by Celia Pearce

<  3D Computer Interaction Using Physical Objects: Exploration of Tangible User
   Interfaces  >
                                  by Ehud Sharlin et al

                                  
<  From a relational history of technology to the design of a three-dimensional
   electronic book: "The Encoded Eye, the Archive, and its Engine House." >
                                  by David Tomas


ANNOUNCEMENTS

<  cast01: Living in Mixed Realities  >
<  Open Source Architecture: The Future Art Space  >
<  Switch Announces New Issue  >
<  ArtSci2001: Catalyst for Collaboration  >
<  MidAmerican Center for Contemporary Music  >
<  Distributed Art Publishers New Releases  >

ACKNOWLEDGMENTS
LEA WORLD WIDE WEB ACCESS
LEA PUBLISHING & SUBSCRIPTION INFORMATION

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

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

<  This Issue  >
                                  Molly Hankwitz, Guest Editor


Leonardo Electronic Almanac
Volume 9, Number 7
Introduction

This is the last issue in a series of three issues which have highlighted some
of the content from the Banff Centre Institute for New Media's 'Living
Architectures' Summit. All contributions were excellent and unfortunately we
could only include so many of the some 44 presentations. For readers of
Leonardo, I hope that the smattering of design, theory, poetics, and new
technology I edited for presentation has shed light on the creative
possibilities of virtual space in architecture.

There isn't much doubt that new technologies are impacting architectural design
and the design of media (even their purposes) in contemporary environments;

By bringing portions of 'Living Architectures' to Leonardo, I hope for at two
reasons to have raised more than speculative interest in new design. On the one
hand, as museums, schools, universities, hospitals, community spaces, archives
and cinemas adopt the benefits of digital media, the inherent opportunities for
complex and innovative design are manifold. Secondly, the design of virtual and
immersive environments, information interfaces and digital architectures, like
other art forms and softwares before them, have a rich history of innovation
upon which to build and to base new work.

With this in mind, I hope that the last three issues of Leonardo Electronic
Almanac, for which I have been a Guest Editor, have inspired design-minded
readers to open channels towards new developments, new discourse and the free
flow of information -- better and clearer, more informative and interactive
environments, performances and spaces are, I'm sure yet to be created.

I thank Craig Harris and Leonardo for supportive comments and Sara Diamond, Don
Stein and Caroline Thebault from the Banff Centre New Media Institute for their
helpful suggestions and interest in collaborating.


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

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

<  Space as Narrative Context: Architecture as a Storytelling Medium  >
                                  by Celia Pearce


Celia Pearce
The USC Annenberg Center for Communication
URL: <http://www.annenberg.edu/cpearce/>

Author's Note

The following began as a presentation at the Banff Centre for the Arts New
Media Institute's Living Architectures conference. It has since become the
basis for a project of rather epic proportions which, depending on how things
end up, will either be a book, a television program, an interactive media
experience, or, ideally, all three. The text below is edited from the original
presentation at Banff, which is the first time these ideas were presented
publicly in a codified form. I've since presented variations of this talk in a
number of contexts, incrementally expanding along the way as my research
evolves. Although they are derived from some initial writings in The
Interactive Book: A Guide to the Interactive Book, my first full volume,
published in 1997, this will mark the first incidence of print publication in
this particular line of inquiry. No doubt it will not be the last. (cp, Los
Angeles, 5/24/2001)

Abstract

This essay, derived from a talk given at Banff Centre for the Arts New Media
Institute in September of 2000, explores the notion of "Architecture as a
Storytelling Medium." In particular, I will talk identify the practice of
architectural fiction or environmental storytelling, and then attempt to
illuminate these theories with two specific examples which provide both
commonalities and contrasts. In the process, I will speak specifically about my
own experience creating narrative scripts for both architectural and virtual
spaces. Finally, I will touch lightly on the use of autonomous characters in
virtual spaces and within responsive environments.


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

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

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

<  3D Computer Interaction Using Physical Objects: Exploration of Tangible User
   Interfaces  >
                                  by Ehud Sharlin et al

Ehud Sharlin
University of Alberta, Department of Computing Science, Alberta, Canada
Email: <ehud@cs.ualberta.ca>

Benjamin Watson
Northwestern University, Department of Computer Science, Illinois, USA
Email: <watsonb@cs.nwu.edu>

Steve Sutphen
University of Alberta, Department of Computing Science, Alberta, Canada
Email: <steve@cs.ualberta.ca>

Robert Lederer
University of Alberta, Department of Art and Design, Alberta, Canada
Email: <rlederer@ualberta.ca>

Pablo Figueroa
University of Alberta, Department of Computing Science, Alberta, Canada
Email: <pfiguero@cs.ualberta.ca>

and

John Frazer
Hong-Kong Polytechnic University, School of Design, Hong-Kong, China
Email: <sdfrazer@polyu.edu.hk>


Abstract

Why is computer interaction using a 3D CAD (Computer Aided Design) tool such a
hard task while an untrained child can easily build 3D buildings out of a Lego
TM set? We believe that the reason lies in the current Human Computer interface
(HCI). TUIs (Tangible User Interfaces) offer natural means of interaction with
computers and have already been shown to simplify existing computerized
applications and offer solutions for tasks that were considered to be "out of
the scope" of human-computer interaction. We are currently pursuing new
applications for 3D geometry defining TUIs that can better exploit our innate
abilities. In this paper we attempt to provide the reader with a brief overview
of the underlying paradigms and research in this emerging domain. We also
describe a TUI, the Segal Model, created by John Frazer and his colleagues 20
years ago and our current work in reviving this interface. We briefly present
some of the initial results of building physical 3D worlds on top of the Segal
Model and then rendering them into fully active 3D virtual worlds. Practical
ways of enhancing the expressiveness of the interface and some of our future
research plans are briefly presented.

Introduction

When we interact with the world we rely on several natural abilities, among
them our tangible manipulation ability. We can move, manipulate, assemble and
disassemble a seemingly endless variety of physical objects with very little
cognitive effort. Yet, current Human-Computer Interfaces (HCI) use only a
limited range of our abilities and rely on a very limited variety of physical
objects. The thirty year old Keyboard-Mouse-Monitor interface and the
Window-Icon-Menu-Pointer (WIMP) interaction metaphor prevail as the major or
even sole HCI, used for anything from word processing to 3D graphical design
and modeling. We believe that many of our natural abilities are blocked by this
standard HCI, forcing complexity on what could otherwise become a simple, even
natural HCI task. More specifically, we believe that providing new and original
tangible 3D-shape based HCI tools might change dramatically the way in which we
perform 3D modeling and construction oriented HCI tasks and open the way for
other applications that are not currently supported by computers.

What can be learned from the ease of building models or manipulating objects in
the real world as opposed to the hardship involved in performing similar tasks
in a digital environment? Three concepts that are taken from our "natural"
interaction with physical tasks can be borrowed as themes for the design of new
HCI paradigms and TUIs. The affordances or transparency of the interface is the
expression of its functionality through its physical qualities. The
synchronization of perception and action space is the "natural" coincidence in
time and space of our hands and fingers (termed as parts of our action space)
with the position of the objects we are manipulating (termed as part of our
perception space). Last, the support of both pragmatic and epistemic maneuvers
is the natural inclusion of both straightforward and trial and error procedures
in the set of possible actions we can perform with physical objects.


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

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

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

<  From a relational history of technology to the design of a three-dimensional
   electronic book: "The Encoded Eye, the Archive, and its Engine House." >
                                  by David Tomas


The traditional book is a mass-produced object, generally rectangular in shape,
composed of a sequence of thin flat surfaces that are composed, most often, of
paper. These surfaces are bound together and protected by more or less rigid
boards. Each conventional book contains a body of common or interconnected
information, displayed inthe shape of words, symbols, and images, that are
sequentially organized and presented on these surfaces or "pages." The range of
this information is only limitedby the possibility of its being reproduced in
compact two-dimensional form. This artifact's ubiquity as a convenient and
economical storage device is related to its powers of reproducibility and
standardization: to the fact that all information is reduced, in its context,
to a common medium and format that is easily reproduced; to the fact that the
book's organizational density (a function of the thinness of its pages) and
compact size ensures portability and ease of distribution; and to the fact that
a book's limited range of physical sizes, which are determined in part by its
portability, allows, in turn, for a common basis for its efficient
classification, storage, and distribution in the shape of what is known as a
'library.'

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

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


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

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

No new Opportunities this issue.

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

=============================================================
<  cast01: Living in Mixed Realities  >

cast01 // living in mixed realities is open for registration now!

Monika Fleischmann & Wolfgang Strauss
cast01 Conference Chairs

URL: <http://netzspannung.org/cast01>
Email: <cast01@netzspannung.org>

September 21-22, 2001 // Schloss Birlinghoven // Sankt Augustin near Bonn //
Germany

Dear friends and colleagues!

We invite you to participate in the cast01 conference discussing intersections
of artistic, cultural, technological and scientific issues of:

Living in Mixed Realities

cast01 demonstrates outstanding examples of research, technological development
and artistic production in the form of research papers and artistic
presentations as well as blueprints and posters about ideas still under
development.

Internationally well known keynote speakers like Roy Ascott, Bill Buxton,
Manfred Fassler, Perry Hoberman, Natalie Jeremijenko will navigate you through
the two-days field of inspiring new concepts in the ambience of Birlinghoven
castle in Sankt Augustin near Bonn, Germany.

Highlights of the conference are the launch of the Internet platform for media
art and culture "netzspannung.org" and the initiative >digital sparks<
presenting current projects of German media education.

The cast01 Conference team wants you to be part of "Living in Mixed Realities".

Registration for cast01 has already started. There is a limited number of
seats.

Register online: <http://netzspannung.org/cast01 >.

Registration by fax: <http://netzspannung.org/cast01/cast01_register.pdf>.

Please make use of the early registration deadline (August 15, 2001) to benefit
from lower fee.

Basis conference fee:
Until August 15, 2001 350.- DM (178.95 EURO)
From August 16, 2001 500.- DM (255.65 EURO)

(Students)
Until August 15, 2001 100.- DM (51.13 EURO)
From August 16, 2001 150.- DM (76.69 EURO)

For more information about the program, the speakers, the registration
conditions and the location, please visit the conference website.

*************************************************************
<  Open Source Architecture: The Future Art Space  >

Eyebeam Atelier with the Center for New Design at Parsons School of Design
presents:

OPEN SOURCE ARCHITECTURE: THE FUTURE ART SPACE
July 9-August 4, 2001
An Online Critical Forum
URL: <http://www.eyebeam.org/opensourcearchitecture>

Open Source Architecture is a four week online critical forum featuring
artists, architects, critics, curators, designers, and theorists, along with
the public, in a discussion on the convergence of new media art and
architectural space.  Each week will explore a different theme-Making,
Mediating, Experiencing-with the fourth week dedicated to The Future Art Space.
The forum is co-directed by architects Craig Newick and David Hotson.

Participants include:

Peter Anders, Andreas Angelidakis, Suzanne Anker, Architecture Research Office,
Roy Ascott, Asymptote Architecture, Robert Atkins, Betty Beaumont, Andrew
Blauvelt, Marshall Blonsky, Wayne Carlson, David Chipperfield Architects,
Preston Scott Cohen, Carolina Cruz-Neira, Neil M. Denari, Diller Scofidio,
Foreign Office Architects, Jean-Marc Gauthier, Gluckman Mayner Architects,
Michael Joaquin Grey, Michael Heim, Pablo Helguera, Natalie Jeremijenko, Ronald
Jones, Leeser Architects, Greg Lynn FORM, Fabian Marcaccio, Pedro Meyer,
Christian Moeller, MVRDV, Louise Poissant, Erwin Redl, Reiser Umemoto, RUR
Architecture, Rogers Marvel Architecture LLP, Cynthia Beth Rubin, Michael Rush,
Peter Seidler, Vibeke Sorensen, Soundlab/Cultural Alchemy, Elizabeth Streb,
Tucker Viemeister, Bruce Wands.

This is the fourth annual online forum produced by Eyebeam Atelier. The first
online forum, INTERACTION: Artistic Practice in the Network, was recently
compiled and edited into a book co-published with D.A.P. and is currently
available at <www.eyebeam.org> and in bookstores. A book about the second
forum, RE:PLAY: Game Culture Game Design is currently in production.

Open Source Architecture is supported by a grant from the New York State
Council on the Arts, a state agency, and The Center for New Design at Parsons
School of Design <www.parsons.edu>. Additional support is provided by
e-flux.com and Artbyte magazine.

Eyebeam Atelier <www.eyebeam.org> is a not-for-profit organization founded in
1996 by John S. Johnson with the purpose of introducing broad and diverse
audiences to new technologies and media arts while simultaneously establishing
new media art as a significant genre. Eyebeam is currently in the last phase of
an Architectural Design Competition for its new museum of art and technology in
the Chelsea art district in New York City.

*************************************************************
<  Switch Announces New Issue  >

Spring/Summer 2001
Sheila A. Malone
Managing Editor, Switch:Cadre's On-line Journal
Email: <smalone@cadre.sjsu.edu>
URL: <http://switch.sjsu.edu>

Switch is proud to announce a new Spring/Summer 2001 issue, Social Networks II,
v7n1. Taking inspiration from our previous issue, Social Networks, v6n2, Switch
continues the investigation of what social, networks, and social networks means
in relationship to contemporary art practice, new media, technology, and
science.

In "Bacterial Cybernetics and PDAs" (or, why PDA shouldn't stand for Personal
Digital Animalculi) Benjamin Eakins proposes that the communication and control
structures of bacteria may serve as a useful model for the interactions of
wireless personal devices. Cindy Ahuna's "Online Game Communities Are Social in
Nature" looks at social environments evolving from online games. In
"Substantial Disturbance: An Interview with Faith Wilding" conducted in May of
2001, Brett Stalbaum asks Faith Wilding about artworlds, collaboration,
interventionist art, and the models that lie behind activism and activist art
today. From another perspective on activism, James Morgan's "Virtual Political
and Cultural Activism" looks at the nature of electronic civil disobedience as
both an art practice and a political tool.

To the chagrin of the academic elite who even bother to notice, Thomas Kinkade
has built a multimedia empire based on a lifestyle brand of Rockwellian
simplicity and small town family values. Matt Mays' "Thomas Kinkade and the
La-Z-Boy Aesthetic" explores the Kinkade phenomena, its shaky financial
underpinnings and the implications for the growing rift between middle America.
In contrast, Glen Sparer's "Art As Creative Virus and Host in the work of Mel
Chin" illuminates Mel Chin's unique ideology on art as insertionary idea within
a social realm.

Rob Riddle's "Dubwise: Sonic Networks and Experiments in Studied Chance"
explores relationships of sounds and rhythms; stories, thoughts, emotions and
ideas that steep in the songs of a culture, giving the full concoction a unique
voice and flavor. Wendy Angel's "DiFi: Digital and Fiber" is a text which
explores a network of interrelationships between two superficially disparate
media. Digital and fiber are entwined technologically, linguistically and
socially.

Inna Razumova's "Interview with Victoria Vesna" focuses on Vesna's recent
collaborative project Datamining Bodies. In addition, Mark Gonzales'
"Databodies, Genitals, and Living Forever......An Interview with Victoria
Vesna" addresses such topics as developing an information persona through
autonomous agents, social networks and databodies. Sheila Malone's "The Man
Behind The Bunny: An informal interview with Eduardo Kac" reveals answers to
popular ethical questions about science and art commingling in a test tube.
Eduardo Kac traces his career and objectives as an artist in pursuit of a
dialogic perspective.
        
Nora Raggio's "Dancing on the Web, Dancing over the Ocean: An Interview with
Amy Critchett" discusses DANCING ON THE WEB, DANCING OVER THE OCEAN, a
multicultural performance that will take place between youth groups in CA, USA
and SENEGAL this summer and will culminate in a live performance in San Jose on
Labor Day weekend, 2001. Nora also interviews Lisa Jevbratt, curator of the
show "LifeLike," an interdisciplinary survey of all things LifeLike--on the
web, in the gallery, and in the theater. (
www.newlangtonarts.org/network/infome) involving artists Elliot Anderson, Marc
Bohlen, Natalie Bookchin, Steve Dietz, Alex Galloway, Arijana Kaifes, Diane
Ludens, Eddo Stern, Lev Manovich, Ken and Jennifer McCoy, Mark Tribe and Geri
Wittig.

In a unique feature Joel Slayton and Glen Sparer review and interview featured
artists at SIGGRAPH 2001 <http://switch.sjsu.edu/v7n1/siggraph01.html> Also
featured in our current issue are projects from Cadre students, Dawn Ahlquist,
Susie McKinnon, and Rob Spain. Dawn Ahlquist's and Susie McKinnon's project,
Nephelococcygia <http://dma.sjsu.edu/~dahlquis/public_space/clouds> digitally
explores nonsensical cloud watching. Rob Spain's The Referential Database
<http://cadre.sjsu.edu/~rspain/the/egomachine/statement.html> is a combination
of Scripting and Mark up languages designed to analyze, process and store data.

Social Networks II is a robust issue of exclusive interviews and unique social
explorations of cultural and technological concerns. We hope you enjoy our
latest endeavor.

*************************************************************
<  ArtSci2001: Catalyst for Collaboration  >

Art and Science Collaborations, Inc. (ASCI) presents:

ArtSci2001: Catalyst for Collaboration
A 2-day symposium  [November 2 - 4, 2001]
The Graduate Center of the City University of New York (CUNY)
URL: <http://www.asci.org>

How can the discoveries of scientific research and the powerful metaphors of
art combine to impact society at large? Some artists and scientists are
exploring the promise of art-sci collaborative projects. This third
international symposium produced by Art and Science Collaborations, Inc. (ASCI)
will feature multimedia presentations on extraordinary projects involving
artists and scientists, ranging from photographs rendered in hybrid grass, to a
musical score based on brain activity, to sculpture grown from living tissue.
The presenters will discuss the opportunities and pitfalls of collaborating
across disciplines and invite questions from the audience.

Stephen Jay Gould and Rosamond Purcell, authors of the recently published book
"Crossing Over: Where Art and Science Meet" will deliver the keynote address on
Friday evening from 7-8pm at CUNY. Tickets are available to the general public.

In addition to 16 fascinating art-sci presentations, Saturday and Sunday's
all-day programming includes breakout, poster, and resource sessions, plus many
networking opportunities. The symposium will attract artists,scientists,
technologists, writers, scholars, humanists, educators, and all others
interested in the synergy possible when the barriers between disciplines are
removed.

PRE-REGISTRATION OPENS: Seating is limited and people will be attending from
around the world, so Pre-Registration [May 1 - Oct. 1] is recommended.

INTRODUCING: ArtSci INDEX [an incubator for collaborative inquiry] Take a
sample Tour of a new online research tool that ASCI is building! Its purpose is
to create a rich global database of resources and requests from individuals
wishing to collaborate, barter, research or fund art-sci collaborative
projects. Perhaps you will find a collaborator and then meet face-to-face at
the symposium! www.asci.org for Tour. While at our website, check-out the Open
Call for digital prints for "Digital'01: Our Sci-Tech World."

SEEKING: We are now seeking innovative products, services, venues, and funding
opportunities targeted to the art-sci-technology market for our Resource Room
at the ArtSci2001 symposium. Send e-mail to pannucci@asci.org if you wish to
showcase your company or become a sponsor -- or breakout session leader! [free
attendance]

ArtSci2001 is a co-production of Art & Science Collaborations, Inc. (ASCI) and
the Science Research and the Continuing Education & Public Programs departments
of the Graduate Center at City University of New York (CUNY), and was made
possible in part with the generous support of The Rockefeller Foundation and
AT&T Foundation, as well as our media sponsors: Leonardo Journal and ArtByte
magazine.

*************************************************************
<  MidAmerican Center for Contemporary Music  >


Dr. Burton Beerman, Director
Email: <bbeerma@bgnet.bgsu.edu>

Adam Zygmunt, Coordinator of MACCM Operations
Email: <azygmun@bgnet.bgsu.edu>

We invite to visit the MidAmerican Center for Contemporary Music's web site

URL: <http://www.bgsu.edu/colleges/music/MACCM/>

to peruse over 100 interviews of composers who have attended the festival and
other Center activities. In addition, there are programs from the New Music &
Art Festival radio series, as well as the first three back issues of the
Contemporary Music Forum theory journal. We will continue to make more of our
large collection of interviews and performances available so please
periodically check this site for updates.

The MidAmerican Center for Contemporary Music of Bowling Green State University
is an award-winning organization devoted to the study and promotion of
contemporary music and technology. Funded in 1987 by an Ohio Board of Regents'
Academic Challenge Grant, the Center builds on the strong and internationally
recognized activities of the College of Musical Arts, presenting concerts and
symposia, disseminating information, sponsoring research and collecting
archival materials. The Center enriches the lives of northwest Ohio residents
and assists music professionals from throughout the United States. As a result
of these activities, the Center received the 1998 and 1992 Chamber Music
America/ASCAP Awards for Adventuresome Programming.

At the heart of the Center's activities is the renowned New Music & Art
Festival. This annual event celebrates the contemporary arts through concerts,
panels, art exhibitions, seminars, master classes and papers. Begun in 1980,
the festival has hosted John Adams, Milton Babbit, Anthony Braxton, John Cage,
John Corigliano, George Crumb, Mario Davidovsky, Anthony Davis, Philip Glass,
Lou Harrison, Karel Husa, Pauline Oliveros, Bernard Rands, Christopher Rouse,
Gunther Schuller, Joan Tower and more than 200 other guests and artists.

*************************************************************
<  Distributed Art Publishers New Releases  >

D.A.P. (Distributed Art Publishers) is happy to announce the release 
of 2 important new books of writings on contemporary art. These titles 
are available at better bookstores, online booksellers or through D.A.P. 
(1-800-338-2665)
URL: <http://www.artbook.com>.

WORDS OF WIDSOM: A Curator's Vade Mecum
Published by ICI/Independent Curators International
Edited by Carin Kuoni

An invaluable guidebook for anyone interested in contemporary art and the
practice of curating. Among the 60 original contributors are: Jean Christophe
Ammann, Carlos Basualdo, Rene Block, Francesco Bonami, Dan Cameron, Lynne
Cooke, Bice Curiger, Donna De Salvo, Richard Flood, Thelma Golden, Yuko
Hasegawa, Mary Jane Jacob, Jean-Hubert Martin, Gerardo Mosquera, Fumio Nanjo,
Hans-Ulrich Obrist, Olu Oguibe, Mari Carmen Ramirez, Nancy Spector, Robert
Storr, Harald Szeemann, and Marcia Tucker.

ISBN 0-916365-60-3
Paperback, 5.24 x 8.5 inches, 176 pages, 120 b&w images. $14.95
For more information on this title, click on the artbook.com link below. You
may also visit ICI's web site.
URL: <http://www.artbook.com/wordsofwisdom.html>
URL: <http://www.ici-exhibitions.org>


INTERACTION: Artistic Practice in the Network
Published by Eyebeam Atelier and D.A.P.
Edited by Amy Scholder and Jordan Crandall
Foreword by John S. Johnson

A passionate debate on the vast transformations wrought by the internet and
their implications for artistic practice. Contributors to the book include:
Robert Adrian, Oladele Ajiboye Bamgboye, Saul Anton, Adnan Ashraf, Robert
Atkins, Ricardo Basbaum, Carlos Basualdo, Ursula Biemann, Simon Biggs,
Josephine Bosma, Mez Breeze, Andreas Broeckmann, Craig Brozefsky, Robert
Cheatham, Critical Art Ensemble, Andy Deck, Ricardo Dominguez, Keller
Easterling, Ellen Fernandez-Sacco, Coco Fusco, Alex Galloway, Joy Garnett, Ken
Goldberg, Michael H. Goldhaber, Marina Grzinic Mauhler, N. Katherine Hayles,
Susan Hapgood, Brian Holmes, Martin Jay, Jodi, Bill Jones, Tim Jordan,
Knowbotic Research, Eve Andree Laramee, Bracha Lichtenberg-Ettinger, Eric
Liftin, Lev Manovich, Pedro Meyer, Paul D. Miller (DJ Spooky), Margaret Morse,
Sally Jane Norman, Hans Ulrich Obrist, Luiz Camillo Osorio, Daniel Palmer,
Saskia Sassen, Waltraud Schwab, Yukiko Shikata, Matthew Slotover, Alan
Sondheim, Brett Stalbaum, Gilane Tawadros, Judith Thorn, Andrej Tisma, Gregory
L. Ulmer, Sjoukje van der Meulen, Joel Weishaus, and Ben Williams

This is the first book published by Eyebeam Atelier, which has been working
towards building a major new museum in New York City, which will focus on art
and technology. On July 19th, Diller  Scofidio, and Leeser Architecture from
New York City, and MVRDV of Rotterdam, where chosen as the three finalists for
the design commission of the new space. The final cut will be made by October,
and construction is set to start in 2002 and finish in 2005.

ISBN 1-891024-24-8
Paperback, 6 x 8 inches, 168 pages, 34 b&w. $19.95
For more information on this title, click on the artbook.com link below. You 
may also visit Eyebeam Atelier's web site.
URL: <http://www.artbook.com/inarpracinne.html>
URL: <http://www.eyebeam.org>

=============================================================
  ___________________
 |  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:
Email: <lea@mitpress.mit.edu>
_____________________________________________________________

Copyright (2001), 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 2001 subscription year.
The rate for Non-Leonardo individual subscribers is $35.00, and for
Non-Leonardo institutional subscribers the rate is $75.00. 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 9(7)  >
===================================================================