Leonardo Volume 57

Abstract

ALLEGRA, INDIRA and HOLT, ALLISON LEIGH. “How Can It Not Know What It Is? Remembering Disability as Part of the Whole,” Leonardo57, No. 2 (2024).ALLMOND, EDMOND. “Roman Verostko, Digital Art Pioneer,” Leonardo57, No. 5 (2024).AMIR, EINAT and HASSON, YOSSI. “Toward Equitable ArtScience Collaborations: Synthesizing Performance Art and Social Psychology for Social Change,” in Special Section “Art-Science,” Leonardo57, No. 5 (2024).ANTONOPOULOU, CATERINA. “The Materiality of Digital Art: Practices of Integration of Everyday Objects into Sociopolitical Media Artworks,” in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 (2024).AYTON-SHENKER, DIANA. “Changing the Story,” Leonardo57, No. 4 (2024).AYTON-SHENKER, DIANA. “Considering Legacies and Futures,” Leonardo57, No. 6 (2024).AYTON-SHENKER, DIANA. “Future Mapping: You Are Here,” Leonardo57, No. 3 (2024).AYTON-SHENKER, DIANA. “Hope Spots,” Leonardo57, No. 5 (2024).AYTON-SHENKER, DIANA. “Winter Reflections: Living Inside Infinite Hope,” Leonardo57, No. 1 (2024).BAETENS, JAN. Review of Boundary Images, Leonardo57, No. 3 (2024).BAETENS, JAN. Review of The Chapter: A Segmented History from Antiquity to the Twenty-First Century, Leonardo57, No. 5 (2024).BAETENS, JAN. Review of Cold War in the White Cube: U.S. Exhibitions of Latin American Art, 1959–1968, Leonardo57, No. 2 (2024).BAETENS, JAN. Review of Dopostoria, Leonardo57, No. 2 (2024).BAETENS, JAN. Review of Exploring Past Images in a Digital Age: Reinventing the Archive, Leonardo57, No. 2 (2024).BAETENS, JAN. Review of Giving Type Meaning: Context and Craft in Typography, Leonardo57, No. 5 (2024).BAETENS, JAN. Review of Historic Avant-Garde Work on Paper, Leonardo57, No. 6 (2024).BAETENS, JAN. Review of Illustration: A Theoretical and Contextual Perspective, Leonardo57, No. 4 (2024).BAETENS, JAN. Review of La résidence d’auteurs littérature, territorialité et médiations culturelles, Leonardo57, No. 3 (2024).BAETENS, JAN. Review of Magazines and Modern Identities: Global Cultures of the Illustrated Press, 1880–1945, Leonardo57, No. 3 (2024).BAETENS, JAN. Review of Modernité du livre: De nouvelles maisons d’édition pour de nouveaux lectorats, Leonardo57, No. 1 (2024).BAETENS, JAN. Review of Paroles ailées. Lectures en public d’oeuvres littéraires (XVIE–XXIE siècle), Leonardo57, No. 4 (2024).BAETENS, JAN. Review of Raymond Roussel et Marcel Duchamp: Enquête sur une gémellité, Leonardo57, No. 6 (2024).BAETENS, JAN. Review of Saint Ghetto of the Loans: Grimoire, Leonardo57, No. 1 (2024).BAETENS, JAN. Review of Shells: A Natural and Cultural History, Leonardo57, No. 2 (2024).BARKER, NED and BURD, JOANA. “Living Capsules: Reflections on an Ongoing Art-Sociology Collaboration,” Leonardo57, No. 3 (2024).BERGAMO, MARILIA LYRA. “Assemblage Robotic Plants: Individualizations of Many Orders of Magnitude,” Leonardo57, No. 5 (2024).BIGGS, SIMON and CARVALHO, ANA. “All Watched over by Our Data Double,” Leonardo57, No. 3 (2024).BLAIN-MORAES, STEFANIE; SERRA, NATALIA INCIO; MASCHKE, CHARLOTTE; WEBBER, JAMIE; HOLLAND, MELISSA; TEMBECK, TAMAR; GROND, FLORIAN; SCHLESINGER, JOSEPH; BERNARD, FRANCIS; and VINIT, FLORENCE. “Resonance: A Brain-Computer Interface Assemblage of EEG, Sound, and Therapeutic Clowns for the Detection of Consciousness,” in Special Section “Music and Sound Art,” Leonardo57, No. 4 (2024).BRITTON, DAVID. “Proof-of-Stake Non-Fungible Tokens, the Distributed Autonomous Organization, and the Valuation of Art: A Proposal for a Nonprofit, Community Controlled NFT,” Leonardo57, No. 5 (2024).CAI, YIYU; CHEN, JIEQIONG; CHAN, WEI HAO; and TAN, SER YANG. “DNA Dance Revolution,” in Special Section “Music and Sound Art,” Leonardo57, No. 3 (2024).CANAZZA, SERGIO; DE POLI, GIOVANNI; and VIDOLIN, ALVISE. “When the Computer Entered the Music Scene: The Collaboration between the Centro di Sonologia Computazionale and La Biennale di Venezia,” in Special Section “Pioneers and Pathbreakers,” Leonardo57, No. 1 (2024).CANTÚ, MARIELA. “Carlos Trilnick: An Argentine Electronic Image-Processing Pioneer,” in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).CHANG, VANESSA and FELT, LINDSEY D. “Criptech and the Art of Access: Introduction to Special Issue,” Leonardo57, No. 2 (2024).CHANG, VANESSA and FELT, LINDSEY D. “Prototyping Criptech Art Futures,” Leonardo57, No. 2 (2024).CONNORS, TERESA MARIE. “Alongly Integrated,” Gallery section, Leonardo57, No. 3 (2024).COSTANTINI, GIOVANNA L. Review of Diderot, Rousseau and the Politics of the Arts in the Enlightenment, Leonardo57, No. 3 (2024).CUSSANS MORAN, STEPHANIE. Review of With Bodies: Narrative Theory and Embodied Cognition, Leonardo57, No. 1 (2024).DIAZ, NELSON J. “A Lesson with Francis Bacon Forced Me to See Outside the Software Box,” Leonardo57, No. 1 (2024).DRAYSON, HANNAH. Review of Aesthetic Experience of Metabolic Processes, Leonardo57, No. 3 (2024).DRAYSON, HANNAH. Review of Sensorial Investigations: A History of the Senses in Anthropology, Psychology, and Law, Leonardo57, No. 5 (2024).EADIE, JIMMY. “Soundscapes of a Century: The Art and Transmission of Irish Broadcasting’s 100-Year Milestone,” in Special Section “Music and Sound Art,” Leonardo57, No. 1 (2024).ELIAS, ANN. “Freak Pictures, Fly Fishers, and Optical Illusions: Historical Antecedents of the Science of Fish Vision,” Leonardo57, No. 4 (2024).FELT, LINDSEY D.; CHANG, VANESSA; and ALICK, CLAUDIA. “Experiments in Art, Access & Technology,” Leonardo57, No. 2 (2024).FLEGO, CLIO and FRANCO, FRANCESCA. Introduction to Special Section “RE:SOURCE—Media Art Histories, Venice 2023,” Leonardo57, No. 3 (2024).FLOREZ, GLORIA. “Forest Ambassadors with Leonardo@Djerassi,” Gallery section, Leonardo57, No. 3 (2024).FORCEVILLE, CHARLES. Review of A Book of Noises: Notes on the Auraculous, Leonardo57, No. 2 (2024).FORCEVILLE, CHARLES. Review of The Cult of Creativity: A Surprisingly Recent History, Leonardo57, No. 1 (2024).FORLANO, LAURA and BARRIO, ITZIAR. “From Data Doubles to Data Demons: Reflections on a CripTech Collaboration,” Leonardo57, No. 2 (2024).FRADKIN, MEESH. “Babel,” Gallery section, Leonardo57, No. 2 (2024).FRADKIN, MEESH. “Plus noise unlock,” Leonardo57, No. 2 (2024).GAJDA, KINGA ANNA. “Unveiling the Unspoken and Invisible: Analyzing Artistic Responses to Radiophobia,” Leonardo57, No. 5 (2024).GHANI, AIYESHA M. “Endnotes to the Year 2023—‘Cycles of Earth and Light,’” Gallery section, Leonardo57, No. 3 (2024).GOTKIN, KEVIN and HAMRAIE, AIMI. “Remote Access: Crip Nightlife, Artistry, and Technoscience,” Leonardo57, No. 2 (2024).GUERRA-VALIENTE, JUAN-JOSÉ. “Compositional Rheology: Drafting Musical Flux through Fluid Mechanics and Drawing,” in Special Section “Music and Sound Art,” Leonardo57, No. 5 (2024).GRAUBARD, ALLAN. Review of The Extinction of Experience: Being Human in a Disembodied World, Leonardo57, No. 6 (2024).GRYSHCHENKO, IVAN; YEZHOVA, OLGA; PASHKEVICH, KALINA; and BURYUKOVA, YULIA. “Research and Creative Activity in the Design Field: Intersections of Science, Art, and Engineering,” Leonardo57, No. 3 (2024).GYENES, ZSOLT. “Raster Manipulations,” in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).HARKNESS, MATTHEW W. “Matters of Concern: A Critical Investigation of Bioplastics, 3D Printing, and the Maker Movement,” in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 (2024).HEMMENT, DREW; MURRAY-RUST, DAVE; BELLE, VAISHAK; AYLETT, RUTH; VIDMAR, MATJAZ; and BROZ, FRANK. “Experiential AI: Between Arts and Explainable AI,” Leonardo57, No. 3 (2024).HERMAN, LAURA M. and MORUZZI, CATERINA. “The Algorithmic Pedestal: A Practice-Based Study of Algorithmic and Artistic Curation,” Leonardo57, No. 5 (2024).HINOJOSA, LADDY PATRICIA CADAVID. “Knotting the Memory// Encoding the Khipu_: Reuse of Ancestral Andean Technologies as New Experimental Sound Interfaces in the Framework of the Decoloniality, Art, and Science Relationship,” in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 (2024).HO, YUE-JIN. “The Sinograph in Digital Language Art,” in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 (2024).HOLZER, DEREK. “A Piano for Visuals: Affordances of Scan Processing Instruments,” in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).HORISAKI-CHRISTENS, NINA. “Video as World Mandala: The Role of Nakajima Kō’s Animaker and Aniputer in Defining a Cosmic Vision of Video,” in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).HRGA, IZTOK. “Luminous Skins: Costume as a Central Element of a Swarm-Based Scenography,” Leonardo57, No. 1 (2024).HU, XINRAN. “An Eye-Tracking Study on Viewer Compliance with the Gestalt Closure Principle: Analyzing the Impact of Gap Size and the Golden Ratio,” Leonardo57, No. 1 (2024).IONE, AMY. Review of Addiction Becomes Normal: On the Late-Modern American Subject, Leonardo57, No. 5 (2024).IONE, AMY. Review of Architecture of Life: Soviet Modernism and the Human Sciences, Leonardo57, No. 3 (2024).IONE, AMY. Review of Black is the Color, Leonardo57, No. 4 (2024).IONE, AMY. Review of Leonardo da Vinci, Leonardo57, No. 6 (2024).IONE, AMY. Review of William James, MD: Philosopher, Psychologist, Physician, Leonardo57, No. 4 (2024).ISMAIL, ROSLINA; HANAFI, AMIRA; and KAMARUZAMAN, JUSOFF. “Object-Oriented Ontology in Shaping Perspective on Bacterial Art and Nonhuman Agency,” Leonardo57, No. 3 (2024).JACOBS, RACHEL and LANE, GILES. “A Republic of Learning: Making for Times of Uncertainty,” Leonardo57, No. 3 (2024).JOHNSON, GARRETT LAROY. “Diagrammatic Media/Subjectivity— Ecology—Event/Generating Organizational Techniques through Creative Practice For a Post-Media Era,” in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 (2024).JOHNSON, MEGAN A.; CHANDLER, ELIZA; and RICE, CARLA. “Resisting Normality with Cultural Accessibility and Slow Technology,” Leonardo57, No. 2 (2024).KIM, LIZ. “Philip Mallory Jones’s Electronic Consciousness in Afrodiasporic Video,” in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).KING, CHRIS. “Archaeologies and Organologies: Toward an Alternative History of Early Synthetic Video and Image Processing Practices, 1939–1969,” in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).KISLEV, SHACHAR FREDDY. “The Ecology of Knowledge: How the Complexity Sciences Can Explain the Peculiar Alliance between Art and Philosophy,” Leonardo57, No. 4 (2024).KISS, IOSIF-ANDREI. “Sculptural Hybridization: Combining Digital Parametric Modeling and Manufacturing with Traditional Handcrafting Techniques,” Leonardo57, No. 5 (2024).KLEIBER, BEVERLY (AKA REISER). “YLEM: Artists Using Science and Technology in the Wilderness of Art in the 1990s,” Leonardo57, No. 3 (2024).KOH, HELEN. “As Freely as Picasso: Nam June Paik, WGBH-TV, and the Video Synthesizer,” in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).KROESE, NOOR STENFERT. “Ecology of Encounters: Meeting Spaces for Humans and Nonhumans in Media Art,” in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 (2024).KUHLMANN, NAILA; ROBERT, JÉRÉMIE; THOMAS, ALIKI; and BLAINMORAES, STEFANIE. “Piece of Mind: Presenting the Lived Experience and Scientific Research of Parkinson’s Disease through an Artistic Lens,” Leonardo57, No. 1 (2024).LAGONIGRO, PAOLA. “Auro Lecci’s Algorithmic Art: Toward the Computer as a Thinking Machine,” in Special Section “RE:SOURCE,” Leonardo57, No. 3 (2024).LANZA, DARIO. “Designing a Long-Structure NFT Generative Art Project: Catharsis as a Case Study,” Leonardo57, No. 1 (2024).LAURITZEN, KASPER. “An Archaeology of Image Processing Tools: From the Optical Printer to the Sandin Image Processor,” in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).LAWHEAD, EMILY. “Networks of Experience: Interactive Digital Art in the 21st Century,” in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 (2024).LEAHY, MARK. Review of Radio Art Zone, Leonardo57, No. 2 (2024).LEGGETT, MIKE. Review of Curating the Moving Image, Leonardo57, No. 2 (2024).LEGGETT, MIKE. Review of Hollis Frampton: Navigating the Infinite Cinema, Leonardo57, No. 1 (2024).LEGGETT, MIKE. Review of Singaporean Creatures: Histories of Humans and Other Animals in the Garden City, Leonardo57, No. 5 (2024).LEGGETT, MIKE. Review of Unearthing the Underworld: A Natural History of Rocks, Leonardo57, No. 5 (2024).LIN, REM RUNGU; ZHOU, YOU; and ZHANG, KANG. “Cursive Calligraphy in 3D and Bio-Ink,” Leonardo57, No. 4 (2024).LINCOLN, ERIKA JEAN. “Crip-Techno-Tinkerism: A Neurodivergent Learning Style Meets Machine Learning,” Leonardo57, No. 2 (2024).LOVETT, LEAH; SIGNORELLI, VALERIO; and HUDSON-SMITH, ANDY. “Exploring the Materiality of Augmented Reality Markers through Arts-Led Cocreation: Drawing, Weaving, and Tiling,” Leonardo57, No. 4 (2024).MADDOX-HARLE, ROBERT. Review of Neural Networks, Leonardo57, No. 5 (2024).MAIZELS, MICHAEL. “Sound Investments Music and Finance at Mid-Century,” in Special Section “Music and Sound Art,” Leonardo57, No. 5 (2024).MAJ, ANNA. “Forgotten Pioneers of Media Art Laboratory of Presentation Techniques,” in Special Section “RE:SOURCE,” Leonardo57, No. 4 (2024).MALINA, YURI F. Review of The Nexus: Augmented Thinking for a Complex World—The New Convergence of Art, Technology and Science, Leonardo57, No. 2 (2024).MANOUSAKIS, STELIOS. “Hertzian Fields: Exploring Wi-Fi Microwave Signals as a Spatial and Embodied Sensing Medium for Art,” in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 (2024).MARTIN, DARRIN. “Experimental Modalities: Crip Representation and Access with Electronic Arts Intermix,” Leonardo57, No. 2 (2024).MCCALLUM, KATE. “Art as Inquiry: Theoretical Perspectives on Research in Art and Science,” Leonardo57, No. 1 (2024).MESTIZO, HAMILTON. “Transdisciplinary Artistic Production from the Field of Biology and Technology in the Second Decade of the 21st Century,” in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 (2024).MONDELLI, FRANK and JUSTICE, JENNIFER. “Aesthetic In-Access: Notes from the CripTech Metaverse Lab,” Leonardo57, No. 2 (2024).MORONI, ARTEMIS. “The *.* Group’s Contribution to the Development of Technological Art in Brazil,” in Special Section “Pioneers and Pathbreakers,” Leonardo57, No. 1 (2024).MOSHER, MIKE. Review of The Belgian Photonovel, 1954–1985: An Introduction, Leonardo57, No. 5 (2024).MOSHER, MIKE. Review of I Heard Her Call My Name: A Memoir of Transition, Leonardo57, No. 6 (2024).MOSHER, MIKE. Review of Ruth Stone’s Vast Library of the Female Mind, Leonardo57, No. 1 (2024).MUENCH, WOLFGANG. “Men of Letters: Perspectives on Multisensory Environments in the Hall-McLuhan Correspondence, 1961–1977,” in Special Section “RE:SOURCE,” Leonardo57, No. 3 (2024).MUN, REINA SUYEON. “SilenceTop: An Interactive Microarchitecture Responding Socially to Nonsocial Silences,” Leonardo57, No. 4 (2024).NADIN, MIHAI. “One Never Knows,” Leonardo57, No. 1 (2024).OGATA, SHIGEN FANG; TAWATSUJI, YOSHIMASA; and MATSUI TATSUNORI. “Using a Drift Diffusion Model to Validate the Quantification of Style Prototypicality as Assessed by the Viewers of Paintings,” Leonardo57, No. 1 (2024).O’NEILL, CYNTHIA. “Dandelion Rebellion: Creating Crip Natures,” Leonardo57, No. 2 (2024).PACKHAM, JONATHAN. “Toward a Spatial Understanding of Openness: Richard Sennett’s “Five Open Forms” and/in Music,” in Special Section “Music and Sound Art,” Leonardo57, No. 5 (2024).PALMER, OLIVER. “Scripted Performances: Designing Performative Architectures through Digital and Absurd Machines,” in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 (2024).PANZARINO, MONICA. “(Nip)ulations: The Nipulator Electronic Bra and the Embodiment of the Image,” in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).PAPALIA, CARMEN. “Pain Pals,” Gallery section, Leonardo57, No. 2 (2024).PARIKKA, JUSSI. Review of Code: From Information Theory to French Theory, Leonardo57, No. 1 (2024).PENG, TRISTAN; CHOI, HONGCHAN; and BERGER, JONATHAN. “The Sound of Data: Designing a Framework for Parameter Mapping Sonification,” in Special Section “Music and Sound Art,” Leonardo57, No. 5 (2024).PETERSEN, STEPHEN. Review of Tricks of the Light: Essays on Art and Spectacle, Leonardo57, No. 3 (2024).POKOJNÁ, HANA. “Cartography of Touch: Transformation of Touch through Anatomical Projections,” Leonardo57, No. 1 (2024).POPOSKI, ZORAN and TODOROVA, MARIJA. “Mapping Cultural Flows through Contemporary Art in Translation: The Translation(s) Project,” Leonardo57, No. 1 (2024).PROKOPIC, PAVEL. “Nested Cinema: An Immersive Fiction-Film Experience,” Leonardo57, No. 5 (2024).PYTLINSKI, DEANNE. “Early Image Processing and Computer Animation in Colorado: Pat Lehman’s Video Vitae in Context,” in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).RASSELL, ANDREA and HEATHER, BRAY. “Trafficking | Transmission | Translation: Exploring Embodiment as a Mode of Knowledge Construction in Science Art Installations,” Leonardo57, No. 5 (2024).RAUCHBAUER, MARTIN. “Leonardo@ Djerassi 2023,” Gallery section, Leonardo57, No. 3 (2024).REICHLE, INGEBORG. Review of Renaissance 3.0: A Base Camp for New Alliances of Art and Science in the 21st Century, Leonardo57, No. 1 (2024).ROBINSON, LIA. “Our Bodies Demand Their Turn! Live Synthesizer in Shigeko Kubota’s Riverrun—Video Water Poem,” in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).SÁ, ADRIANA. “Transdisciplinarity, Composition, Expression: Reflections on a Spherical Way of Thinking,” Leonardo57, No. 1 (2024).SAEKI, TAKUMI; MASUDA, NOBUHIRO; and JO, KAZUHIRO. “Deliberate Maladjustment by Microorganisms: A Medium for Images or Luminous Bacteria,” in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).SALES, JOSEPHINE. “Total Running Time,” Gallery section, Leonardo57, No. 2 (2024).SALIMBENI, GUIDO; BENFORD, STEVE; REEVES, STUART; and MARTINDALE, SARAH. “Decoding AI in Contemporary Art: A Five-Trope Classification for Understanding and Categorization,” Leonardo57, No. 4 (2024).SHASKEVICH, HELENA and HART, ADAM. Introduction to Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 (2024).SHIN, GYUNG JIN. “Technology as Resistance: Pioneers of Korean Media Art from the 1960s to the 1990s,” in Special Section “RE:SOURCE,” Leonardo57, No. 4 (2024).SHORTESS, GEORGE “The Development of Neural Art: An in Special Section “Pioneers and Pathbreakers,” Leonardo57, No. 4 Gallery section, Leonardo57, No. 3 ANDY. Gallery section, Leonardo57, No. 2 ANDY. into the Access Leonardo57, No. 2 POLI, and and Leonardo57, No. 5 Review of Creative and the Early Computer Arts Leonardo57, No. 6 Review of The Science of Our the Leonardo57, No. 4 Review of Art and Leonardo57, No. 1 of and in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 and Leonardo57, No. 2 & of at Gallery section, Leonardo57, No. 3 in Special Section “Pioneers and Pathbreakers,” Leonardo57, No. 3 and “A in Artistic Practices through Leonardo57, No. 3 Understanding Between the Image and Context,” in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 Piano and with Leonardo57, No. 2 Gallery section, Leonardo57, No. 2 Field Notes for in Special Section “Top-Rated LGA Abstracts 2023,” Leonardo57, No. 5 through Futures,” Leonardo57, No. 2 and of Change,” in Special Section “Music and Sound Art,” Leonardo57, No. 4 and “The in Exploring the Narrative Framework of Digital Cultural Leonardo57, No. 1 Video and Computer Early in Video and Computer Art,” in Special Section “Pioneers and Pathbreakers,” Leonardo57, No. 1 Review of The of Leonardo57, No. 2 and and of in Special Section “Music and Sound Art,” Leonardo57, No. 4 Review of On the of the Leonardo57, No. 4 and ZHANG, KANG. Using AI to the Experience of Paintings,” Leonardo57, No. 4 and “When Image Processing Becomes Image in with in Special Section “Histories, Legacies, and Futures of Image-Processing,” Leonardo57, No. 6 to Our is and on by on a to the to to the in the on a a and the to F. W. da de De J. Richard William W.