The MIT Press
About: Leonardo is an academic journal published by The MIT Press. The journal publishes majorly in the area(s): Painting & The arts. It has an ISSN identifier of 0024-094X. Over the lifetime, 4917 publications have been published receiving 46956 citations. The journal is also known as: Leonardo (first name) & Leonardo (given name).
Papers published on a yearly basis
TL;DR: In this paper, the authors argue that the seven different views are not necessarily all incompatible and can be seen as emphasizing different elements in the whole truth about humans, and that these rival views are subversive of received opinion, all in their different ways.
Abstract: no cause for alarm; the economic system of capitalism has become more stable, conditions of life have improved vastly, in the former non-white colonies conditions have not actually worsened and Marx was wrong to reject the idea of gradual reform. No suggestion here of crisis in the economic system, of a crisis of energy resources; no suggestion of third world famine; no suggestion that there might be limits to ballot-box reform, that the rich may fight to protect what they have. No doubt the charge of complacency is unfair, but the general format of the book invites it. Finally, at one point Stevenson suggests that the seven different views are not necessarily all incompatible and can be seen as emphasizing different elements in the whole truth about humans. He backs away from this conclusion a bit, but in any introductory survey it should be shunned. Who will struggle to understand Sartre, if Sartre is simply emphasizing the element of moral responsibility in humans? Or Lorenz, if Lorenz is simply emphasizing the animal origins of some human behaviour? And it is hard to see what element Christianity is emphasizing: one cannot say the divine element unless one is a believer. The point that is likely to attract the beginner is that these rival views are subversive of received opinion, all in their different ways (including Christianity, taken seriously). To suggest otherwise may blunt enthusiasm. This is a book whose basic concept is dubious. Yet the concept is skillfully executed.
TL;DR: This chapter discusses the "dark side of Patents" and the "slow Starvation" of the Patent Reform Quagmire.
Abstract: Preface ix Introduction: They Fixed It, and Now It's Broke 1 CHAPTER 1: Today's Patent System at Work 25 CHAPTER 2: The Dark Side of Patents 56 CHAPTER 3: The Long Debate 78 CHAPTER 4: The Silent Revolution 96 CHAPTER 5: The Slow Starvation 127 CHAPTER 6: The Patent Reform Quagmire 151 CHAPTER 7: Innovation and Its Discontents 170 Notes 209 Index 229
TL;DR: The Field Guide exhibition as discussed by the authors explores the nature of art and the conceptual process through a multimedia installation that also reflects upon temporality, art history, ecology and science, and explores the evanescence of these views is echoed in pristine impressions of filtered dust and shimmering milkweed assemblages contained in Plexiglas light boxes.
Abstract: Susan Goethel Campbell’s exhibition Field Guide explores the nature of art and the conceptual process through a multimedia installation that also reflects upon temporality, art history, ecology and science. Introduced with a time-lapse video of weather patterns captured by web cam over the course of an entire year, atmospheric effects assume the quality of translucent washes that blur distinctions between opacity and transparency, painting and technology. Aerial views of built environments set against expansive cityscapes present essential imagery for large-format digital woodblock prints realized in monochromatic tonals and saturated grids of yellow and blazing orange. Some combine undulating wood grain patterns with pinhole perforations to admit light; others consist of diaphanous walnut stains applied to hand-crafted paper, a self-referential allusion to art’s planarity and permeable membrane. The evanescence of these views is echoed in pristine impressions of filtered dust and shimmering milkweed assemblages contained in Plexiglas light boxes. Known as Asclepias, milkweed is an herbaceous flower named by Carl Linnaeus after Asclepius, the Greek god of healing, due to its efficacious medicinal powers. Like the weather, the milkweed’s reflective silver filaments respond to shifting currents of air paired with gently wafted treetops projected in the viewing room. Here pearls of light corresponding to the spheres and pinpricks of the prints on the walls float randomly over the fictitious frame of a cubical vitrine. Orbs appear and disappear amid nocturnal shadows as figments of the imagination, their languid dispersion eliciting not-ofthis-world sensations of suspension, ascent and transcendence. This joined to the mesmerizing stillness of a gallery pierced occasionally by the sound of supersonic aircraft, a reminder of the machine in the garden. Beyond, the history of landscape photography and the Romantic sublime are encoded in works titled “Old Stand” that render minuscule figures of stationary box photographers against the grandeur of ice-capped Rockies. In some of the works the human figure is effaced as a historical memory through exquisitely modulated rubbings whose unbounded spatiality contrasts with the reflexive interiority of the viewing room. Campbell’s incandescent vision of nature asserts the phenomenal power of art to elevate the human spirit in the presence of heart-stirring beauty. It dares to reaffirm the timeless union between the material and immaterial substance of the universe, between human life and the ephemera of the natural world. f i l m