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Leonardo Electronic Almanac / Volume 11, No. 1 / January 2003

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Leonardo Electronic Almanac
Volume 11, No. 1
January 2003
ISSN #1071-4391
 
TABLE of CONTENTS
 
EDITORIAL
Not Necessarily “English” Music: Britain’s Second Golden Age
By Nicholas Collins
 
FEATURES
Special Section: Selected items from Leonardo Music Journal, Vol. 12
 
LEONARDO DIGITAL REVIEWS
Holes-Lining-Threads
Reviewed by Luisa Paraguai Donati
Writings by Vilem Flusser
Reviewed by Stefaan Van Ryssen
One Place After Another: Site-Specific Art and Locational Identity
Reviewed by Claire Barliant
Music and Technology in the Twentieth Century
Reviewed by Chris Cobb
 
LEONARDO JOURNAL
LEONARDO Vol. 36, No. 1 (2003): Table of Contents and Selected Abstracts
 
OBITUARY
In Memory: Rich Gold, 1950-2003
 
LEA NEWS
Coming up in LEA

Leonardo Electronic Almanac / Volume 11, No. 1 / January 2003

Lanfranco Aceti is known for his social activism and extensive career as artist, curator, and academic. He is a research affiliate and visiting professor at ACT @ Massachusetts Institute of Technology and director of the Arts Administration Program at Boston University. He is also the Editor in Chief of the Leonardo Electronic Almanac, The MIT Press. He has exhibited numerous personal projects including Car Park, a public performance in the UK at the John Hansard Gallery; Who The People?, an installation artwork acquired in its entirety by the Chetham’s Library and Museum in Manchester; Sowing and Reaping, installation artworks acquired in their entirety by the National Museum of Contemporary Art of Cyprus; and Hope Coming On, a site-specific choral performance he designed for the Museum of Fine Arts, Boston, with the collaboration of the Boston Children’s Chorus, and realized in front of Turner’s Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On). In 2017, Aceti prepared a series of new artworks for an exhibition entitled Shimmer and curated by Irini Papadimitriou (V&A) at the Tobazi Mansion in Hydra, a new large choral performance titled Accursed for the Thessaloniki Biennial in Greece; and Knock, Knock, Knocking a public space installation in the Mediterranean Garden Pavilion of the New Sea Waterfront of Thessaloniki.