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Leonardo Electronic Almanac / Volume 12, No. 9 / September 2004

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Leonardo Electronic Almanac
Volume 12, No. 9
September 2004
ISSN #1071-4391
 
TABLE of CONTENTS
 
INTRODUCTION
 
FEATURE
The Intertextual Thread: A New Cultural Unit in Hypertext
by Motti Benari, Ziva Ben-Porat, Efrat Biberman, Liza Chudnovsky, Tammy Amiel-Hauzer and Eyal Segal
 
LEONARDO REVIEWS
Neo-Baroque Aesthetics and Contemporary Entertainment
reviewed by Jan Baetens
 
Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953-1968
reviewed by John F. Barber
 
CLASSIFIED AD
 
ISAST NEWS
Leonardo/ISAST Corporate Membership Program
Leonardo Experimental Publishing Initiative
Announcing Leonardo Abstracts Service (LABS)
LABS Peer Review Panel Members
Steve Kurtz and the Critical Art Ensemble
LEA Cfp – Geography of Pain

Leonardo Electronic Almanac / Volume 12, No. 9 / September 2004

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.