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Leonardo Electronic Almanac / Volume 7, No. 7 / July 1999

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Leonardo Electronic Almanac
Volume 7, No.7
July 1999
ISSN #1071-4391
 
TABLE of CONTENTS
 
INTRODUCTION
This Issue
Craig Harris
 
FEATURE ARTICLES
Ownership and Control of the Creative Process in the Composition and Performance of Electroacoustic Music
Peter Manning
De-composing Opera/Re-composing Listening: John Cage’s Europeras
David Ryan
 
LEONARDO DIGITAL REVIEWS
This Month’s Reviews
Michael Punt
 
OPPORTUNITIES
Posts in School of Computing and SCOTCAT Vacancy
Computer Music Research Position at Dartmouth
Developer Job Offers at Ircam
 
ANNOUNCEMENTS
ISEA Meeting at Invencao
Call for Papers – Consciousness Reframed 2000
 
ACKNOWLEDGMENTS
LEA WORLD WIDE WEB ACCESS
LEA PUBLISHING & SUBSCRIPTION INFORMATION

Leonardo Electronic Almanac / Volume 7, No. 7 / July 1999

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.