Leonardo | Page 368 | Leonardo/ISASTwith Arizona State University

Leonardo

LEON 37.2 - Intellectual Property: A Chronological Compendium of Intersections between Contemporary Art and Utility Patents

The author presents a group of projects in which the roles of inventor, artist, amateur and institution variously overlap, merge and blur, offering new perspectives on the relationship between contemporary art and utility patents. Addressing issues of originality, aesthetics, labor, ownership and value, these projects demonstrate a continuous link between art and patents and encourage thoughtful speculation about shared concerns, guiding ideologies and forms.

LEON 37.2 - Planetary Technoetics: Art, Technology and Consciousness

As the planet becomes telematically unified, the self becomes dispersed. The convergence of dry silicon pixels and biologically wet particles is creating a moistmedia substrate for art where digital systems, telematics, genetic engineering and nanotechnology meet. A technoetic aesthetic not only will embrace new media, technology, consciousness research and non-classical science but also will gain new insights from older cultural traditions previously banished from materialist discourse.

LEON 37.2 - Artistic Practice as Construction and Cultivation of Knowledge Space

This article presents the netzspannung.org Internet platform, a media laboratory on the Internet that not only collects high-quality information on digital culture and media production but also interlinks this information, contextualizes it and makes it available on-line as a constantly expanding knowledge space that, like a library, can be explored by the public as an interactive installation and an educational space.

LEON 37.2 - Flávio de Carvalho: Media Artist Avant la Lettre

This paper examines the work of Brazilian artist Flávio de Carvalho (1899-1973) from the perspective of contemporary media art, highlighting his practical and theoretical legacy. Initially associated with the Anthropophagy art movement, Carvalho used mass media creatively and incorporated insights from psychology, sociology and anthropology into his art. He realized events that went beyond “performance art,” including a pioneering presentation on television in 1957. This article offers a brief overview of Carvalho's trajectory.