Leonardo

Degrees of Freedom: Models of Corporate Relationships Author(s): Sara Diamond Source: Leonardo, Vol. 38, No. 5 (2005), pp. 409-413 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/20206109 . Accessed: 07/01/2014 21:57
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Models of Freedom: Degrees of Relationships Corporate

AB S T RAC T

Sara Diamond

Ihe author discusses three models of corporate partnership that support the creation of new media art: directed altruism, skunkworks (product develop ment), and regulated self interest.Similar activities can occur across these models, but expectations, criteria for assess ment and finaloutcomes may differ. Clarifyingthe rules of engagement forarts organiza tions and artistswhen theywork with corporations is critical to success forboth artists and companies. This essay provides a frameworkand examples for each model fromCanada, Finland, the United Kingdom and the United States. Itevaluates failures as well as successes.

three models of corporate -JL-his essay discusses T art: di that support the creation of new-media partnership rected skunk works and altruism, (product development), self-interest. These financial, regulated partnerships provide for entire institutes, support technological specific or of tools. such as the co-development projects outcomes similar activities vary by model, Although expected can take across them. Working with artists place relationships researchers ucts can their organizations goals and prod shape corporate at the vice versa. Clarifying the rules of engagement outset goes far in in the relationship. satisfying all parties The models derive from observations of successes and fail and and of partnership descriptions goals by corporations; eussions with relations officers corporate university researchers who work for British, American and Korean interviews with institutional and artists independent of University of California research officers that occurred inVancouver, dis and com rep and re in in-kind or

technology

informs

its final allows

form po

The SMARTlab Centre is develop

ing technologies with disabilities tural that enable to participate life. Representatives from cor be

users, designers to work technologists together in the process of imagining and in tools and applications [6]. venting and

[5]. Participatory tential technology

design

people in cul side

porate partners who participate users the disabled by side with come sensitized [7]. Network creative to the needs constituency The MESH search and

ures;

of this

formal and informal panies; resentatives and institutional researchers; searchers and with a meeting

is a re (formerly Creative Crossings) in the U.K., Canada consortium of partners and Finland that facilitates in partici comparative practices across various re content MESH communities. patory design searches of mobile pacts source of engaging in the design communities and use theorizes the experiences im and cultural of mobile communication and designs metadata, open ways devices, software and other (U.K.) archive necessities [8]. For technological to as works with local communities and make available and the histories devices playback the Digital Cities Pro consortium and m-cult, on mo

2003 [1]. The demise of theNew Media

(NewMIC), my argument a consortium [2]. based

company

Innovation Centre
Canada, informs

Motivation
Arts institutions and not engage just reasons in corporate for various partnerships for the donations that augment their

Proboscis example, sist them to record,

budgets. The BanffNew Media

lab Centre (U.K.), Crucible

Institute (Canada), SMART

and m-cult culture and (Finland), and

ject (Montreal) and m-cult (Helsinki). The Mobile Digital

Commons bile Network (MDCN), houses a research experience design, are both members of MESH. and Locative the University include of Nottingham Digital Proboscis Cities which

of specific sites, using mobile recording as do in their Social Project, Tapestries

Studio

the MESH network (Canada/U.K./Finland) hope to influence

technology development, The Banff New Media nology tween culture, actual embody and cultural popular Institute and m-cult design. envision ideas tech be about

Pervasive

Arts Network

(PLAN),

participates coordinated These

in itsU.K. by networks

and Futuresonic.

superstructures are evident work and society and their contents technologies such values as rather

as production points and infrastructures, and

of intersection where enacted [3]. These

corporate and ganizations which artists Corporate searchers who

through tools can

or such as Hewlett-Packard. These partners their corporate the in value ways partners "misuse" existing technologies. re other benefits for cultural partners provide

open-ended play Studios emerged participatory

and creative expression cooperation, than efficiency, m-cult and Crucible

from the practices of northern European consumers are in which and producers design, on into the integrated early through workshops design process and ongoing consultation of of production [4]. The process

for real-world of the tools or hope applications that they create. CHUM Ltd. of Canada sup recently a series of micro-movies that ported independently produced at the Banff Television will premiere Festival and air on mo content bile across Canada. have the telephones partners Industry resources to and needed the de capital marketing complete to actual research velopment cycle from creative product. Corporate partners also benefit inmany art and recognition public through can observe technology organizations. They emerging appli cations and technologies and cull and transfer them to gen can see the ways erate marketable in which products. They or to markets relate their emerging technologies applications. association ways. They with can win

SaraDiamond (president), Ontario College ofArt andDesign, 100 McCaul Street, Toronto, Ontario, Canada, M5T 1W1.E-mail:<sdiamond@ocad.on.ca>; <sara@ codezebra.net>. Based on a paper presentedat "Artists in Industry and the Academy,"a special sectionof the92ndAnnual Conferenceof theCollege ArtAssociation,Seattle, WA, 18-21February 2004.

positive

?2005ISAST

LEONARDO,

Vol. 38, No. 5, pp. 409-413,2005

409

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They ucts.

to loyal companies can find their products. They completely core tech new ways of working with their nologies. funding Companies grants can in Canada, leverage public the U.K. and to of re

co-develop can assist They small and mid-size

can

new

kinds

of prod of

eral

in the emergence

grammers,

from knowledge arts groups,

open-source hackers and

pro other

on [15]. Based corporations experience in of artist-researchers support working and support for design research from the ethnographic perspective bator for Critical Inquiry at the Incu into Technol

to "an provide experimental for technology and user value re in search mobile media" [23]. pervasive a The fuels partnership dynamic mobile that often operates culture outside HP's lie funds test-bed platforms. cators and as It engages broadcasters, cultural organizations users. The individual altruistic and openness edu as well spirit reflects

Europe tripartite relationships require to support research that is relevant their industries or to the development [9]. efficient to situate outside with In the specific products It can be more search and

of Surrey, Intel's Dana Plautz University notes that some of the friction between artists' creativity can result and

ogy and Ethnography (INCITE), at the

of collaboration the presence

company, technology erlands) nology more tural

development in collaboration institutes.

of the art and and tech cul re

ativity and technology to take leeway fail in ways

cre technologists' in inventions Art [16]. have can greater afford to de

ogists, as well

researchers

of ethnographers, psychol and cognitive scientists designers as and end-use design participants in the lab environment communities [24]. Notable ex include mobile outputs a location-based such as Riot!, with BBC Radio it

1990s into

early 2000s, Phillips Corporation

integrated laboratories, dialogical space and [10]. designers resulting

(Neth

in a freer, creative

product can also cannot. Products velopers simply result fit an unanticipated that might market need [17]. Directed to work Sun San "to to enhance mission altruism their motivates competitors with companies in order

risks. They that corporate

Three. While Mobile Bristol fits the di

rected might works, software risk and brink altruism in that and model of investment, a form of skunk challenging that are high yet on also be considered it prototypes applications

periences drama co-produced

highly After corporate

the design shifted process structuring, to to In order back drivers. technology levels of creativity cultivate equivalent within the new structure, is ex Phillips entities such collaboration with ploring as ate the Banff New technology Media and Institute to iter application/content mod well

industry-wide knowledge. to the is committed Microsystems of the University joint of California campus Game

Culture and Technology Lab

expand metaphors, nologies content goal tous Sun Games UCI Celia

Diego/Irvine's

(GCTL):

pre-commercialization of being market ready. Hewlett a core group Packard of re provided more who now with searchers, identify Mobile employer. it made expand partners Bristol This than with their actual has generous sociality to for the partnership possible to include additional external [25].

development [11].
Companies els,

the notion of how game and tech design principles, can be utilized for alternative context [18]. This delivery" interest in larger ubiqui and home technologies. student Robert games Nideffer at the where and Conference,

depending and shifts in corporate being, leadership the capacity of their partners. Unique at Hewlett such as Jo Reid individuals, Packard tion of (HP), who have a strong attrac to the arts and/or to the challenges difference, work as media who to their can in or ambassadors external actual

between may move on their financial

and

fits Sun's

computing featured GCTL Developers' researchers Pearce

Skunk Works/ Product Development

Some their measure companies external partnerships the success A of ac through skunk works team the term that and to is rules

cultural

tors, translators operate stitutions,

in cultures facilitate

"a presented ArtModJam, event live demon fast-paced showcasing strations of... original, controversial and of this emerg entertaining examples art form that uses commercial ing as such Unreal Quake, engines game and

tual product development. is "a semi-official project tacitly licensed to bend the

project and the outcomes integrate tionships into the cor from external partnerships cross collaborations Enduring poration. institutions tices within them. Brokers and cultures construct and as models these as well shift prac between capable

rela

Torque" Nokia operating software bile

[19]. is competing system to standard, against develop Microsoft's an alternate OS, for mo

new-media

thinkoutside the box" [26]. During the

boom, attached works initiatives Skunk that fast op

Symbian

software-development tracked new products. a minimum erate with

of fulfilling both sides' needs [12].

Directed
The

Altruism
refers to instinctive be co detri

its [20]. Through design experience Studios Labo with Crucible partnership Centre Lume, University ratory at Media re of Art and Design, Nokia's Helsinki, searchers learn about from storytelling researchers, who create games and mobile-driven in their

and an optimum of creativity. They spin more out prototypes rapidly than corpo rate or university research departments can. Artists are skilled at and designers the imaginary leap of taking fundamen tal research into actual On expression. this process: omy Labs describes in "genre-based We engage design."... A genre defines not only the technolog ical form, but also the social framework for the experience of the technology. We methodically analyze both the formal and informal conventions that influence themeaning of technology. Based on this we augment the scope and ob analysis, jectives of the design problem, and pro ceed to create a genre-sensitive design for the form and interaction of the new technology Artists' prototyped, and [27]. designers' projects and marketed. can be In

of bureaucracy

term altruism

Crucible

that can behavior operative to the individual mental but for the [13]. species of a conscious to prioritize Directed decision

is salutary altruism

consists poration tion of which main board on [14]. MESH

a cor by the future evolu

television experiences labs using the Nokia platform to discern is eager [21]. Nokia require ments of specifications for mobile plat forms narrative that will be robust presentation U.K. Endowment and small the Arts, for enough in the next 2 to 5 Mo

in its industry and the society immedi it operates, aside putting to re ate It requires gains. corporations at arm's efforts and length from development can take the form of advisory An HP board for executive the MDCN sits

years [22].
Hewlett-Packard the National Technology BBC and ganizations succeeded

bile Bristol with theUniversity of Bristol,

for Science, Future and Lab, arts the or has pub

developed

membership. the advisory Satama, and MDCN,

a Finnish

advises company, to glean gen hoping

companies in Bristol. Mobile

Bristol

in acquiring

significant

produced

410

Diamond, Degrees of Freedom

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stitutions managers New Media has created

can for

act as brokers skunk works. Media

and The

project Banff Centre

Institute the New to ensure from its

at the Banff

Finding the Right Model: Pressure Points

There of pressure points are gaps There these three models. upon in and focus of work the pace between side academic institutions centers, and and art and the and between are numerous

Carr

Institute

of Art

nies such as Electronic Arts and Sony; TR Labs, an independent research network
in western Canada; and small companies through NewMIC devel incubator, technology a collaborative that focused model oped on "the research, mercialization development of new media and technolo to be attached to the initiative a

and Design;

compa-

H?sflH

Accelerator research en

^^^H ??S|||||
^

Program can profit vironment. Skunk

that all collaborators applied

works of

have

powerhouses tegration them, as Bristol transfer

the potential and innovation,

to be the in

technology of needs those

com

researchers into of corporate in the case of the HP-Mobile knowledge

ensures partnership, between parties.

technology and produc research of corporate ori is less product tion. The academy to get often want ented. Artists, however, their work done are and shown. and Consumer artists make far from what imagine Companies technology that can

consumers

The incubator gies and applications." rent and business would provide charge for small and some mentorship services companies NewMIC's some [37]. demise offers challenges into insight for collab and

Regulated
Canada mission. nications make new has It a the Canadian

Self-Interest
unique regulatory and Television Radio media and agency, Com commu that to pro that con access producers, develop investor may to

products or researchers adaptation. R&D and prototypes

require much want to fast-track be yielding into

fundamental partnership

oration,

development

transfer, rapidly

management. complained searchers them rate for

put

requires industry

acquisitions "social benefit vide packages" and sist of financial support researchers for independent and professional [28]. The rights to

corporations or mergers

production. A recurrent applied ucts on on research

representatives Company re NewMIC of sycophancy; asked members and board direction, wanted while a fresh were the view corpo from

for is the desire problem or demonstrable prod and the research

the part of companies in basic interest contradictory

outside the company [38]. NewMIC

searchers damental altruism wanted thought research model. Most they following

sponsors

re
fun

distribution ment have

institutions first refusal with

right resides institutions. Millions

Copy products. or research producers flow sectors into the broad these com

Kris researchers. the part of some a researcher in the Cohen, postdoctoral notes that corporate INCITE Program, want of digested collaborators "nuggets" research. gets" while come He suggest points solutions out that such "nug that are simple, be Companies confidence the in or tidbits

doing a directed

a skunk works

partners corporate that would result

of dollars

cast and new-media funds [29].

through Telecommunications

reality is complex. frustrated and lose researchers repeatable into homilies frustrated design that dilute on or not

in immediately outputs. Sony applicable that cor demanded prototypes working or current the company's related with One corporate technologies. emerging felt that the researchers representative were for the most part "very theoreti to "downstream unconnected cal," prac tice" avoided rected ects was [39]. Research and teams made theorists up of have

academic are

when easily [35]. because

an educational new created pany Telus educational fund that supports media new media music edu and underwrites

collapse become musings in ways

applied Researchers their

cation inCanada
merger Network Media The with funded Content

[30]. The Bell Canada

Television Project the Interactive

deep

the Canadian

process or distort are skilled

are

simplified their mean analyzing but poor

might practitioners teams di When this disjunction. their efforts towards actual proj defined goals, clearly Such was the case with television a

Laboratory (IPL), a part of theBell Globe

Innovation Network [31 ]. IPL is a program research of applied forms and economies, into new-media and small business develop network, is a pan-Canadian Film

Researchers ing. the current use at envisioning In some cases,

at

with success.

there

of technologies or the future. predicting researchers tactically pitch to obtain support these to per if a direct con

interactive oped Carr

prototyping ment. This

phantom and then form model

"products"

with the BanffNew Media

ing ronto to the Canadian and L'Institut

Institute link
Centre de in To l'image

national

et du son (IMS) in Montreal [32]. Other

such initiatives include programs equity at the Banff as screenwriting Aboriginal Professional administrators, these usually and

a more enable might to seemingly bridging proach interests and to understanding impediments to invention. teams

cept is accepted

engineer quietly the necessary research

inglyfound themselves isolated in their

existing dialogue searchers. across areas with of expertise, deprived or other companies of re

Sony devel application at the Emily by student researchers frustrat Institute [40]. Companies

[36]. A more altruistic

ap divergent structural

Centre, supported by CHUM Ltd. [33].

lawyers, negotiate the funds. administer trators with and board institutions packages adminis Fund work

interdisciplinary and social manists pack

un can scientists help and that engineers assumptions into tech build executives corporate and the

In this regard, hu incorporating

a larger discourse They craved and technologies. their specialties was the development challenging Equally to of an incubator and implementation even and provide house small companies for NewMIC tual income [41]. Compa nies wanted but tellectual projects a role this never in technology transfer, in materialized because were blurry and toward product Brian Corrie

chairs to establish

closely criteria and Institu in are chal

to support select projects the next tions anticipate tegration, running lenging but merger out, with an economic

[34].

research-production simultaneously marketing cycle, while the communi deep insight into adding tech those and use ties that consume nologies nologies. The New (NewMIC) tive case Media Innovation offers an Center instruc

property rights did not mature also

development. Researchers described the and a

balked.

big vertical

opportunities

increasingly situation looming.

experience models of how unclear study a can undermine of support large-scale Canadian West Aggregating partnership. the Emily research Coast universities;

where "stifling environment" to deliver were constant "pressures conceived intense." Some companies as their lab" "development to produc prior This role decisions. was capable

of NewMIC for was initial

prototyping

tion and marketing what NewMIC beyond

Diamond, Degrees of Freedom

411

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of

Corrie providing. that Sierra Wireless

noted,

however,

overview; ceptual as this as much and means culture vestment, prioritized it rapidly ables. tends ment used of

the "con enjoyed saw the benefit of they deliverables"

eluding models

those with are viable

concrete

tually define them.

equity goals. All three so as mu partners long set rules and stick goals, by

18. The lab and its initiatives and partnerships are found at <http://proxy.arts.uci.edu/gamelab/>. 19. <www.calit2.net/culture/features/2004/3-24_ gameConference.htmlx 20. See <www.symbian.com/> for information about this operating system. 21. The framework for the lab and itsprojects are de scribed at <http://crucible.lume.fi/>. 22. See <www.lume.fi/lumenet.nsf/paasivut/base_ eng> for program information. 23. See <www.mobilebristol.co.uk/flash.html> project description. 24. A thorough description of the Mobile Bristol project and exploration can be found at <www. hpl.hp.com/news/2004/aprjun/mobile_bristol. htmlx 25. Mobile Bristol now includes the Banff New Me dia Institute and Concordia University inMontreal, part of theMobile Digital Commons Network, and a series of residencies at the Banff Centre. 26. <www.worldwidewords.org/qa/qa-skul .htm>. for a

as a prototyping ideas [42]. Although testing was in the factor that attracted technical Corrie observed that NewMIC because deliver research engineering measurable provides research, lengthier, participant outputs

References

and Notes

1. The meeting was convened by Simon Penny at UCLA and included representatives from Electronic Arts, SGI, Microsoft, Intel and theRockefeller Foun dation. <www.vancouvereconomic.com/key_sectors/ technology/growth_industries/new_media.asp> provides a sense of the context of NewMIC's birth and its initial focus. NewMIC shut down inDecem ber 2003. 3. This philosophy is expounded centre.ca/bnmi/about.asp>. at <www.banfF 2.

Cultural to be with

by comparison, demands engage and communities are difficult to

produces quantify.

that

tol) could have aligned

models However, term and

Long-term dialogue (as in the case of HP

hybrid and Mobile

and

teams Bris

the disparate
goals. long com

bridged divergent there were no consistent, built and were between

relationships

pany representatives at NewMIC. There

representatives no ambassadors the needs and small Its board

4. See Minna Tarkka, Performing New Media, A Criti cal Framework forDesign (Helsinki: University of Art and Design, forthcoming, and National Consumer Research, Helsinki: LUME University ofArt and De sign Press). This model is quite distinct fromAmer ican models such as that of the Palo Alto Research Center, inwhich artistsworked within one corpora tion. 5. John Law and John Hassard, eds., A.N.T. and After (London: Blackwell, 1999); Bruno Latour, Aramis, The Love ofTechnology (Boston, MA: Harvard Univ. Press, and Paris: Centre de sociologie de l'innova tion, 1998). 6. Law and Hassard

27. <www.onomy.com/blue/research.html>. 28. See <www.crtc.gc.ca/eng/welcome.htm> overview of the Commission. for an

sensitive enough of corporations, researchers one for another. companies could dress hesion demise. not was find a unified the crisis. The the ultimate

to translate

to ad strategy co to create failure root of NewMIC's

[5].

7. See project descriptions at <www.smartlabcentre. com/>. 8. MESH states in its manifesto: "MESH is a network and consortium to support cultural and social inno vations formobile, wireless and pervasive media. Through exchanges of personnel, expert meetings and conferences and common studies,MESH builds a network of research and development which pushes forward the agendas of user experience and civic participation in the emerging landscape of ubiqui tous computing. The key partners inMESH are cul tural organizations which operate within a dense international, interdisciplinary and cross-sector net work and have a track record of innovative initiatives in mobile and wireless arts and technology. Together with their academy and industrypartners, they work to develop cultural uses and social experiences for current information society technologies." 9. For example, theNational Science and Engineer ingResearch Council of Canada (NSERC) has spe cial grants for supporting researchers with formal corporate partnerships. 10. Discussion with David Eaves, Phillips, U.K. searcher, 2004. 11. See Ref. [10]. 12. Hewlett-Packard's Jo Reid acts as an intermedi ary between the company and the community and is an actual researcher, able to create and lead teams. 13. <http://dictionary.reference.com/>. 14. <http://mdcn.ilesansfil.org/15>. 15. For information on Satama, a company that cre ates bridges between mobile media and technol ogy firms, creating new links and prototypes, see <www.satama.com/flash_english/index.html>. 16. For more on Intel's support of art research, see Dana Plautz, "New Ideas Emerge When Collabora tion Occurs," Leonardo 38, No. 4, 302-309 (2005). for See <www.soc.surrey.ac.uk/incite/index.html> an overview of INCITE. 17. This point was iteratedmany times at the 2003 University of California retreat. re

29. The Bell Broadcast and New Media Fund is an example of a healthy "social benefit program" that provides investment in new-media convergent con tent.See <www.ipf.ca/Bell/English/BellFund.html> for an overview of the Bell Broadcast and New Me dia Fund and the projects it supports. 30. See <http://about.telus.com/fiinds/foundation/ index.html> for various Telus initiatives. 31. See <www.banffcentre.ca/programs/program .aspx?id=149>. 32. The Banff Centre provides professional and proj ect development support forwinners of the Cyber Pitch (now iPitch) <www.banff2003.com/sessions/

Conclusion
The same activities can occur models. INCITE, Game and within The Culture dif Banff MESH, and Crucible success and fering partnership New Media Institute, Mobile Bristol, the UC

Lab, m-cult Technology all offer a number Studio stories creative in corporate,

of small Intel's

institutional

a space for inven creating community, tion that forges a dialogical relationship re between labs, cutting-edge corporate Ac applications. in-kind that programs provide or even money technical know resources, search and real-world celerator how well works. carefully strong as business These establish and prototyping can advice be their with as support act as skunk if they work

relationships. researchers furnishes funding of creative a of directed model altruism, positive as does HP's to commitment integrat the local researchers and ing artists,

hands-off

cyberpitch.html>, <www.hotdocs.ca/ind_market_ cyberpitch.cfmx International new-media compa nies apply to an international juried competition for first-stagedevelopment of new-media projects. The short-listed candidates pitch at specific festivals, and thewinners receive cash, professional development and mentorship from the BanffNew Media Institute and possible prototyping support. 33. See <www.banffcentre.ca/programs/program .aspx?id=133> for the Screenwriters Program. 34. The Canadian Radio and Television Commission Proceedings include applications by broadcasters and telephone companies and interventions by the pub lic and others interested in each decision. The pro posals for the creation and administration of funds are part of these. See <www.crtc.gc.ca/eng/public pro.htmx 35. Kris Cohen, paper at "The Beauty of Collabora tion:Manners, Methods, and Aesthetics," BanffNew Media Institute, Banff,Alberta, Canada, 22-25 May 2003. 36. See SmartGraphics presentations and subsequent discussion by Marc Price, "The Media Lounge: A Soft ware Platform for Streamed 3D Interactive Mixed Media," htmlx <www.smartgraphics.org/sg04/schedule.

can

successful abilities,

play and

very collaboratively a role visionary ships with companies developing allow proaches of

and all partners in forming relation and in proposing These ap

products.

between the continuity the artists and concepts designers, of companies and small business needs so self-interest Regulated development. an are cial benefit programs important source of support for in larger initiatives,

37. See <www.decima.ca/publishing/Services/ for overview of NewMIC and CNMReprint.pdf> <www.trlabs.ca/new/press_releases/00_05_18.html> for the partnerships' perspective. 38. Both Sony and Electronic Arts participants noted this.

412

Diamond, Degrees of Freedom

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39. Michael Hoch

of Sony expressed this concern.

In 2005 Canada's

Sara Diamond

became

40. See <http://cat.eciad.bc.ca/r_and_p/newmic_ awards_2002.html> fordescription of student awards, philosophy and content. 41. <www.habaneros.com/About/News/2003/ NewMIC.htmx 42. Brian Corrie, lead virtual reality researcher, in terview with the author, Banff,Alberta, Canada, Feb ruary 2004.

of theOntario College ofArt and Design,

thepresident

She left the Banff Centre, and Performance. where she served as theArtistic Director of Me dia and Visual Arts, Director of Research and In Artistic Director of the Banff New Media

university, largest art-and-design located in Toronto, Ontario. She is a social scholar with degrees historian and new-media in Communications, History and New Media

Inc. and spans CodeZebra software develop art ment, performance and video. Diamond's works reside in such diverse collections as the Museum National Modern of Gallery Art inNew York and of Canada.

and writes curates, lecturesinternationally arthistory and practice. Her aboutnew-media current creativepractice occurs through

stitute, which

shefounded

in 1995. Diamond

_______{

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the

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The Leonardo proposals Theoretical
discussion

Electronic Almanac
seeks

Electronic Almanac

for the following: Discussions:

such as

is issuing an open call for papers. The LEA Editorial Board research and critical commentary
hypertext, robotics, bio-art,

original essays documenting

cyberart,

in areas of
artificial life

nanotechnology,

and genetics. This

list is by no means

cyberfeminism,

exhaustive, and proposals

need not be limited to these areas. to submit statements

thematic exhibitions.

Artists' Statements and Gallery Commissions:

or proposals for exhibiting new media artwork.

international artists are encouraged

Curators are welcome to propose

LEA encourages international artists, academics, researchers and students to submit proposals for consideration. We particularly encourage authors outside North America and Europe to send proposals
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Proposals

should include:

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any related URLs contact Please send details or to:

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