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| Leonardo (journal) | |
|---|---|
| Title | Leonardo |
| Discipline | Art, Science, Technology, Interdisciplinary Studies |
| Language | English |
| Abbreviation | Leonardo |
| Publisher | The MIT Press on behalf of Leonardo, Inc. |
| Country | United States |
| History | 1968–present |
| Frequency | Bimonthly |
| Issn | 0024-094X |
| Eissn | 1530-9282 |
Leonardo (journal) is a peer-reviewed international journal focusing on intersections between art and science through practice-based research, critical theory, and documentation of creative technologies. Founded in 1968 by Franklin Furnace-era practitioners and early adopters of electronic media, the journal has engaged contributors from communities associated with Brooklyn Academy of Music, Royal College of Art, M.I.T. Media Lab, Bell Labs, and institutions tied to contemporary art and technology. Leonardo serves researchers, practitioners, and institutions including Smithsonian Institution, Tate Modern, Centre Pompidou, Getty Center, and Victoria and Albert Museum.
Leonardo was established in 1968 by Frank Malina, with early editorial and organizational connections to Association for Computing Machinery, International Society for the Arts, Sciences and Technology, New York University, California Institute of the Arts, and State University of New York networks. The journal emerged amid cultural moments such as the Summer of Love, the rise of Fluxus, and exhibitions at venues like Whitney Museum of American Art and Museum of Modern Art. Throughout the 1970s and 1980s Leonardo published work intersecting with initiatives at Stanford University's Center for Computer Research in Music and Acoustics, University of California, San Diego laboratories, Royal College of Art media programs, and research labs at Harvard University. Editorial stewardship has involved figures linked to Bell Labs, Massachusetts Institute of Technology, University of California, Berkeley, and other institutions associated with digital art histories.
The journal covers practice-based and theoretical work spanning collaborations with MIT Media Lab, Royal Academy of Arts, Serpentine Galleries, Zentrum für Kunst und Medien, Ars Electronica, and research outputs related to technologies developed at IBM Research, Microsoft Research, Google Research, and university laboratories. Topics include artistic uses of artificial intelligence as explored by contributors from DeepMind and OpenAI partners, sonification projects linked to European Space Agency datasets, bioart inquiries with ties to Cold Spring Harbor Laboratory and Salk Institute, and networked performance documented through festivals like Prix Ars Electronica and exhibitions at MoMA PS1. Articles often reference historical practices associated with John Cage, Nam June Paik, Marcel Duchamp, Yves Klein, and institutional programs at CalArts and Royal College of Art.
Leonardo's governance has involved an editorial board comprising artists, scientists, and technologists affiliated with Massachusetts Institute of Technology, University College London, Goldsmiths, University of London, Princeton University, Columbia University, University of Oxford, and University of Cambridge. The journal is published by The MIT Press on behalf of Leonardo, Inc., an organization incorporated alongside partnerships with cultural bodies such as The British Council, National Endowment for the Arts, Andrew W. Mellon Foundation, Arts Council England, and corporate sponsors linked to Apple Inc. and Intel Corporation. Past editors and advisors have included scholars and practitioners associated with Harvard University, Yale University, Royal Academy of Arts, Tate Modern, and research centers at Carnegie Mellon University.
Leonardo appears in print and electronic formats managed by The MIT Press and distributed through library systems including JSTOR, Project MUSE, and institutional repositories at Oxford University Press partner sites. The journal maintains a bimonthly schedule and produces themed special issues often coordinated with events like Venice Biennale, Documenta, Siggraph, and ISEA International. Back issues document collaborations with museums and labs including ZKM, Centre Pompidou, Tate Modern, and festival archives for Ars Electronica and Prix Ars Electronica.
Leonardo is indexed in major bibliographic services and databases such as Scopus, Web of Science, Arts & Humanities Citation Index, ERIC, and catalogues maintained by Library of Congress and international unions like International Federation of Library Associations and Institutions. Citation tracking links to profiles hosted by Google Scholar, institutional metrics used by Times Higher Education, and subject repositories at ResearchGate and university libraries including Harvard Library and Bodleian Libraries.
The journal has been cited in scholarship across networks tied to MIT Media Lab, Bell Labs, ZKM, Centre Pompidou, Tate Modern, and academic programs at Goldsmiths, UCL, CalArts, and Columbia University. Leonardo has influenced discourse around media art histories connected to Fluxus, Dada, Situationist International, and practitioners such as Nam June Paik and John Cage, and has been recognized by awards and honors linked to MacArthur Fellows Program, Turner Prize, and institutional exhibitions at Museum of Modern Art and Tate Modern.
Over its history Leonardo has published landmark contributions by authors and artists associated with Marshall McLuhan, Herbert Bayer, Roy Ascott, Ryoji Ikeda, Olafur Eliasson, Eduardo Kac, Stelarc, Paul Virilio, Man Ray, Brion Gysin, and collaborations involving NATO-funded research and projects exhibited at Venice Biennale and Documenta. Special issues have focused on themes coordinated with SIGGRAPH, ISEA International, Ars Electronica, and retrospectives for figures represented at Tate Modern and MoMA.
Category:Academic journals Category:Art and technology