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30 Years of Leonardo Music Journal

30 Years of Leonardo Music Journal e d i to r’s n ot e You hold in Your hands —or, more likely, are read- answer became clear: er Th e is no meaningful reason that ing on a screen—the thirtieth and final volume of Leo­ music and sound art need to be die ff rentiated from the nardo Music Journal. I am writing in September 2020 from visual art and practice published in the flagship Leonardo a workspace carved out of a corner of my dining room in journal. And so, in keeping with our mission of tran- Oakland, California. We are in our sixth month of social scending disciplines, I am pleased to announce that the distancing made necessary by the COVID-19 virus. In the type of innovation and groundbreaking work that we have United States, we are in the midst of an intense presiden- featured in LMJ for 30 years will now have greater vis- tial election season. Massive wildfires are raging all along ibility through yearlong inclusion in Leonardo journal, the West Coast. Locally, nationally and internationally, which, in 2021, will expand its publication from v fi e to people are rising up in a reinvigorated civil rights move- six issues annually. ment fighting for racial justice. In this space, I acknowledge and give gratitude to the We are living in a strange, disconcerting and turbulent many people who have contributed their time and talent time in which it seems like everything is changing all at to the success of this journal: Nic Collins, for 20 years once, and not to acknowledge it would be to only tell part of stewardship; founding editor Larry Polansky; former of this story. For what we are learning through the chaos Leonardo director and managing editor Patricia Bentson; brought by pandemic, environmental devastation, racial Tom Erbe, for mastering and engineering each year’s Au- reckonings and divisive politics is that the connections, dio Companion; and every artist, writer, sta ff editor, guest communication and collaboration that are central to editor, editorial board member, peer reviewer, researcher, Leonardo’s mission are the most critical values to nurture academic and curator who contributed to this journal’s and uphold. success. And you, dear reader. When longtime LMJ Editor-in-Chief Nic Collins re- This is a year of radical transformation in the way we tired from his position in 2017, I had only recently joined work, live, love and make our way through our world. the Leonardo organization. Nic’s leadership and vision When we went into quarantine and the doors to our insti- had driven the music journal for 20 years. In the Leo- tutions closed, we felt cut off from our communities. But nardo Publications Committee along with Executive Edi- we have learned new ways of living and loving, connecting tor Roger Malina and Chair Darlene Tong, we deliberated: and collaborating. And so it is with LMJ—this n fi al issue is Do we n fi d a new EIC? Do we return to a strategy in which not a closure. It is an opportunity to transcend disciplines, each volume of LMJ is edited by a die ff rent member of increase dissemination of interdisciplinary excellence and the editorial board? Do we retire the journal and, with participate in the radical transformations of art, science, that, dissemination of music and sound art? None of these technology and humanity. ideas felt right. The impending thirtieth volume of LMJ gave us a ERICA HRUBy deadline of sorts—if we were to retire the title, 30 is a Managing Editor, Leonardo Publications nice round number to land on. In the spirit of Leonardo’s Email: editor@leonardo.info fearless boundary-breaking and dismantling of silos, the ii LEONARDO music jOuRNAL, Vol. 30, p. ii, 2020 https://doi.org/10.1162/leon_e_01109 ©2020 isAsT http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

30 Years of Leonardo Music Journal

Leonardo Music Journal , Volume 30: 1 – Dec 1, 2020

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Publisher
MIT Press
Copyright
Copyright © MIT Press
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/lmj_e_01109
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Abstract

e d i to r’s n ot e You hold in Your hands —or, more likely, are read- answer became clear: er Th e is no meaningful reason that ing on a screen—the thirtieth and final volume of Leo­ music and sound art need to be die ff rentiated from the nardo Music Journal. I am writing in September 2020 from visual art and practice published in the flagship Leonardo a workspace carved out of a corner of my dining room in journal. And so, in keeping with our mission of tran- Oakland, California. We are in our sixth month of social scending disciplines, I am pleased to announce that the distancing made necessary by the COVID-19 virus. In the type of innovation and groundbreaking work that we have United States, we are in the midst of an intense presiden- featured in LMJ for 30 years will now have greater vis- tial election season. Massive wildfires are raging all along ibility through yearlong inclusion in Leonardo journal, the West Coast. Locally, nationally and internationally, which, in 2021, will expand its publication from v fi e to people are rising up in a reinvigorated civil rights move- six issues annually. ment fighting for racial justice. In this space, I acknowledge and give gratitude to the We are living in a strange, disconcerting and turbulent many people who have contributed their time and talent time in which it seems like everything is changing all at to the success of this journal: Nic Collins, for 20 years once, and not to acknowledge it would be to only tell part of stewardship; founding editor Larry Polansky; former of this story. For what we are learning through the chaos Leonardo director and managing editor Patricia Bentson; brought by pandemic, environmental devastation, racial Tom Erbe, for mastering and engineering each year’s Au- reckonings and divisive politics is that the connections, dio Companion; and every artist, writer, sta ff editor, guest communication and collaboration that are central to editor, editorial board member, peer reviewer, researcher, Leonardo’s mission are the most critical values to nurture academic and curator who contributed to this journal’s and uphold. success. And you, dear reader. When longtime LMJ Editor-in-Chief Nic Collins re- This is a year of radical transformation in the way we tired from his position in 2017, I had only recently joined work, live, love and make our way through our world. the Leonardo organization. Nic’s leadership and vision When we went into quarantine and the doors to our insti- had driven the music journal for 20 years. In the Leo- tutions closed, we felt cut off from our communities. But nardo Publications Committee along with Executive Edi- we have learned new ways of living and loving, connecting tor Roger Malina and Chair Darlene Tong, we deliberated: and collaborating. And so it is with LMJ—this n fi al issue is Do we n fi d a new EIC? Do we return to a strategy in which not a closure. It is an opportunity to transcend disciplines, each volume of LMJ is edited by a die ff rent member of increase dissemination of interdisciplinary excellence and the editorial board? Do we retire the journal and, with participate in the radical transformations of art, science, that, dissemination of music and sound art? None of these technology and humanity. ideas felt right. The impending thirtieth volume of LMJ gave us a ERICA HRUBy deadline of sorts—if we were to retire the title, 30 is a Managing Editor, Leonardo Publications nice round number to land on. In the spirit of Leonardo’s Email: editor@leonardo.info fearless boundary-breaking and dismantling of silos, the ii LEONARDO music jOuRNAL, Vol. 30, p. ii, 2020 https://doi.org/10.1162/leon_e_01109 ©2020 isAsT

Journal

Leonardo Music JournalMIT Press

Published: Dec 1, 2020

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