International Aspects of Leonardo

Leonardo, Vol. 17, No. I, pp. 1-2, 1984. Printed in Great Britain. EDITORIAL INTERNATIONAL ASPECTS OF LEONARDO 0024-094X/84 $3.00+0.00 Pergamon Press Ltd. One ofLeonardo's aims is to provide an international forum for artists. National boundaries, like the boundaries between art and science, need not limit discussion of the work of contemporary artists. Yet most dialogue in the arts is carried out on a local, even parochial, level. Surprisingly, in a world made smaller by mass communication, there are few international publications serving artists. This may not limit the well-being of the arts in a local context, but we believe that a cross-cultural perspective is increasingly important to many artistic activities. Achieving an international dialogue through Leonardo will serve not only the needs of artists but also the broader goal of furthering international cooperation and understanding. In addressing these goals we confront a number of issues. Three major issues that warrant discussion here are the varying strengths of cultural traditions, political differences and economic and technological disparities, and the problem of language barriers. All of these issues have varying effects on the concerns ofartists in different areas ofthe world. While it is sometimes said that the arts are an international language, in fact this can be true in the largest sense only if these issues are appreciated and understood. Some societies have ancient, deeply embedded traditions which dominate artistic expression. In other cultures, artistic pursuits are carried out with less dependence on tradition. In either case, artists have the important role of defining, preserving and extending local cultural and ethnic identity. Leonardo does not seek to promote a homogeneous world culture, but rather to mirror and help shape the arts internationally. We seek to report artistic activity regardless of the role of tradition. However, we believe that expressions of a rich common culture do occur where artists work at points of fusion of art, science and technology. We have a special interest in reporting on these activities. Politics and economics limit artists' access to information as well as their opportunities to communicate ideas to a world audience. All political systems influence the flow and nature of public information; economics determine local standards of living, which in turn affect education, particularly in the contemporary arts as well as in science and technology. The resulting differences in access to information are often more crucial than national boundaries. A related concern is the relative dominance of certain types of 'international art', particularly the more popular and commercial forms disseminated through the mass media. Often this art is seen as 'Western' by much ofthe non-Western world and isviewed as destroying rather than incorporating local culture. To face all of these issues, Leonardo covers a broad range of subjects that may sometimes seem esoteric or eclectic. In doing so, we believe the Journal will point out cultural similarities as well as differences. We anticipate, as a result, that the Journal will not be controversy free. The effectiveness of any journal depends, of course, on the clarity of its language. English, the language of Leonardo, is not familiar to all our authors and readers, although it is one of the more widely used languages. For now, the limitation is an economic one and the Editors recognize its disadvantages. We continue to look for new means to review manuscripts written in other languages and to obtain funding for translation. We encourage artists published in Leonardo to authorize reprinting and translation of their articles in other journals. As indicated in a previous editorial on the economics of the Journal (Leonardo 16, 257 (1983)), the Journal is patterned in part on international scientific and technical journals. However, art and science interact differently with their respective cultures and histories. We find it instructive to consider the above three issues in light ofthis. Some artists traditionally have restricted their concerns to their indigenous cultures, and artists can stilI legitimately do so; scientists, however, must participate in an international culture. Regarding history, artists are immediately involved with the actual work of their predecessors-they study and often recapitulate it, and its current validity is continually reinforced by the marketplace and museum. Scientists, by...