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ENDNOTE© 2000 ISAST LEONARDO, Vol. 33, No. 3, pp. 237–238, 2000 237 De Profundus: Adumbrative Reflections? Leonardo was a man who designed war engines. He also anatomized, stripped The flesh from the body And saw the soul; made perspective From a flat sheet flex Round as a moving limb. Transmuted the past to the future In a credible flying device. He inspired a journal’s creation over four centuries later; A journal of fine art that grips The same universe as Leonardo And fills it with vigor. That covers the whole field of inquiry made possible with Modern scientific techniques. The art is new. The journal is Leonardo. Subscription is a solid chunk of man’s future. Thus in 1970 did the journal Leoanardo share its vision. This was hardly the first time such discourse of diverse disciplines was envisioned. Nearly a quarter century earlier, Nobel prize–winner for physics Richard Feynman and artist Jirayr Zorthian embarked upon a similar quest. Their idea was that since each admired Leonardo da Vinci for his mastery of so much of their respective fields of study, why not try teaching each other all they could to see if, between them, they “could produce two Leonardos”? Although the enterprise lasted almost a decade and provided much enlightenment for both of them, little documentation survives aside from a handful of drawings by Feynman. As one who has seen every page of each issue ever printed of Leonardo, I feel certain that whatever shape the contemplated changes to the printed journal and the web site ultimately take, the result will be—as always—serendipitously satisfying (especially since once the first three decades are made available on the Leonardo site, all will be able to see the evolution that has brought the publication to its present state). Other threads of this tapestry will also be apparent. The overarching quest for stimulating discussion from contemporary perspectives is but one facet of what has always been and, doubtless, will remain so compelling about the journal and its agenda. While Leonardo was among the first to provide a forum for the computer-aided Juxtaposition of Leonardo’s Self Portrait and Mona Lisa by Lillian Schwartz of Bell Laboratories , other “media friendly” projects that add little to the collaborative conversation —such as the massive sums of money spent by Bill Gates to purchase the Codex Hammer or the “completion” of Leonardo da Vinci’s Il Cavallo by sculptor Nina Akamu—are left to others. 238 Endnote The words of the master seem to offer fitting perspective: In order that this advantage which I am giving to man shall not be lost, I am setting out a way of proper printing and I beg you, my successors, not to allow avarice to induce you to leave the printing un . . . [left incomplete, mid-word by Leonardo da Vinci in 1519]. RICHARD KADE Xerox Corporation 3400 Hillview Avenue Palo Alto CA 94304-1346, U.S.A. E-mail: . ...

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Additional Information

ISSN
1530-9282
Print ISSN
0024-094X
Pages
pp. 237-238
Launched on MUSE
2017-01-04
Open Access
No
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