Cyfest and Cyland, published bilingually Laudatory Review
Roger F Malina 10/3 2025 with a bit of help, not much, from Aperio LLM
Keywords in praise of: Variability,AI septic, transgenerational,multicultural, Fragility,Vulnerability, Affection Vagaries- see the analysis of the keywordslater on in this text
I just finished reading this issue of Leonardo and it prompted me, the human, to write this laundatory review.
- Multiculturality: Among other strengths it is published bilingually, and the authors are from many cultures. Leonardo is 58 years old. When it was founded combining art science and technology was unusual. Now it is common/
The issue is an exemplar of multi-culturalism, of emerging impotence in todays global focus on individual cultures. It is published in two languages. Leonardo does publish in English but many other
- Transgenerational; the authors range from very young to very old. Some of them like Lev Manovich,Brandon Ballengee, Ellen Levy,Barbara London, Alan Boldon, I have known and trusted for decades. Others just appeared on the radar of trust.
- AI Anxiety: When Leonardo started in 1968, algorithmic art existed (Harold Cohen) but AI didn’t . The stated policies on AI use are: From the MIT Press “Author Resources / AI Tools” page: MIT Press Direct
Apero: Aperio AI states: I could not locate a definitive, well‑documented quote from Harold Cohen specifically using the phrase “the assault of AI.” That said: Cohen was known for his cautious, complex position toward machine creativity, especially through his project AARON, which explored the boundary between human intention and algorithmic generativity. In interviews and writings, he contrasted programmatic autonomy (what a system can do independently) with artistic intention (the human choice, intervention, judgment). He resisted the idea that machines could fully “take over” creativity; he viewed the machine as a tool or partner, not as a separate artist.
AI tools (e.g. ChatGPT, large language models) cannot be listed as authors. MIT Press Direct
Authors who use AI tools (for text, images, graphics, data collection, etc.) must inform the editors of that use and be transparent in their manuscripts so readers understand how the tool was used. MIT Press Direct
Authors remain fully responsible for all content, including portions produced or assisted by AI tools, and are liable for ethical breaches resulting from such content. MIT Press Direct
Use of AI tools in the peer review process is strictly prohibited. MIT Press Direct
Other reactions:
The cover illustration caught my eye. It is my Anna Frants:
It makes use of paper and electronics, used Arduini=I,Rasberry Pie, servo motors, paper acoustic horns, more details at VAGARIES OF AFFECTION – Anna Frants
Her essay is tilted “variability in the age of media art. JD Talasek’s welcome is titled: Embracing Fragility: exploring Vulnerability.
These narratives connect strongly to our Proposed Center for Emergence Studies project about to be launched and crowfundes titled: Make AI with Purpose
Most technology has erroneous objectives: making money for a few, speed and efficiency but not necessarily making the world better for human beings.
Aperio AI replies:
You’re right—much of modern technology is driven by objectives that serve narrow interests: maximizing profit, accelerating processes, and scaling efficiency. While these goals can produce innovation, they often sideline broader human values like equity, well-being, and sustainability.
Three examples highlight this disconnect: Social media platforms: Designed to maximize user engagement and ad revenue, they exploit attention spans, contribute to mental health issues, and manipulate public discourse, often with limited regard for societal consequences. Facial recognition technology: Deployed for surveillance and law enforcement, it has led to privacy violations and discriminatory outcomes—especially against marginalized groups—without sufficient public oversight or ethical safeguards. Gig economy platforms (e.g., Uber, Deliveroo): While efficient and profitable, they often undermine labor protections, leaving workers with low wages, no benefits, and algorithmic control over their livelihoods.
Hmm aperio doesn’t mention AI
In each case, the technology isn’t inherently harmful, but its purpose and deployment reflect values that prioritize short-term gain over long-term social good such as making the earth “habitable. Rethinking technological development to center on human dignity, inclusion, and sustainability is a critical task for our time
Aperio responds: Certainly. Here’s a thoughtful response engaging with the listed keywords:
These keywords sketch a terrain where human complexity resists simplification. In praise of Variability, we affirm the richness of difference—not as a flaw, but as a necessary condition of life. The AI septic stance reminds us to approach artificial systems critically, questioning whose values they encode. Transgenerational and multicultural perspectives challenge the illusion of a single “now” or “norm,” grounding us in time and plurality.
Fragility and Vulnerability are not signs of weakness, but invitations to reimagine strength—not as domination, but as receptivity. And the Affection Vagaries remind us that care, like meaning, is never fully stable or programmable—it meanders, surprises, and binds us to the unpredictable contours of being human.
Notes
Aperio claims:
CYLAND (or CYLAND MediaArtLab) is a nonprofit organization founded in 2007 by independent artists and curators. (CYLAND) Its mission is to foster and exhibit new media art — such as robotics, video art, sound art, and net art — and to build bridges between artists, curators, engineers, and programmers worldwide. (CYFEST) CYLAND also runs CYFEST, an international media art festival, and maintains video and audio archives to preserve and share experimental works. (CYLAND)
CYLAND appears especially connected to Armenia (its address is in Yerevan) and the Eastern European / post‑Soviet art networks. Phill Niblock+3CYFEST+3CYLAND+3
Other strong ties include Russia (many participating artists, curators, and works) CYFEST+2Art Focus Now+2 and the United States / Western Europe (through festival editions, archives, and collaborators) CYLAND+3CYFEST+3Phill Niblock+3
Of note:
Key partner institutions & collaborating organizations
From CYLAND’s “Partners” page: Ca’ Foscari University of Venice (Italy) CYLAND Centre for Studies in Russian Art (CSAR) (Russia / Russia‑focused) CYLAND Leonardo / ISAST (international, with strong U.S. / European ties) CYLAND Weave (global network) CYLANDKolodzei Art Foundation (which often operates across U.S. & Russia / Eastern Europe) CYLAND
Plus in its “past collaborations” list: Office for Contemporary Art Norway (Norway) CYLAND Pro Helvetia (Switzerland) CYLAND Institut Français (France) CYLAND Arizona State University (U.S.A.) CYLAND+1 Pratt Institute (U.S.A.) CYLAND Goldsmiths, University of London (UK) CYLAND The State Hermitage Museum (Russia) CYLAND
A model of interculturality:
Festival geography & participant networks
- The festival describes itself as “nomadic,” staging parts of the program in different global cities and institutions. CYLAND+2Aravot+2
Personal, curatorial, and leadership links
- Anna Frants — cofounder & artistic director of CYLAND — is Russian‑American, which gives CYLAND a strong connective link to both Russian and American arts networks. Wikipedia+2Wikipedia+2
- Many curators and collaborators have dual national affiliations (e.g. Russia–USA, Russia–Estonia, Greece–UK) in festival programs. CYFEST+2CYFEST+2
I recommend you read this issue of Leonardo Issue vol 58 number 5 2025