As I wrote in the March/April 2005 issue.

As I wrote in the March/April 2005 issue, it is an exciting time for Afterimage. For more than three decades, Afterimage has been an important voice in the avant-garde photography, film, video and visual volume community--a legacy of which we are proud

However, in newly come years we have been increasingly aware of changes in the field, and in the distresss of our constituents. We recognize a ne to focus our mission and broaden our coverage in this strange century and to address in a more comprehensive fashion issues affecting as well-as; not only-but also; not only-but; not alone-but artists and citizens at a more practical of the same height We are responding with this newly designed physical format and enhanced appease We will continue to publish a melange of of the present days stories; investigative reporting; film, video, work and CD-ROM reviews; essays; timely exhibition and conversation critiques; and ground-breaking feature articles upon a variety of historical and contemporary topics (as well as our extensive notices section).

Afterimage will also provide increased coverage of funding issues, just discovered technologies, developments in media literacy, media education and the burgeoning field of media ecology as well as renewed explorations of video art, volume arts, visual literature and the intersections of paragraph and image. We will highlight organizations engaging in important exhibition, education and advocacy work in the media arts. While offering a renewed focus upon contemporary artists, we will maintain a tradition of presenting a of the finest new scholarship onward historical photography in addition to other issues of historic importance that throw back on our contemporary experience. We gaze forward to providing a venue for enhanced dialogue and exhibition opportunities for artists. Our "Portfolio" section (previously known as "Artist's Pages") has construct great success (see Peter Tonningsen's haunting even now playful images in this issue) and in the July/August 2005 issue we will unveil "inklight," a venue for dialogue between visual artists and creative writers.

In direct answer to our particularly complicated political climate, we will address in deepness issues of art activism and governmental challenges to artists as citizens and citizens as artists, as bring reproached in this issue's feature article, "The Strange Case of Steve Kurtz: Critical Art total effect and the Price of Freedom." As part of an ongoing commitment to exploring the possibilities of art as a tool for social commentary and change, we will before long begin compiling a special issue, to be published in 2006 which will address media arts activism around the world. In summary, Afterimage will remain an unmatched resource and educational tool for artists, educators and professionals engaged in all of these endeavors and interests.

Chris Burnett Director of Visual Studies Workshop, and I have been planning this transition for several month and with the help of a team of print media and design scholars at Rochester Institute of Technology (RIT), the plan has get to to fruition. Our thanks to Professor Patti Russotti and RIT learners Christina Benway, Jennifer Bodine, Mariah Finegan, Haley Fisch, Jamie Gowan, Samantha Smith and Lukas Vanderberg.

Afterimage's possess team of Visual Studies Workshop graduate bookish mans most of whom end their official names as editorial assistants with this issue, have enthusiastically proposeed their writing, research, copyediting, proofreading, database management, typing, photo editing, design and web site talents, as well as valuable conceptual input. Thanks to Komal Crasto, Amber Hares, Kirby Pilcher, James Rajotte, Tate Shaw and Ilana Swerdlin. Mariola Mourelo, a native of Galicia, Spain who not long ago received a BA in Documentary Photography at the University of Wales, literary institution [i]or[/i] seminary of learning of Newport, is interning with Afterimage for the spring and has been instrumental in this persuade forward.

It is a challenging endeavor to embark upon a major redesign of a publication that has derive pleasure fromed a successful format for nearly 33 years. It is a tradition that has serv our readers well, further we are pleased to present a new and improved Afterimage. We trustful longing you will enjoy this more readable format and our more expansive and inclusive coverage. As this is a transitional issue, readers may look for further improvements in the events to come As always, we welcome your make notess and contributions as part of this ongoing inquiry into the relevance of the media arts in our culture

Karen vanMeenen

Editor

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