Color Plates
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Color Plates

Color Plate A

No. 1. Antoinette LaFarge and Robert Allen, scene from The Roman Forum Project. Cicero ( John Mellies) tries to understand what has happened to the Roman Republic since his death in 43 : "Isn't Nero a Republican?" Projected behind him in this scene is a montage of iconic images referring to recent history.
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No. 1.

Antoinette LaFarge and Robert Allen, scene from The Roman Forum Project. Cicero ( John Mellies) tries to understand what has happened to the Roman Republic since his death in 43 B.C.: "Isn't Nero a Republican?" Projected behind him in this scene is a montage of iconic images referring to recent history.

© Antoinette LaFarge and Robert Allen

No. 2. Antoinette LaFarge and Robert Allen, scene from The Roman Forum Project. In "Apologizing for Everything," Quintus (Alan Goodson) performed in front of a green screen, and his video image was mixed with altered footage from President Bush's 2003 State of the Union Address. The audience (visible here in the foreground) sees Quintus's image superimposed on Bush's like a ghost or a Day of the Dead mask, and this mix makes visible the multiple layers of impersonation: a fictionalized Roman actor (Quintus) playing the president of the United States as he makes a fictitious video will.
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No. 2.

Antoinette LaFarge and Robert Allen, scene from The Roman Forum Project. In "Apologizing for Everything," Quintus (Alan Goodson) performed in front of a green screen, and his video image was mixed with altered footage from President Bush's 2003 State of the Union Address. The audience (visible here in the foreground) sees Quintus's image superimposed on Bush's like a ghost or a Day of the Dead mask, and this mix makes visible the multiple layers of impersonation: a fictionalized Roman actor (Quintus) playing the president of the United States as he makes a fictitious video will.

© Antoinette LaFarge and Robert Allen

[End Page 219]

Color Plate B

No. 1. Jane Quon, We Engage with Invisible Tides . . . The project, located at Waterman's Dock in Hobart, Australia, sought to foster an awareness of the Derwent River's ecologically crucial microfauna. The semi-permanent sculptural installation was partially or fully submerged (depending on the tides).
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No. 1.

Jane Quon, We Engage with Invisible Tides . . . The project, located at Waterman's Dock in Hobart, Australia, sought to foster an awareness of the Derwent River's ecologically crucial microfauna. The semi-permanent sculptural installation was partially or fully submerged (depending on the tides).

© Jane Quon

No. 2. Lynn Hershman, Ruby 2, artificial intelligence bot, 2004. Ruby's memory is shaped by interactions with users. She converses with them, remembers their questions and names and has moods corresponding to whether or not she likes them.
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No. 2.

Lynn Hershman, Ruby 2, artificial intelligence bot, 2004. Ruby's memory is shaped by interactions with users. She converses with them, remembers their questions and names and has moods corresponding to whether or not she likes them.

© Lynn Hershman

[End Page 220]

Color Plate C

No. 1. Mouchette's self-portrait made with a flatbed scanner.
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No. 1.

Mouchette's self-portrait made with a flatbed scanner.

© Mouchette

No. 2. Cheryl Akner Koler, Twisted Curvature surrounded by Point Cloud Projection of TC Circular Installation, 2 m × 2 m × 1.7 m, 2002. A point cloud is a digital technology based on scanning physical models and translating the information derived from the surface of the model to points in a virtual spatial matrix. Each point correlates directly to a coordinate on the model.
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No. 2.

Cheryl Akner Koler, Twisted Curvature surrounded by Point Cloud Projection of TC Circular Installation, 2 m × 2 m × 1.7 m, 2002. A point cloud is a digital technology based on scanning physical models and translating the information derived from the surface of the model to points in a virtual spatial matrix. Each point correlates directly to a coordinate on the model.

© Cheryl Akner Koler. Photo © Åke Sandström

[End Page 221]

Color Plate D

No. 1. Bahman Kalantari. A polynomiograph based on levels of convergence corresponding to a degree 36 polynomial, the same polynomial used to create Kalantari Fig. 4.
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No. 1.

Bahman Kalantari. A polynomiograph based on levels of convergence corresponding to a degree 36 polynomial, the same polynomial used to create Kalantari Fig. 4.

© Bahman Kalantari

No. 2. Lillian F. Schwartz, Brain, 2003. (In memory of R.G. Feldman, M.D.) Schwartz used the technique of polynomiography, described by Bahman Kalantari on pp. 233-238, to create this piece.
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No. 2.

Lillian F. Schwartz, Brain, 2003. (In memory of R.G. Feldman, M.D.) Schwartz used the technique of polynomiography, described by Bahman Kalantari on pp. 233-238, to create this piece.

© Lillian F. Schwartz

[End Page 222]

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