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  • Color Plate

Color Plate A

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No. 1. Roger Hiorns, Seizure, multimedia installation, 2008. Hiorns created an apartment lined with crystals. The exhibition has been extremely popular.

(© Artangel. Photo: Nick Cobbing.) (See article by Mark Cheetham in this issue.)

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No. 2. David Altmejd, The Index, multimedia sculpture, 333 × 1297 × 923 cm, 2007. Art Gallery of Ontario, Toronto. Detail.

(© David Altmejd) (See article by Mark Cheetham in this issue.) [End Page 235]

Color Plate B

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No. 1. Gert van Tonder, pseudo-color representation of computational results, derived using a retinal cone model (See Reference [13] of Gert van Tonder's article in this issue), for (a) vertical translation, (b) rotation and (c) scaling of Bridget Riley's Fall. High to low contrast scales from blue to red, respectively. In each case, distinct contrast loci appear as (blue) high contrast ribbons on a (red) background of low contrast. Cross-hair figures indicate modeled centers of rotation and scaling.

(© Gert van Tonder)

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No. 2. Gert van Tonder, spatial distribution of painted line width in Bridget Riley's Fall. Purple indicates locations where white lines exceed the average width of white lines by at least 5%. Orange indicates similar results for black lines. Black denotes locations of no significant deviation. Note that the canvas is divided into a central band of thicker dark lines flanked by regions of mixed line dominance. Line width was measured along the medial axis per line, quantified as the radius of the largest inscribed disc per location. Since the composition consists of horizontally displaced elements, line width values were processed along horizontal rows. Here, it constituted smoothing over four nearest neighbors and normalizing per horizontal line.

(© Gert van Tonder) [End Page 236]

Color Plate C

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Lynn Hershman Leeson, Global Mind Radar/Reader (An Emotional Barometer) (with Colin Klingman), original software, projection, Internet, 17 × 17 × 17 in, 2007.

(© Lynn Hershman Leeson) [End Page 237]

Color Plate D

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Danqing Shi, Cinderella Lunar Mission, a player in action, at Interactive Multimedia Exposition NYC, September 2009. (© Danqing Shi) The game demo of Cinderella Lunar Mission was installed in a local network. In the picture, a player controls his avatar to search on the moon. [End Page 238]

Color Plate E

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Anne-Laure Fayard and Aileen Wilson, building_spac view of the tag wall with visitors in the center.

(© Anne-Laure Fayard and Aileen Wilson. Photo © Diana Pau.) [End Page 239]

Color Plate F

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Sunday R. Ogunduyile, traditionally handcrafted textiles, 2008.

(© S.R. Ogunduyile) (See article by I.B. Kashim and O.S. Adelabu in this issue.) [End Page 240]

Color Plate G

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Roman Verostko, Pathway Series, Bird 2, algorithmic drawing with ink pens and oriental brush with artist's seal, Ké Reng Meng, 39.5 × 24 in, 1990. Victoria & Albert Museum Collection, London. Image courtesy of the artist.

(© Roman Verostko) [End Page 241]

Color Plate H

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No. 1. Greg Lynn's Embryological House in six of its key iterations (Houses "A" to "F"). There was no single version of the House. Instead there were a potentially infinite number of mutations of one basic form, the "primitive."

(© Greg Lynn) (See article by Bird and LaBelle in this issue.)

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No. 2. Digital modeling was used to produce physical outputs of Greg Lynn's Embryological House: ABS (thermoplastic) model.

(© Greg Lynn) (See article by Bird and LaBelle in this issue.) [End Page 242]

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Additional Information

ISSN
1530-9282
Print ISSN
0024-094X
Pages
pp. 235-242
Launched on MUSE
2010-06-11
Open Access
No
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