Color Plates

COLOR PlATE A No.1. Serge Salat and Francoise Labbe, Aleph ti, mixed-media installation , 18 x 18 x 9 ft, Grand Palais, Paris, 1989. In this Fractal Cube, the system is enveloped in another system that is a system of systems, a meta-system, containing an inf"mityof entries, opening to an infinity of spaces that are themselves infinite, No.2. Kenneth Snelson, computer-goneratedstereo slide pairs, 1989. (a) Invasion of Cyclopropane. (b) C60 Soccer Ball Molecule. The double images of each of these stereo slide pairs can be seen as apparently threedimensional through "free fusion." To achieve stereopsis, the viewer holds the paired images about 1Y.! ft from the eyes and gazes at the image without actually focusing on it, almost as if viewing a distant planet. This should reveal not two but three frames, the center one being a combined overlay fusion of the two real pictures. The next step may not be so easy at rust, but it can be learned with practice: without permitting the central image to evaporate, one lets the eyes slowly focus on the central frame that combines both pictures. When successfully done, the reward will be rather magical-a vision of the scene in stereo without a stereo viewing device. No.1. Piotr Kowalski, Identity No.4, installation , 1974. Reprinted from ], C. Bailly, Piotr Kowalski, Monotype Series (Paris: Editions Hazan, 1988). (Photo: Sara Holt) In this work, the artist illnstrates the detachment from appearances that underlies any scientific undertaking by creating a connection between two tetrahedra, one light and one heavy. (See the article byJean-Marc LevyLeblond .) COLOR PlATE B No.2. JesUs R. Soto, Carre virtuel bleu, wood and metal, 122 x 122 em, 1979. No.3. Neva Setlow, At the Shore, acrylic painting, 30 x 30 in, 1992. The artist invites the viewer into a magical world of biological exploration through a free-floating interplay of organic forms. ...