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  • Color Plates

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Color Plate A.

Caleb Larsen, The Complete Works of William Shakespeare, 2008 (detail).

(© Caleb Larsen) See article by Roberto Simanowski.

[End Page 123]


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Color Plate B.

Chris Lowry, Dermot McMeel, Chris Speed and Mark Wright, Digital Explorations in Architectural Urban Analysis, 2008. GPS data superimposed over map of Dundee, Scotland. Socio/spatial activity of 17 students from the Edinburgh College of Art, as they explore "downtown" Dundee, Scotland.

(© Chris Lowry, Dermot McMeel, Chris Speed and Mark Wright. Base map: Crown copyright Ordnance Survey. All rights reserved.) See article by Chris Speed.

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Color Plate C.

No. 1. Zoï Kapoula et al., eye scanning of the painting for the total 30-sec period during which the painting was present on the screen. Lines connect successive fixations following saccades; only saccades larger than 1° were considered. Colors of lines connecting successive fixations have also been assigned by the analysis software as follows: The lines are red if fixation occurs after the saccade beyond or exactly at the range between 50 and 800 ms; blue lines are used when the fixation is in the painting area. After 30 sec of free exploration, each subject was instructed to fixate successively the four corners of the painting.

(© Zoï Kapoula)


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No. 2. Steve DiPaola, detailed crops of two of the painterly rendered portraits, showing the regions of textural variation (outlined in blue circles only for purposes of illustration; circles were not shown to participants).

(© Steve DiPaola)

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Color Plate D.

Michael Shaw, INF5, fluorescent ripstop fabric, fan, digital timer, 2008. A kinetic sculpture that cyclically inflates and deflates over 12 minute cycles, captured during its inflation cycle at various times and positions.

(© Michael Shaw)

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Color Plate E.

Christina McPhee, Strike, photomontage, chromogenic print, 84 × 40 in, 2005.

(© Christina McPhee) A seismic moment at Soda Lake, California, captured in the layering of seismic data with visual records of the landscape. See article by Ella Mudie.

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