Color Plates

Color Plate A

No. 1.

(a) Schematic icons composing the Symbolic Pointillist image. (b) Symbolic Pointillist image. (c) Original image, "Sunflower." (d) Paul Signac, Barques de Pêche à Marseilles, oil, 18 x 23½ in, no date, from the collection of the Wyoming Art Museum, a gift of Dr. and Mrs. Theodore Leshner. (e) The impression of color arises in pointillist paintings, and also in Symbolic Pointillist images, from the fact that the optical blurring of the eye leads to a merging of adjacent dots when viewed from a distance. (f) Magnification of the Symbolic Pointillist image in (b), where the last step depicts the schematic representation of a primitive. The functional aspects covered by the small icons inside are explained in (c). This is meant to be similar to the information captured by a cortical hyper-column (see Norbert Krüger and Florentin Wörgötter, "Symbolic Pointillism," Fig. 2). Grouping processes are depicted by linking the small orientation markers to elongated lines. See article by Norbert Krüger and Florentin Wörgötter.

© Norbert Krüger Photo © Helen MacGregor

No. 2.

Two Symbolic Pointillist images: Bunch of Marguerites (2004) and Baboon (2004). See article by Norbert Krüger and Florentin Wörgötter.

© Norbert Krüger

Color Plate B

Three still video captures from live performances with Yacov Sharir (circa 2000-2002). See article by Julio Bermúdez et al.

© Julio Bermúdez and Jim Agutter

Color Plate C

No. 1.

(a) Cardiovascular Data Display. (b) Pulmonary Data Display. (c) Drug Data Display. See article by Julio Bermúdez et al.

© Julio Bermúdez and Jim Agutter

No. 2.

CROMDI's visualization system for displaying physiologic data in real time. The spherical object represents cardiac variables: stroke volume, cardiac output and heart rate. Deformations from normal spherical shape show non-optimal efficiency of a heartbeat. The "curtain" object (in the background, most visible in 3D view) integrates respiratory variables. By incorporating color to depict arterial oxygen saturation into the spherical object, there is achieved an immediate perceptual realization of the state of both essential physiologic functions. Compare to contemporary display shown in Fig. 1. of article by Julio Bermúdez et al.

© Julio Bermúdez and Jim Agutter

Color Plate D

No. 1.

Leo Contini, Lovers at Moon, anasculpture, from 3½ D's canon eponymous painting, oil painting on cut-out copper plate, within fiberglass cast shell, 12.5 × 18 × 5 in, 2003. In order to enhance the contrast between painted surface and lacunae, the two cut-out copper plates (lovers, moon) were placed over a hollow, black background, the "anasculpture" obtaining thereupon its optimal plastic rendering.

© Leo Contini

No. 2.

Wayne Dunkley, the degradation & removal of the/a black male, 2000, Book 1 of 6. Visitor-submitted stories integrated with photo documentation of community poster intervention.

© Wayne Dunkley

Color Plate E

No. 1.

Ruth West et al., Ecce Homology at the UCLA Fowler Museum. Gallery visitors interact with the installation within the From the Verandah gallery.

© Ruth West

No. 2.

Rebecca Allen, The Bush Soul #3. This image is from the installation, showing the bush soul as it enters the body of an artificial life form.

© Rebecca Allen

Color Plate F

No. 1.

Greg Niemeyer, PING, an installation at Biennale, La Villette Numérique, Paris, 2004. The artist re-created the installation from an earlier exhibition in San Francisco, adapting the piece to the Paris setting.

© Greg Niemeyer

No. 2.

NOX, V2_Lab, 1998. The renovation of the V2_Lab by NOX Architects was developed in its entirety with animation software, allowing for a non-linear and time-dependent architecture. It represents an example of metadesign...