Illustrations

No. 1. Top left. Dale Eldred. Sun Structures + Time Incident, lightwork executed at the Nelson-Atkins Museum of Art, Kansas City, MO, 1979. The photograph shows the spectrum reflected on the floor of Kirkwood Hall. Eldred planned a floating, slightly elevated diffraction surface 60 feet long and 40 feet wide. (See Conference Report: "New Technologies of Art—Where Art and Science Meet.") No. 2. Top right. Michael Hayden. Metastasis, lightwork constructed from holographic material, 1984, shown here at Preview Pavillion, Expo '86, Vancouver, B.C., Canada. Each of 25 units contains two light elements that are computer controlled. Changes are accompanied by a recordedsound score. (See Conference Report: "New Technologies of Art—Where Art and Science Meet.") No. 3. Center left. James Malenda. Color/Animated Series, enamel, copper, nickel and paint, average size 12X6X18 in, 1982. (Photo: Mark Arrigoni.) A strong visual element in these pieces was the transitional area which bridged color/form to color/form. The multipositioning became obscure by the exaggerated gestural qualities of the forms. No. 4. Center right. Alexandre Vitkine. Peeling, electronically generated color image, 1981. Two black-and-white half-tone photographs were taken of two images on the screen. These image used the same onion-shaped sweep but different video signals. The two images were then enlarged on color paper by the successive use of the two photographs and orange or red filters. No. 5. Bottom. Richard Kostelanetz. Antitheses, a two-sided transmission hologram, 12 X 18 in, 1985. (Left) "Cold" side, strong general view with all levels visible. (Right) "Warm" side, with front words most visible. ...