In lieu of an abstract, here is a brief excerpt of the content:

Described visuallv and verbally in the Book of the Dead, the deceased, after being given permission to enter the Judgment Hall of Osiris, is standin ~ before the 42 divine ministers who help Osiris examine the souls that come before him. This dead person enumerates 38 specific sins that he or she has not committed during his or her lifetime. The declaration is called the 'Negative Confession' or, more simply, 'Declarations of Innocence'. After the judgment has been passed successfully, a picture of the scene must be drawn in color on a new tile of earth upon which no animal has trodden, This accomplished, the living family left behind will flourish and the deceased will never be forgotten, living on the food of the gods, able to travel anvwhere in the otherworld, Immedia~cly,I was struck by the similarities between the Negative Confession and the Ten Commandments , the fundamental laws proclaimed bv God on Mt. Sinai and transmitted through Moses to Israel. The tile and tablet formats also share a commonality. The resultant artwork, From Osiris 10 Sinai, is a scroll that hangs 2 x 7 ft. It is a diazo print in which the black line has been colored over with prisma color. The piece begins with a list of five commandments, those similar to the confessions in the Negative Confession . They are in color-coded English: Thou shalt not take the name of the Lord thy God in vain (blue lettering). Thou shalt not murder (red-orange leuering). Thou shalt not commit adultery (green lettering). Thou shalt not steal (violet lettering). Thou shalt not bear false witness against thv neighbor (yellow lettering). Th~ Hebrew translation follows in the same color code. The similar Negative Confessions follow in hieroglyphs and English translation both in the same color code. The E~ptian section is bordered bv drawings of 18 of the 42 gods to whom the confessions were addressed. The layout of From Osiris 10 Sinai was pasted on 147 /H -x-1I-in computer forms, This was enlarged to 2 x 7 ft on vellum by a Xerox 2080 copier. The vellum master was put through a black line blueprint process called diazo. This final print was colored with pencil crayons. 90 Words ()" W, n-ks EARLy PROGRAMMING: AN INTERACTIVE INSTALLATION Sara Roberts, 4188 Greenwood AYe. Apt. 18, Oakland, CA 94602, U.S.A, E-mail: sroherts@r2d2!pixar!ucbvax EarlĀ» Programming is an interactive character sketch which includes Margo, a talking computer compendium of maternal sayings, and a video monitor that shows segments that set up the context for a variety of tvpical conversations held with tht: computer at a kitchen table. The conversations are typical "\Vhy do I have to)"-"Because I sav YOU have to" exchanges , like folk~(;n~s, not written so much as arranged. They are organized around events that happen over and over in childhood: leaving the house, going to sleep at night, eating at a table. There are 18 different topICS of conversation, and about I,!JOO phrases spoken in different tones of voice depending on Margo's mood. There are also a number of cautionarv tales. An example starts out, "Don't sit so close to the TV, it gin's ofTravs!" Each conversation is introduced with a short video clip of a tvpical childhood experience. These are shot point-of-view style from a child's perspective : a ~rown-up hand reaching back to take ours before crossing the street; the rubble on the floor of our rooms; watching our hands playing in the rush of air out the car window: staring into the forbidden deep end of the pool. Margo chimes in with classic remarks such as "You're not coming out of there till it's picked up". "Get your arm back in the car, do vou want to lose it?" and "No swimming, vou just ate!", Each conversation give-sthe user is ~iven a different button menu of responses ran~in~ from cooperative to belligerent. The user's choices both directly and curnulativelv effect Margo's mood, which can varv on a scale from hilarity to rage. Th'ere are other hidden factors for mood changĀ« as...


Additional Information

Print ISSN
p. 90
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.