Color Plate

No.2. (right) Sonya Rapoport, Digital Mudra, installation, 1987. On the right is shown the 'glossary' of photographs of participants' gestures that have been overlaid with drawings of their corresponding Mudra gestures. On the left, under a photograph of philosopher Rabindranath Tagore, is the 'philosopher's computer'. No.3. (below left) Clifford Pickover, spherical lissajous f'1gurecreated using a graphics supercomputer. Its shape was generated with 9/'1' =0.5. No.4. (below right) M. C. Escher, original sketch from his letter to H. S. M. Coxeter (19 May 1964) in which he describes his method of printing SquDre Limitusing two triangular wood blocks (red and blue) rotated around point E (see Historical Perspectives article byJ.Taylor Hollist). (Cornelius Roosevelt Collection, National Gallery ofArt Library) COLOR PLATE A No.1. (left) Robert Emmett Mueller, untitled, watercolor on paper, 8 x 10 in, 1970s and 19805. The use of bold streaks of color set contrapuntally against delicate lines are the culmination of the noomimetic minimal art form that the artist calls 'schemas', a form that he has been evolving since 1951. COLOR PLATE B No.1. (above left) Karl Hagedorn, Magenta VISe, oil on canvas, 22 x 20 in, 1988. (Photo: Edward Peterson) This work is part of a series that uses stark imagery involving stylized profiles and face coverings, such as the visor, mask, casque and stele, Witha simplified color scheme of mostly red, black, white and gray. No.2. (above right) Edward Rankus,John Manning and Barbara Latham, still image from their videotape AlienNATlON, 1980.(Photo: Rich Du Casse) Each individual shot of this videotape was painstakingly constructed as a collage of multiple events (see General Article by Christine Tamblyn). The artists employed the Sandin Image Processor as a graphic design tool to combine images from up to six cameras; each camera contributed one layer to the denselywoven final output. No.3. (right) Norman Daly, Facsimileofa Wall Paintingat the Temple of Uuyab, Depictinga Rite, Middle Period, acryIic on gessoboard, 28 x 23 em. (Photo: Marion Wesp) This mural is thought by some Uhurosian scholars to portray the occasional archaism of the Middle Period. While the painting includes the traditional image of the stilt-walker, the use of the illusionistic devices of foreshortening and tonal gradations is typical of the latter part of the Middle Period. No.4. (left) DickA. Termes, ReflectingBack, acryIic paint on polycarbonate sphere, 17-in diameter, 1989. Six-point perspective painting of the interior ofAdams House, Deadwood, South Dakota. Here photographs of the sphere, from six different turning points, have been cut and assembled to show the total sphere on the flat. ...