Color Plates

COLORPLATE A No. 1. David Cranswick, ConshUcEingNature, metal rods,reflectivematerials, solax-lightsensor, weedmat and 600 river red gum trees, 50 x 50 m, 1991. Exhibitedat the Outdoor Sitescomponent of Perspecta '91 at the Wenington Campus of the UniversityofWestern Sydney (Australia).Reproduced by permission of the axtist. (SeeDevelopment through Imagesarticle by Adam Lucas.) No. 2. GabriellaPossum Nungurraye, Bush TuckerDreaming, acrylicpaint on stretched, primed linen, 104 x 144 cm. The painting is a symbolic representation of women's work in collectingfood and other materials for ceremonial purposes around the Mt. Wedge region of the Central Western Desert. (SeeDevelopmentthrough Imagesarticle by Adam Lucas.) No.1. Gloriana Davenport,Ryan Evans and Mark Halliday, Traino f Thought,still frame, digital video, 1993. In thispersonalizablemovie created with the Digital MicromovieOrchestrator, the viewer mediates between the “dream” and “reality” threads at any point in the story. T h i smovie concentrates on higherlevel story constructs, such as character development and chronologicalstorytelling. COLOR PLATEB No. 2. ArthurWoods, Voyuger,one in a series, acrylicon shaped canvas , 135 x 80 an,1981. Thisseries of paintingsapproached threedimensionalillusionon a two-dimensional surface. No.3. Survival Re~earch Labomtones , si3c-Legged RunningMudzine, 3 m (h)x 2.5 m (w), 400 kg, from the performance TheDeliberate Evolution ofa War Zone:A Parable of Disintegrationstagedat the SteirischerHerbst Festivalin Graz, Austria, 24 October 1992. Reproducedby permissionof Lesley Gladsjoand SRL. (SeeDevelopment tbrougbImagesarticle byAdam Lucas.) S p o n t u ~ S ~ I ...