Plate

CoLOR PLATE A No. I. (above left) Zhao YlXiong, Olinese hlamic Woman, oil on canvas, 54 x 54 em, 1983. Islamic women living in Gansu Corridor can spin cotton, linen and silk, using original spins. The painting shows a woman veiled in black, spinning at Jincheng Guan. Behind her is the Yellow RWer and a newly built mosque. No.2. (above right) GottfriedJiiger, Selection, aquarelle, 60 x 60 em, 1977. A repertoire of signs ofvarious forms and colors that is part of the multimedia project GameStrategies(see Artists' Note by Holzhauser,Jiiger and Steffens). . No.3. (below right) Transposing music into painting . FlI"St six bars of Chopin's Valse, op. 69, no. 2, notation and painting. A bar has a length on the basic line, and distances for transposing·notes are taken perpendicularly to this line. For the left hand, the basic line has a regular shape (it beats out the rhythm). For the right hand, the basic line is distinct: it is convex for the bars 1, 3 and 5 (expressions of the melody) and concave for bars 2 and 4 (see Sound, Music, Science and Technology by Pierre Y. Karinthi). No.4. (below left) Kenneth Martin, Ouuu:e, Order, Oumge (Three Colours), 68 x 68 em, screen print, 1982 (see General Article byJeffrey Steele). COLOR PLATE B No. 1. (left) Christine Christos, Tulip and Flame,etching/silkscreen, 56.5 x 74.9 em, 1990. This image was created through the use of dry copier toners bonded to mylar, which was then used to expose the image on a light-sensitive plate. Spray aquatint was used on the plate to retain tones (see Artists' Article by Nik Semenoff and Christine Christos). No.2. (right) Positron Emission Tomography (PET) images of the brains of normal subjects performing different types of tasks. The images show the rate of glucose consumption (energy utilization ) by the different structures of the human brain (see Technical Article by Stephen Wtlson). (Photo courtesy of Michael E. Phelps andJohn C. Mazziotta, UClA School of Medicine, Los Angeles, CA) No.3. (left) Mike King, SculptorScene, computer graphics, 1989. This rendering was done with the specialized software and hardware needed for high-resolution rendering, using multiple light-sources and marble texturing. Attractions of the Sculptor system include the seamlessjoining of volumes, the ability to 'paint' in 3D, and the 'release' from gravity of apparently massive forms. (Photo: Ian Curington) No.4. (left) Dora Feilane, La C1Iimire de Saozi,dance performance. This work creates a colorful dream world by combining the projected imagery of the painter Saozi with the choreographed movements of five dancers. (Photo: Marc Venet) ...