Image Plate

No.2. (right) Frederic Chorda, color computer simulation of the princess and her maids in Las Meninas, by Vehizquez. Through this kind of simulation we can analyze the creative decisions of the painter, including the interaction of colors: the blue stands out against the brown background, increasing the effect of three-dimensionality, and touches of red bring the hands, the most prominent parts of the bodies, nearer to the viewer. COLOR PLATE A No. I. (left) David Hall, Implement, pyrotechnicaI performance, Pennsylvania State University, University Park, 20 April 1990. (Photo: Cindy Morrison) No.3. Jacques Mandelbrojt, Sequence ofColurs, oil on canvas, 73 x 195 em, 1989. COLOR PLATE B No.1. (left to right, top to bottom)John Whitney, Sr., sequence of eight sample frames from a computer-graphics composition representing steps in a dynamic process. Order dissolves to disorder and then resolves to a different order. This presents a visual metaphor for the consonances and dissonances and for the resolutions common to musical experience. The action-like a musical f"Jg1JJ'lltio~fersto nothing external to itself. About one second of such figurative action transpired between each frame in this illustration. No.2. (left) Sally Pryor, Thinking If Myselfas a Computer, inkjet print, 1989 (from a photo of the artist by Claire Thompson). No.3. (below) Stelarc, AmplifiedBody, LaserEyes and Third Hand, MaId Gallery, Tokyo, Japan, 2 March 1986. Through use of optic fiber cables and collimating lenses, laser eyes pulsed in phase with the ECG, scanning the space and scribbling on the walls around it, with the EEG sounds orbiting the body. EMG signals from flicJdng of the f"mgersand flexing of the arm activated the neon installation. ...