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COLOR PLATEA No.1. (right)Miroslaw Rogala, ‘‘Installing Values,”section4 of NatureIrLeaving U s , video theatre performance, 1989. (Photo: Walt M y e r s )Here performerAmy 0-d createsa spontaneousperformancewith her infant son.As sheintroducesh i m t o the choices,images andvaluesofferedby the video andslideprojections, bisresponses arenaturalandunreheand. No. 2. (left)Fdd6ric Grand+, detail of L’Amhidegiedeh ha?&%?,10stnrao fw volcanicrock ,neonand p h o t o g m p h i c m a ~ 2x 0.6 x 0.12 m, 1991. (photo:Alain Hatat)The questionthe artistpcwes hereisnotthptof the ‘‘real” objectpmzdsthg mhert h a tof the luminescenttracethatthe artisthmevokedtbrough pphic devices. (See &/Science Forum in thisissue.) ~ P h O % T 4 ~ hisplaywithphotoNo .3. (below)Anna CampbellB l i s s ,MADOW&computer-basedmural, alkyd on enameledsteel, 8 x 30ft, 1989-1990. This muralexplores the worldsopeningup forus throughthe computer. COLOR PLATEB No. 1 . (topandmiddle right)Aldo d’Angelo, two frames from the f i f h s (Chaos),16mm,4min, 1991.I nt h i sf i , the artist attempted to bring out the stressof movement usingthe geometryof orderunderlyingthe chaos. The artistphotographed similarimageswith eithera motion-pictureor still camera. In projection, thie “microshow“ exhibitsall its chromaticbeauty. No.2. (left)Phillip George,HeadlandeMnnnOnie NoWmis, one i na seriesof computer-ma&pdated imagesrealizedasa color-lasercopy with gouache oncanvas, 2 . 3 x 1 . 6 m, 1991.The artist’s suite of images,created ona computerfrom thesamemasterfie, is comprkd of a c o l l e c t i o n of mnemonic devrcesand time demonstm tions. (SeetheAbstractsBectionafthis he.) No.3. (right)Pierre Cam&, the Earth Signature installation, photographed from Spaceby a Spotsatellite orbiting 830 km above Earth, 6October 1989.(Photocourtesyof SpotImage) ...


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