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No. 1. Steine VasuIJka, Geomama, two-channel sound and video environment, 1986. This work, presented on a pyramid of monitors, com­ bines site-recorded imagery and sound in a layering of natural landscapes and electronically generated color and texture. COLOR PLATE A No. 2. Kathleen H. Ruiz, BroadcastA, Iris print on bark, 23'/» x 1514 in, 1991. This work, an excerpt from the tryptic BroadcastA, B, C, began as an idea that part of a tree resembling a microwave tower could be broadcasting a message of incremental complexity. In part, the artist is commenting on the implications of the rapid advances in communica­ tions technology over the recent past. (See the Leonardo Gallery section.) COLOR PLATE B No. 1. DieterJung, Horizontal Symmetric (poem/text by H. M. Enzensberger), 86 x 330 cm, 1979-1983. This work is part of a se­ ries of large-scale holographic computer-generated space-animat­ ing stereograms. (See article by Frank Popper.) No. 2. Kathryn Greene, Panscape, duratrans film, acryiic and steel, 48.5 x 68.5 x 2 in, 1992/1993. Panscape is the landscape of the god Pan, who inhabits the outer realms of the world. This work serves as an exploration into the hidden in die (seemingly) obvious, the extraordinary in die mundane, die body as an antenna and the paradoxes contained therein. (See die Leonardo Gallery section.) No. 3. Herve Huitric and Monique Nahas, Masques et Bergamasques (Masqueraders and Dancers from Bergamo), still from film, 1990. This digital image of a human face is based on a physical model and shows exceptional realism due to die repro­ duction of the traits and textures of the skin. (See article by Frank Popper.) ...


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