Color Plates

COLOR PLATE A No.1. Toni Dove, The Blessed Abyss-A Tale ofUnmanageable Ecstasies, re-edited archival Him footage accompanied by spoken text, sound and animated slide sequences on three-dimensional scrims, installation/performance detail, 13 x 22 x 50 ft, 1992. No.2. Steven C. Erwin and Warren E. Pickett, First (Blue) and Second (Yellow) Sheets ofthe K3C60 Fermi Surface (Photo: Steve Erwin) Lighting routines that are optimal for topologically complex surfaces tend to evoke rubber or plastic, even when those substances are unrelated to the objects in question. (See article byJames Elkins.) No.3. Still from the animated sequence Visualizing Black Hole Spacetimes, Peter Anninas, David Bernstein, Ed Seidel, David Hobill, Larry Smarr andJohn Towns, principal investigators; visualization by Mark Bajuk, National Center for Supercomputing Applications, 1992. Outgoing radiation is shown as the color of the surface; incoming, as the height. The black line denotes the apparent horizon of the black hole. The image was created with Wavefront and in-house software on an SGI 360VGX workstation, then recorded to Dl video and film, (See article by Ingrid Kallick-Wakker.) COLOR PLATE B No.1. M.R. Petit, Chameleon, video still from The Mutant Gene and Tainted Kool-Aid Sideshow, multimedia performance, 1993. This video capture shows a silver mask that was handmade, painted and worn by the artist. The video of the animated mask was overlaid onto an abstract color video bed and processed through a Newtek Video Toaster. The video signal was then led to a monitor and fed back onto itself for the final output. No.2. Johannes Deutsch, Symbiosis ofFilm and Painting, computer graphics, 63 x 50 em, 1992. In this series of computer graphics , the artist worked with digitizations of different elements (drawings, photographs and mixed-media collages). After distorting the perspectives of the elements, he enlarged or scaled them down, then superimposed them in transparent or opaque layers. Last, he added color and dyed the images with computer painting tools. No.3. Nai-Wai Hsu, scene from YoLin/The Dark spectre, multimedia performance, New York, 1990. When viewers walked into the theater, their images were processed in real time and projected onto a screen on stage. ...