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COLOR PLATE A ,-'V --* :x \ 16, No. 1. Robert Dell, Hitavaettur VII, stainless steel, copper, electronics , rock crystal, lasers, liquid crystal; 215 x 42 x 38 cm. Installation at Grotto Geyser, Yellowstone National Park, U.S.A., 1996. (? Robert Dell. Photo by Robert Dell.) No. 3. Dorothy Washburn; the five two-color, two-dimensional plane patterns shown to artists and non-artists. Top row: left, pg#l; right, pg #2. Middle row: left, p6; right, p4g#l. Bottom row: left, viewer drawing of p4g#2, on right. The viewer drawing of the p4#2 pattern illustrates how color dominates visual perception. This pattern is generated by glide reflections of fourfold square units, but because these units are colored with two colors, this key structural element was hard to isolate. Instead, most viewers saw the pattern incorrectly as rows of homogeneously colored hourglasses : the green hourglasses (angled to the right) rotating clockwise , and the red hourglasses (angled to the left) rotating counterclockwise. No. 2. Guy Levrier, Image reference number 200399. The viewer is invited to supply his or her own title, orientation and dimensions. (? Guy Levrier) - 'IPW-I- COLOR PLATE B No. 1. Artist Frank Pietronigro investigates the creative process by creating "drift paintings" while floating in mid-air with paints in a microgravity environment, 1998. The artist, seen here in a vinyl "creativity chamber" within the interior of a NASA KC135 turbojet, eliminated the underlying structure of his painting by actulalizing the work in zero gravity. (Video footage courtesy of NASA, 1998) No. 2. At the 1987 Al-Union Festival of Light and Music in Kazan, patrons view Grigory Gidoni's Light Monument of the Revolution as exhibited against a background of paintings depicting Vladimir Tatlin's well-known monument to the Third International. (See article by Bulat Galeyev. Photo: R.F. Saifullin.) ...


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