Color Plates

COLOR PLATE A.

Ken Musgrave, multifractal landscape model. Mastering chaos and determinism: real or synthetic mountains? (© Ken Musgrave) See article by Jean-Philippe Bouchaud .

COLOR PLATE B.

Ricard Solé, a small piece of the network of protein interactions inside a human cell. (© Ricard Solé) The highly connected element is p53, a protein involved in more than half of human cancers.

COLOR PLATE C.

The slight fluctuations in the cosmic radiation background, which triggered the formation of the galaxies and the structures we can see today. (Created by NASA/WMAP Science Team; public domain.) The top picture was taken by the COBE collaboration, and the bottom by the WMAP collaboration. See article by Luis Álvarez Gaumé.

COLOR PLATE D.

Details of faces and corresponding X-ray images from four of Leonardo’s paintings (left to right): The Annunciation, Portrait of a Lady, Mona Lisa and Saint John the Baptist. (Photo © Scala/Art Resource, NY [The Annunciation]; Photo © Réunion des Musées Nationaux/Art Resource, NY [Portrait of a Lady, Mona Lisa and Saint John the Baptist]; Ministero per i Beni e le Attività Culturali, Polo Museale Fiorentino [X-ray photograph of The Annunciation]; © Centre de Recherche et de la Restauration des Musées de France [X-ray photographs of Portrait of a Lady, Mona Lisa and Saint John the Baptist]). This sequence shows the increasing lack of contrast between figures and background in Leonardo’s paintings, due to the drastic reduction of lead white from his pigments and the increased application of highly diluted colors in multiple, thin and uneven layers. See article by Francesca Fiorani.

COLOR PLATE E.

James Gimzewski, digital data from low-temperature scanning tunneling microscope (carbon monoxide on copper), 2004. (© James Gimzewski. Assistance of Lisa Welosowski.) Imaging the nanoworld: three atoms, two depressions, one protrusion. The quantum patterns connecting them are electron standing waves.

COLOR PLATE F.

Àngels Margarit and the Mudances dance company, Geografies, 2005. (© Àngels Margarit) In this performance presented by Margarit and Mudances, randomness plays a key role. Random string forms were created by chance as the strings were dropped by a dancer driven by hypnotic Eastern mystical music. When the performance ended, the tracks remained; the white strings against the black of the linoleum evoked the structures of fate and the complexity of human life. See article by Josep Perelló and Vicenç Altaió.

COLOR PLATE G

No. 1. Stephen Benton, Untitled [Chess Set], early rainbow transmission hologram recorded on a 4-×-5-in alkali halide emulsion on glass plate, 1968. (Courtesy of the MIT Museum [MOH-1979.66]. Photo © Betsy Connors.) From most viewing positions, rainbow holograms reconstruct with colors vertically dispersed, e.g. red at the top, yellow in the center and green at the bottom. See article by Sean F. Johnston.

No. 2. Dorothy M. Rubin, acrylic paintings, 2006. (© Dorothy M. Rubin. Used by permission of John Wiley & Sons.) Adapted, with permission, from photomicrographs in Figs 2 and 4 from Coleman et al., Amer. J. Path. Vol. 142, pp. 1373–1382, 1993. A and B depict higher magnifications than C and D. B, C and D here correspond to C, E and G in Fig. 1 (see Statement by Harry Rubin). Fig. A shows a solitary normal liver stem cell 30 days after injection into the intact rat liver.

COLOR PLATE H.

Amy and Klara's computers are synchronized (hence the large pink clock). This allows them to pop out of their respective boxes simultaneously. Each box is 10 × 10 × 10 in. The robots are made of aluminum and plastics. Each robot is equipped with a microphone, a speaker and a camera. See article by Marc Böhlen.