Leonardo Color Plates Source: Leonardo, Vol. 25, No. 1 (1992) Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1575617 . Accessed: 12/06/2014 13:41 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . The MIT Press and Leonardo are collaborating with JSTOR to digitize, preserve and extend access to Leonardo. http://www.jstor.org This content downloaded from 195.34.79.223 on Thu, 12 Jun 2014 13:41:24 PM All use subject to JSTOR Terms and Conditions
Transcript
Leonardo
Color PlatesSource: Leonardo, Vol. 25, No. 1 (1992)Published by: The MIT PressStable URL: http://www.jstor.org/stable/1575617 .
Accessed: 12/06/2014 13:41
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp
.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].
.
The MIT Press and Leonardo are collaborating with JSTOR to digitize, preserve and extend access toLeonardo.
http://www.jstor.org
This content downloaded from 195.34.79.223 on Thu, 12 Jun 2014 13:41:24 PMAll use subject to JSTOR Terms and Conditions
No. 1. (left) Attila Csaji and Norbert Kro6, Cell Cystals, laser-
light art, 1980. During this performance, laser light creates a three-dimensional environment that takes viewers on ajourney into the secrets of nature.
No. 2. (right) Michael Heivly, transmitter array, 12-24 ft, 1988. These radio transmitters are beaming topographic sculptures in the form of microwave energy into the constellation Corona Borealis from Ruben Fleet Space Center, San Diego, California.
No. 3. (left) Dann E. Passoja and Akhlesh I akhtakis, G = 5 (warm series), Group 2 carpet design, inkjet print, 1990. This carpet was produced through the authors' algorithm, with Q= 5.
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painting, 72 x 52 in, 1990. This work was created with rolls of special felt materials of varying thicknesses, colors and shades. Textile-industry machinery was used to attach the fabric layers together. (Photo: Shuki Kuk)
No. 2. (left) George Gessert, My Egypt from Sky, artist's book, 1985. This image comes from a Pentagon publicity photograph of the Peacekeeper/ MX Re-entry Vehicle Assembly from Dava Stjll Media
Depository in Washington, D. C.
No. 3. (right) Lynn Pocock-Williams, Virtual Reality, videotape, 1989. This videotape combines abstract computer-graphics imagery with layered background scenes such as this partial view of a performing musician.
No. 4. (left) Horacio Zabala, wax oil pastel on paper and newspaper, 65 x 79 cm, 1985. Duplication of the Times, London, 19 November 1985, p. 1.
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