player and/or of the players family, etc. Player interaction is substantially increased, which in turn, increases player interest.
The game controller preferably includes a first memory device containing data which provide video content associated with the game. A second memory device contains other data which provides video content associated with the personal identification data. Preferably, the first memory is a xe2x80x9cvideoxe2x80x9d EPROM, while the second memory is a xe2x80x9cvideoxe2x80x9d RAM for temporarily storing the personal identification data.
In one embodiment, the game may include a video figurine having a head portion with a blank face slot. In this face slot, the digitized picture data of the player""s face may be inserted whenever the figurine appears in the game presentation during play of the game. Thus, during a cardgame such asdisplay at Tate Britain alongside an exhibition of Turner’s late work.

Beyond this experiment, one might say that Eliasson has translated many of Turner’s practices and ideas into modern times. The contemporary artist, like his predecessor, is interested in how we perceive light and the ephemeral atmospheres it creates. As part of their practices, both artists observed the landscape and the changing effects of light —Turner painted watercolors (frequently of the sun hovering over the ocean), while Eliasson often takes photographs of Icelandic landscapes while walking, sailing, or flying. And Turner, like Eliasson, was very interested in color theory; he taught a class on it at the Royal Academy and subscribed to a publication on chromatography.

But perhaps the comparison that resonates most deeply with Eliasson is, as he put