<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-family:'times new roman', 'new york', times, serif;font-size:12pt"><div></div><div><blockquote type="cite"><div><font face="Verdana, Helvetica, Arial"><span style="font-size: 12px; ">Please circulate <br><br><img id="14f1eb6c-1ee2-4c99-b7bd-9b0a1be81eed" height="120" width="600" src="cid:1.3859984787@web83004.mail.mud.yahoo.com"><br><br><br><b>///// Workshop: "Déjà vu in Japan-land: Robots, Butoh-fu, Fairytales, and White-out"<br><br>This workshop explores shifts between the senses and new technologies and their use of "memory acts" in works by Japanese artists. <br></b><br><br>Memory and its erasures have been central to contemporary politics in <span class="yshortcuts" id="lw_1305224364_2" style="color: rgb(54, 99, 136); border-bottom-style: dotted; border-bottom-width: 2px; border-bottom-color: rgb(54, 99, 136); cursor: pointer;
">Japan</span>. We emphasize the relationships among corporeal acts and new media and how these relationships play with memory and memory acts' "play back."<br><br><b>Stanca Scholz-Cionca</b>, Chair of Japanese Studies, Trier Universität<br>(Discussant)<br><br><b>M. Cody Poulton</b>, University of Victoria, Canada<br>(From Puppet to Robot: Technology and the Human in Japanese Theatre)<br><br><b>Hayato Kosuge</b>, Keio University, Japan<br>(The Creation and Transformation of Butoh Body Movements)<br><br><b>Peter Eckersall</b>, University of Melbourne, International Research Centre "Interweaving Performance Cultures", Freie Universität, Berlin<br>(Whiteout as a grey zone between – dumb type’s Memorandum)<br><br><b>Katherine Mezur</b>, International Research Centre "Interweaving Performance Cultures", Freie Universität, Berlin<br>(Soft Shock: Yanagi Miwa's Still Lives)<br> <br><b>/// <span class="yshortcuts" id="lw_1305224364_3"
style="color: rgb(54, 99, 136); border-bottom-style: dotted; border-bottom-width: 2px; border-bottom-color: rgb(54, 99, 136); cursor: pointer; ">Monday May 23, 2011, 14:00-17:30</span> <br></b><br>International Research Centre "Interweaving Performance Cultures", Freie Universität, Grunewaldstraße 34, 12165 Berlin<br>RSVP to: <font color="#0000FF"><u><a rel="nofollow" ymailto="mailto:holger.hartung@fu-berlin.de" target="_blank" href="mailto:holger.hartung@fu-berlin.de"><span class="yshortcuts" id="lw_1305224364_4" style="color: rgb(54, 99, 136); ">holger.hartung@fu-berlin.de</span></a><br></u></font><br>––––––––––––<br><br><font color="#0000FF"><u><a rel="nofollow" target="_blank" href="http://www.interweaving-performance-cultures.com/"><span class="yshortcuts" id="lw_1305224364_5" style="color: rgb(54, 99, 136);
">http://www.interweaving-performance-cultures.com/</span></a><br></u></font><br><br>-- </span></font></div></blockquote> </div>Prof. Dr. Katherine Mezur<br>Research Fellow<br>International Research Center<br>"Interweaving Performance Cultures"<br>Freie University Berlin<br>Grunewaldstr. 34<br>12165 Berlin(-Steglitz), Germany<br>Tel.: +49 30 838 50448<br>Fax: +49 30 838 50449<br>kmezur@sbcglobal.net<br><br><div>Home:<br>1100 Miller Ave.<br>Berkeley, CA 94708<br>Tel. and Fax: 510-845-0554<div><br></div><div style="font-family:times new roman, new york, times, serif;font-size:12pt"><br><div style="font-family:times new roman, new york, times, serif;font-size:12pt"><font size="2" face="Tahoma"><hr size="1"><b><span style="font-weight: bold;">From:</span></b> faith <faithbach@yahoo.co.jp><br><b><span style="font-weight: bold;">To:</span></b> KineJapan@lists.acs.ohio-state.edu<br><b><span style="font-weight: bold;">Sent:</span></b> Sun, April
24, 2011 11:23:51 AM<br><b><span style="font-weight: bold;">Subject:</span></b> Re: more Hara Setsuko<br></font><br><table cellspacing="0" cellpadding="0" border="0"><tbody><tr><td valign="top" style="font:inherit;"><div>Sorry, Dick, for expressing an opinion that differs from your own. Rest assured I'll be more careful in future.</div>
<div>FB<br><br>--- On <b>Sun, 2011/4/24, Dick Stegewerns <i><dick.stegewerns@xs4all.nl></i></b> wrote:<br></div>
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<div class="plainMail">Thanks, Faith, for your short comment. The 'worthy' was mainly intended in the objective sense of 'complete and in good condition'. Guess we can nowadays enjoy plenty of 1930s B-films by merely watching Skapa, so I assumed there was no need to make a special effort to see this if you do not have a special interest in the distinct bonus element of Hara Setsuko. Look forward to reading the results of your study (already available?).<br>DS<br><br><br>On Sun, 24 Apr 2011 16:58:17 +0900 (JST), faith wrote:<br>> Thanks, Dick, for your exhaustive summary of the latest Shincho 45<br>> film clip. Personally I found it fascinating to study the location<br>> camerawork, character stereotypes and acting schtick of an authentic<br>> "B" film from that far back and I am indebted to Mr Yasui for giving<br>> me the chance to do so. Guess we all have our own whimsical ideas of<br>> what is and is not "worthy."<br>>
FB<br><br></div></blockquote></td></tr></tbody></table></div></div></div><div style="position:fixed"></div>
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