ri

i
(ikrrir Withrlm
(Euvre
On JeffBernard's
Unityin Diversity.

(Pholo: Mar8arcle Ncundlinger,Sepl. 2ltlh. 2(X).1)

Itturntnknlitssnng:The articleli)llowscloselythe ()rigin l laudali{)hcld durin! thc

(oulcfcncc.Thc contribrrtion will givc an overvicwol Jcfl Bernard'slile ilnd w{trl'
$ hielrshowsthc rli|errill in his activiticsrcftrredto in thelitlc. iurdI will lry t()dctll-
on\triltcthc //,itl in them.which can be fi)tlndin the wäy he dcitlswith l()picsnnd ill
rhccr)rr|nx)|r itfproachk) verydifferentfields Apart tiom abriefbiogräPhicxlskclch'
thc l)lcscnlrli()nwill developalongseveraldiflerent lxes which k)uchthe varior'rstopicr
anrl liclcjs ol work he hascarried out over lhc decades axeswhich miSht l(x)k r0thcr
(|lsc()nncctcd related
bul which are nevertheless

Srrrrr,ra^: Der Artikel hält sich eng an die originale Laudatio' die im Rahnlcn dcr
K{nrlcrunzgehaltenwurde. Der Beitragwird einenÜberblick überJefTBcrnardsl'ebcn
rurrtlWcrk gebenund damit über die yi?fdll seinerAktivitäten. die im Titel {ngefÜhrt
i\t. wcilcrs werde ich versuchen.den Aspekl det Einheit ^ufz'rzeigen'der sich in der
Afl zcigt, wie erThemen behandelt,in seinerspezifischenAnnähemngan verschiedene
l;clder. Nebeneiner biografischenSkizze wird sich der Artikel entlang veßchiedener
Ach$cn enlwickeln, die die verschiedenenThemen und Felder abdecken,die Jeff
llcrnartl irn Verlauf der Jahrzehntebearbeitethat; obgleich sie auf den ersten Blick
viclleicht unverbundenwirken, stehendie Achsen doch zueinanderin Beziehung'
 Sro(clhc (onlcn n(c "Sttth ol I'o*ct, l\rwcr ol Srlnr" wlr rlgtnittd in horrorol Wrukl Wl|r wl|\ \lill $tinf rnl ttntlVtcnnttwnr hcin! txnllhc(l llccl|tlrclllc illllllc-
Jcll llcl''r(l r'tlr r\'(,n\tr't'l lrrr til)th hrrtlrrhy.I hckl rr lrrrthrliry\lx(,(.lt(lc(li rintc ultcr-wlr lxltxl wl\ rlrl ct)tttl()rltthlc cilhcr.hc \lxnl thc lirst yt'ursol his lil!
rirlc(lto his (urteullll \'!ttr, hi\ Ituhli(ltrorrrlnrl tltc reseirrr.h
worl hc hls cirrricd ||| th(' ( ouotry\i(lc irl \irl('t ilttlnr\l)hcrc. I lowcvct. whcn it wil\ lilllc lo llo lo \ch(xll
o t t lr l t t r r r rt gh cl t r r tr [ . r . a t f t .l k. rr.u t r r . r . l t | . t ( . ( l t xl {r,t| | t ( , r c l(y. n u | | l e r i tl ti e
cl\ ilxldirtit. rrr lt).lt),tlrc li|||lily rcltlrnc(lt(t tltc cilpltilliln(l sctllc(l ill iln ilpilrttllcnllll thc linldh
Irrrtr'iul.I trictl rrsinrlie|lcdhy rhc titlc to l)rcsc t thc |lrittcri l in a way which flrrfrrr.t.ffn l()()l hc grir(luirtc(l lirrrrrhigh schrxrl(Passctllhc Mtnnt ils thc lilxll
\lrr'$\ lltc c().si\lc,cy ()l thc nt'j(n itlcaslh't havcgtritlctlJcllllcrnartl,sresc.rch i
c \ n I l | l l i r t i o ni s c ; r l l c r l n A t l s l t i i | ) i t l l (cl o n t i n t t c thl i s c t l t t c i l t i o itttt t h c l i ' c h t l i e l l l
rrrrrlrrr'tirilics in suchdillcrcnt Iicltls.s art. scicrccl)rgrnizrti(maland publication I lrr\cr\rly Vicnnawhctc hc stilrtc(lt() stu(lyilrchilccltlrc
crrlc;rrols.rcsclrchrrnsrrcialclucstions, culturc,culturcpolicy,and.ofc()urse.the ^\ \rxrr irshc p ssc(llhc lirst pai ol his sludics(1r1rr(' Jftkt/t,rü/irn,g ). llc st()lllx(l
rr( ir |ltrlslol. thc purticip nts ol thc syntposiunrwould think of in the first place: .rltrtxlill! tltlivcrsilylirr a lcw ycars in ortlcr ttt work in variotts liclds architcc-
sr'tttiolics. trrrc,glir;rlrics. r.lcsign. ntusic.itndlitcraturcasa kinrl ol lrcc lancc Kultururhdttt
Ar.c{)|1lingly.
lhc lirst ol the aspectsntcntionedin the summaryis the one most l ) u | | r l r t l l c \ cy c i r r s - . t h cl i t l c 1 9 6 0 s h c t l s ( )p r c s c n l ehdi s l i r s l p a p c t si n t h c s r t '
,rl ltrsli'lhrw scnrioticiansknow of, and mostprobablyassociate with Jeti Bernartl: ,.rllcrl"licundcskrcis' the "('irclc ol Friends".alsttrclclrcd lo and now litnlrtttr
Irrsrcrcarchand publications. This scholarlyaspectmight be subsumedunderthe .s tlr lrtlotnelfu Gruppt' lcl'.Schwcntltcr2(X).1).! Anxrng thc /)i.rtdr wcrc pcr-
lrt ruling"lnrnr sociokrgylo socio,semiotics",in orderto includethe sociological, \r'rirlrticslikc Roll schwcndter.Rüdigcrtngerth. GustavErnst.RobcrtSchindcl,
\o( r()culturalas wcll as the socio-semioticresearchin the narrowersense:Je.lf X llrrh | .iithior Allrcd Holl and ntanyothcrslaler(m bclongingto thc intclliScntsiil
lI r nt nl tht .u holur who reflectson and analyzescertain topics relatedro panlcu_ suchasmodelsol democracyor lhc thc(ny
,,l i\l|\tril. i;onrcol thc k)Dicsdiscussed
l:r \()cactl group\andtheirpositionwithin society,topicsrelatedto theentirefield ,rt \uhculturcslurDedinto maiol rescarchareas.Onc resullof thcscrcscilrchilc-
r'ore'rcrlby a rucio-semioticapproach. trr rtier wasJell Bcrnard'sflrst vcrsionol "ZwiilfThcsen zur Allcrnativ-'l'hcoric"
Se'contlly,thcre is the organizer of conferencesand congresses,the editor of rrrrrhlishcdin the nrid-1970sin MARGINALIEN ll4unuskriptc..ur Alt(ttttttit\'tt
l(runirls itnd hook series,the memberof the board of scholarly societiesand asso- llutrit <\ /'rrr.ris.which only oncelppelred, and re-publishcdI979 in thc Vicn-
.rirlr()||\.itndlastbut not leastthe teacherin seminars;in otherwords.the sctence_ ucckly lirllzr). He oftenstatedthathe learntmuch moreandespeciallyl)xnc
rrr.',.'
()ri.lr||r./irtionllilspect,the publicationaspect,andthe educationalaspectin his work: i rrntcrrrglrary of thattitrrc'which wcrc
thingsin theseyearsthanat lhe universities
.lLll I)tnutd thc utmnunictttor ("der Vermittlel,). connectingthose who produce , , rrrsitlclcd cntirelyold tashionedand inflcxibleby thc young rltcrnalivcthinkcrs
l.\l\ wilh thosewho receivetextsas well as the variousgroupsand semioticians . r r r ral r l i s t si n h i sc i r c l c .
Iro||rrlil]elcntcountriesand schools.Jeff Bernardhasalso dedicatemuch of his lr l9(r9 however,ds the dlan of the Inlbn rclle CruPPe sLafied1odecrcasc hc
lltrc lo pilsstngon semioticknowiedge. r( \unrc(lhis universitystudiesandfinishedthe ArchitectureProgranrin 1975wilh
'I
hitrlly.I will talk abouta part of his life and work which is, most probably, tltt l)iplomingenicur(dipkrma'dengineer)degree.However,alier graduttion,hc
lrirst known to his tiiends and colleaguesin semiotics:./zf Bemard,sqrtistic cuvre pro-
,litl rrotlcavcthc TechnicalUniversity,but continuedwith a new postgradurtc
ir w y ol creilting texts which is different from academictext production (re.r,or !rirt|] titled "lntegrierteUmweltgestaltung" integratedenvironmentalism. Dur-
c()Lrseundcrstoodhere in the broad senseas propagatedby the membersof the rr! thcscycars,his Inainfocusin thechoiceofcoursesweresocialscicnces (lnnong
Mosc()w-TartuSchoolof semioticsofculture, textsfrom musicto architecture,from llrcnrluturology,in which field he startedhis first own biggerresearch pr(tect' but
l)crli)rnrance art to literature). s hich hc never finished;so, the futureis still unclear..).
Howevcr, since,at leastovgr a certain period of time, the three aspectscan be Al the sametime. he starledto work in PIot. Günther Feuerstein's"Atelier t.ür
lountl sinrultaneously in his CV, I will not enumeratedetailsand dataone by one llntwurl, Planung,Forschung"(Atelierfor Design,Planning,and Research) which
consccutively, but ratherdevelopmy remarksalongsidea biographicsketch. hc lcd ls t hlf de bulear (Feuerstein's term) for five years until 1980.Although he
tlid rrlanandconstructa numberof buildings,Feuerstein was and is a well-known
Jcll Bernard was born on September12, 1943in Vienna,or rather in Mödling/Vi- thc()retician(and hasto be consideredone of Jeff Bernard'smost important teach-
enna.a small town in the south of the city which today is part of Niederösterreich
(Lower Austria), but at that time was part of GreaterVienna.His father was a merlr_ | (i)incidentrlly, the primary school which he attendedin Waltergässeis by chanceone block away
liom the building where the In$titut für Sozio-SemiolischeStudien ISSS is located.
cal doctor,and his motherhad studiedEnglish languagesand literatures.After about
I Iirr a peridl he also organizedlhe meetingsofthe group and was the co-editorof its newsletter,the
a yeat his mothermoyedwith him k) a villagein UpperAustriasincethe Second Mitk,iluntlen an den Freurul4kftis
 lha|'..wor|dntutiic'.tcndc||cicr|hünltniSht$'Undt(xhy)',|lrnturieJrrtirrnror|
cn l| lho Tc(hnlcrl Unlvcnhy). Ar I conrcqucncc, much rtf lhc worl rlonc rrt
lry thc gnup nndliicntlslrining lhcm in conecdwur prcdoninüntlylroc crtllcr'
l"cunitcin'r plsttningolllca wln tlxm rcicttlch ündthc(!ry.with rtttlics on urhunisltt, lnryor
IlthoughJcll llcrnurdwI(tlcl|lvt solltcconlFrsilirttlr
tlvc inrpn,vi,,utiorr,
c.nvinnrncntttl dcriSn,(lucstt(nlrol neccrrihility.urblniritieund ltottsingproiccts unrl
cotllcntgr'
thc
lrcc.iflrz.
ltt rlcnrcnl\rll thuttinlc.WtiM('O rrnitt'd ltirtoric
lirr Jrcrsonswilh (listhilitics, nd thc ctlitingol lllc two inlF)n nt architccturc rnd
pcriodiclfs lituttlturt'ttt inu'll/trtrrltürr' In atklilion l() this thc(trelicrllwork. Jelt tl.y ntttrieitlcttltttrcsrrl prplcs itll ovcr thc w()rld.itlt(lc(nltclllF)rilryilvtnlSllrdc
ifn
ntttrtt, Nltr Mtr'ril Altl(nl8lhcc(trcnlcnttr'crs rtl thc"cllssicll"WllM('()crlwcrc
llcrnlrd c(,llilb('rtcdottscvcr l plttttningpn)icc(s(b()lharchiteclurill ilndurbanistic)'
tcll llerrrrll, plrryingsaxtrythrxlcs, ohr<:. shitnnai. slidc rccds'divcrscllrtlcs'pitno'
nranyol which unlonunatclyrcmdincdjusl skctchesand blucprints.As lirr actu- Wllltcl
l n r l l u i t i t r ; l l . ( ' . ( l l l i t r s( ' h c r r y ) K c r s c h hu l n y l l l h c s i r c rp' c r c u s s i o n ) :
( s
ally realizcrlbuiltlings,thc secondand third phascof the "experintcntal
housing"
(Upper Austria)hasto be men- Sr'hrr.ler l1xrcussiott. rlrunts.vibcs): the lutc(;crh rd Slurilny(tnlnlF:l' lltrgclhorn'
projectat the air baseandairportin LinzlH(irsching
lht('. \ r|rt\. t)iitno): l lwrltl Zitnntcrntarn(b ss); othcrnlusicianswho pluyctlin lntl
lioned asone oI the settlementsconsiderednow asbelongingto the architectonically (silxopll(nlcs' lltllc)'
$rth tll(' gt()upin thc lirst ycilrswcrc. li)r ins(ilncc'otlo P()or
rnost in(erestingin the more recenthistory of Austrian architecture
researchprojecton housingcon- .{ l||||t|()(icir (bass)'In |9?9. Markus t'i||holcr.joincdthc groupand' tttsit|chis
In 1980,while collaborating on a large-scale
et al. l98la' l98lb)' r rrll.rlrorrrtiott with othcrgroups.rcnraincda WtiMCO nrcnrbcrtill thc cn(l As qtrilc
ceptstor mentallyretardedadults(Berdel/Bernard/Hovorka
. u\torriut in thc vitntgardc andjlzz sccne,punictrlarlyin thc Iirstycars'WI'lM('o
JetTBernardchangedfrom Feuerstein's planning and research office to the tnstitut
and lrrusiciilns lionr (tlher8n)up\ itndl(ll-
lür SozialesDesign ISD, Entwicklung& Forschung'Wien, an extra-university l,l,rrt'rllletlrtcntlytogcthcrwith s()loists
(lus Secmann'GisclhcrSntckal'lrritr
m.rtr('n\lilc WollgxngPoor.Mlrtin Wichll'
institute of designersand sociologistswho worked predominantly on topics and
\ " \ ( ' t \ . w l l c r M u h u m n r a dM a l l i , B r i g i t t eH ü b n e r( c l F el b c r 2 ( X ) l :c s p c h
obiects related to disabled and other socially disadvantagedpeople. ln 1982' the
r | .' l.l).
ISD was awardedthe Dr Karl RennerPreis der Stddt Wien,During the more than
,\ltrrlItcrr'crsirln<tl.thcnanre.whichincludestheactivilicsit]thcl|rtspi|fliC
ten years at the ISD (whose chairman he was from 1984 to 1987), Jeff Bernard (
l.rlr lt'r li rrttattccand( rnulli- )mediaarts- is Mrrld linvironnlcnt Mcdi OoPcr:l
somehowformed the social-sciencehalfofthe Institutetogetherwith the late Hans
trrt.sittt'clhcrrlid.|97()sseveralartistsworkedwithWEMC()ttnalcgu|arbasts
Hovorka (cf. fbr instanceBemard/Hovorka 1991, 1992),who acted also as a pro-
||x' l|\| inc|t|(|es: lhc late Swisssculpt<lr Rita Furrer'PeterGriischl(Pcr|()rnlilncc
tessor for the integrative education of disabled people at the University of
Klagenfun. Apart fiom the deliberationson living conditions,there were projects
like a guide for the city of Viennafor peoplewith disabilities,or a project on Soziale
Rehabilitution und Öllentlichkeitsarbeil, sponsoredby the AUVA (Allgemeine
i.e. Austrian Workers' CompensationBoard), and car-
kersch
Unt'allversicherunganstalt,
ried out in cooperationwith the OGS/AAS. Apart from differentiatedconceptson
public relationsand theoreticalconsiderationson the depiction of disabledpeople
in the media (which eventually led to an exhibition; cf. Bemard/Pribitzer 1987:
Bcrnard/Pribitzer/Schneider1988),the project had also a very practical result; a
working group of researchersand affected experts (mostly themselvesdisabled)
ti)rmulateda Clarla zur Darstellung behinderterMenschenin den Medien which
is still of influence today.
The artistic side of Jeff Bernard developedsimultaneouslywith his work as a
plannerand architect,and as a researcherat the ISD. In 1970,approximatelythe
same period in which he resumedhis architecturestudies,Jeff Bernard founded
WEMCO - a group for experimentalarts and music (cf . Fig. l) which was very
active l'rom 1970to the mid-1980s. WEMCO is an acronym which can be read in
two ways according to the specific focus of a project. Originally, WEMCO was
short for World Ethnic Music Cooperative(a term which' howeYer,was received
F,s. ,i: W EMCOpresentation (i.e coverof BernardI 972)
brouchure
in a much broader and programmaticsensein the late 1960sand eady 1970sand
||rl. l|lll)hr( \, n||rl ürli|ll[lr(xr\). Lctl Sr hrth,tttt'tnlr(l lll\ lll(' h l lt ltI illl(l lllrxl.ltl
r l l r r t r ', ,o r rr | r l n y ,l r t r t l r l t t c r , l l c r t t t t r l t R r ' r l t l . W t l l t c l t t t S r l r r r t r t r l . \ \ r t l t t ' t l { t t l c t r t l t r l
l l l i r r r l r ( l S r l r t t r l r l l r r ' t t $ ( ' t r ' . r l r , r 0 r t r ' t ! r t x ' ( ( x r l x r i r l | | r rlrr\r,r r t t \ l l r t t ( ($ t l l t A t l l t r t l l
M r r r k l i r ( | | i r r r ' t L ' r r i r )r .r | | co l t l t ( t r i r l ( ' t I || | ( '| || :r| || ,I ri | | l r l l r r c \ o l l h ( l r \ r l t t l l i t r ( l co l
l h i r ll r t | r ( ' .
. l i M ( . ( ) h a t l r r r rc x h i b i t i o n
I n J a n u a r y l ( ) l { 1 .c c l c h r i r t i r r igl s I o t h u n n i v ( ' r ' \ i t l yW
lnd I scries ol acconrpanyingcvcnts (conccfls. tliscussions.l)crli)rntilncc\) in thc
Wiener Seccssion. In thc pr()grarn. Jell l]ernlrcl wrolc a shorl dcscription of
WEMCO which integratesboth sides:

Die österreichische Experimeütalkunst-und -musikgruppeWBMCO wurde 1970von

Jetf Bernard gegründetund beschäftigtesich vorerst vorrangig nril dcr Weiterenlwick-
lung stilistischerStrömungender spätenSechzigerjahreim Bereich frciimprovisiefler
Musik. Die intensiveVerbundenheit mit den historischen und zeitgenössischen Musik
kulturen aller Völker vereint mit den Tendenzender euroDäischenKonzeflmuslkavant-
garde prägtedas Klangbild.
Seit 1974jedoch erweiiertcdie Gruppeplannäßigihre Ausdrucksmöglichkeiten
durch das Aufgreilen von Elementender Aktionskunst,der PerlormanceAn. durch die
ErslellungmultirnedialerEnvironments und den Bau künstlerischer
Objekteund Instal-
z.T.auchin Zusammenarbeil
lü1ionen. bildendcnKünsllem[...]. Ziel-
mil verschiedenen
/,f . \ f r l r . l r ( t r r rl y h r tl| S d i n l \G i l t h t ^ h t \ ( , u l I l l l i t v l ( ) 7 t ' il ) h i n ( ' I ' r l r r l . K r r r x ' l
vorslellungist die Erarbeitunginterdisziplinärer
Gesamtkunstwerke; den wcltanschau-
lichen Backgroundhiefür Iiefernkultur- und gescllschaftskritische
Uberlegungen
auf
dcr lhcoretischcn Semiotik(= Pragmatische
Grundlageder Angewandten Komponente
l|| rlrr lirtc l()TOs.lcll Bernard rrtitdcalso scvcrll big pcrlirtrnanccs in Vicnltir' lirt
(Bemard l98l: 6-7)
dcr l,chrc von dcn Zcichcnprozessen).
rrr.t,rrrrttlttting lltc I ir\t Au.\lri4n P(tliintut <( f'(tlit'rrl in l97ll. anLlthc li'stivltls

WIIMCO played concerts und sessions in various clubs, galleries and cultural ',1 \Itn llI Ktn J ul ltn Gutrgt'nhtrg (heltl in and itround thc lillll()tts w{)llrrbir

ccnters, fike Jo:.:lund. Internationoles KultLtrcentrum (Annagasse), Mo.lern Art , l r r r r r l r ) . I l t c t w o 1 9 7 9 p c t l i r r t r u n c c so l J c l l B c r n r t r d& W t i M ( ' O w c r c 7 i ' l J l r t t

Oulerie, <r K ünstle rhaus gule rie, ()r also outsicle Vienna, llke e.g. Brennpunkt \',t tt,llt.Nt)Qu.\liuruntl'l'htMuliuni\F'onn'(i)nlrnl.\(ttkl lttl(tPt(lttltottlli!'
ir. th( lirltcl hcittg ealricctrrul itlsidc thc Wottttblkirchc agltin hc had scvcrc llt)ll
Breitenbrunn. tn 1974, they also had a concen in r Jeunesses Musicales cycle,
performing a concept by Anesthis Logoth etis, " ? oder Knotenst hnfi" fiom the cycle l,[ \ t{r c()||\'ir]cclhc lricsl tlrat lhcir proicct would not hc hlasphcnlic or (lcsccrillc

khurmudharmadrama. t l r ( ( l r r f e h . l - i k c i i l l p c r l i r r n u n c c so f J c l l B e r n a r da n t l h i s W E M ( ' O I i i c r r d sa l s r t

The pertormance art projects were mostly prcsented in flne arts contexts in the rlrr lrllcr \\:r\ (loctllltcntcd in dctlil by phok)graphcr and recortlcd rttt vitlcor (thc

close sense,that is in galleries and during festivals. However, even wilhin festi- \ rrl.,, iülisl wll(r diil nrost ol lhc lilnls was (icrhard O|dntlng) Anlong thc hsl hig

vals, WEMCO & Friends frequently left the secure and secluded space of the art
I l,r,r vtrl ol r,,nru(rn checlcr'plun.rtior ol lhegroups ranre.lhcyli)undyct rrtrothcf wt)r(lrr)rll
centers and made their perfbrmances in public space - which, more often than not,
Ln.,ir('lhc\l,icrirl(lu)_ ol lhi\ Ptfi()fnrtrncc:D t Mcncrlftte Mu(en gs (ill)ccri_('/rehcslci ' li)l
led to improvisations of a special kind, since despite all the permissionsthey were \\ h,it th. Srtit\ (;t' Itdi trir{ Orit// lhcmcmhcrs ol thegft)up(CheryKcr\chbrüm. Jcltllcmrud'
( n rlrxr(lSluftny..rfldMlrkusI'jillholcr) mrrchcd through lhem.rinshoppig slfccli lh( irrrr(r ( rt)
usually interrupted by closeminded local politicians, or local residents who felt
urr inr r)l pn)Lc\\rtnr. lhry rllhid rcd spoltcd( hl(x)dy') b d.rgcsrd band oß
ui{ls rhcirht'tlics
unsettled or threatenedby public art actions, and called the police. One of these
rhirl.Irlhc linrl \cencol thcpcrii)rnrnnccs. weredrowned in thcn€wlyrcs()rcdli)unlrrnon lhc
events was the perfbrmance When the Stints Go Marching Ort // during the Inter- t.Irh( nl||tl ti)rI filurlclcirnsinS. which clüscdthe upfoar ol andthcintcrlcntion
thconllx]kcrs ol
national Performance Festival in Linz, May 1979 (Fig.2).r (Linz was sort of sec- rlk l)('li(f. SclcrulchrrgcsresuhcdlhcrcofbLrlwerecasldownlatefon.
ond base <rf the group they had several appearances ar the Hoch,tchule Jiir IIh(lull||ysiso|lhcvi|'c||i|I.ll!'||141iü|i'Iitn'Contentsarullntup..'4li.'|wasour|.irsl\
.Ul\ !(x,ßrrti(n: In 1982wc prescnled ,rco-rnlhorcd paperrt a symposium I)nfil rccordinSs ol
Cesldllang and were in close collaboration with the MAERZ gallery run by Wilhelm !nrfrxrti,rn\orginizcdby lh!' Miin\lcrtrnerArbeil\kreis liir Senrrolik. published
Lrlcr in lh{:pr(rccd
Schwind. an artist and teacher in arl education.) Ing\(el Bcrmnl/Withsltn l9lt:l)
 '8r,
wlr\ , ttt(r\'(nlhü, thc o|xnin$ cvclll ol thc crhihiliQllllnd w(Ül'
lxrfifrfrfrfnccr
iholt ||l lhc Sr'cc$iotl' gtin t l'ctliruttttnctin Ptlhlicsflr(cl
(lllc ([ (lrcl
^rn llt.l. bol ,,rehtlctrrrlttrchrt[ltgcllItrl\\||nl(tlclll Incllwtlr(ll8r\ llll(l
(lcn Ki|rl\lhrl' lI
l\lclL'rlrotk' li'rlilrlulptrrl lrr|(h n|cllt illr rwt'i Slun(lctlInrrFtitx'r
(lcf \(hwcrLlschil(lctc Jrll ltc rrr(l (lcr'| |lnr lrntL'rlic ljrcitrcp|r
rlrerctlrilrtt \tcellc
Inil lel/lcr Krnli illl
ilt^_rwitl(lcll(l Mtl\(lll!'ltl|rl
/uIr llxrtlrlxnlill(lc\Scec\ri(rllslchlildc\
w(|r(|cc|,(|ilbciv(n]|.'Mill|||nlil (|cI Mi|slC'.'hIt||cI
r cr.t lrwlrnti'MLrriIaIi\CIlt||rIcr\tiir,,l
(l(r\irll('iltn|.{rlilicr'tcr.abcrrrngcllilnlllhlcihcll$ollcndcr'lrx(lili(nlill_Jil//ilr(rllll
\.thlt8. (icstiirt\.vtr|'(lc (lic ^lti()r) wic bci Jclt llcrnitrr'ls Klrtrstiln itllcntliehcnRäulll
rrJlrr'rutihlich vrrtlzwci l)olizcibcanllc , dcncrl dcr SiluSchilh dcr l)crl(rnl|nllcclltll
'(lrucf /rr \crrlliltclll wrrr.Nilch ciltcncr ^ussilSc vcrsucht0 Jcll Bcrnilrd tllillcls(lic\cl
K{nll
^ltrorr in \chr vcrallgcrncincncrl;orlll cincn P()rcll iiulicrslcrLntlrcllxluos
Vcrwuntlung datrustcllctl dcr'sich inntrhllb
rrrnrllli(nl\k)siSkcil und fy!hosolialcr
rh( i(r'txislclllicllcrlJcrcichcodcf Scinsstutcn ilhwickcltlrcrsliirtcNillur( llxuslcllc(lcr
,l|rl!( ll\\cllcncn Zwcicrlinic). ürbitncrKontcxl (grolJsllidlischc Vcrkchrslllichc)ulr(l
- s p h i i r c H
{ d i ch c i l i g c n a l l c n d c K
r t r n s t )( W i t h a l n r
l 9 t t 2 |n p l I 5 l )
..lrherht|u
,l). an obiecl prcscntqdwilhin thc
llr rll(,(.rcifli(nrol thc wittrt'r windfutrlt 1980(Fig.
I /r|r'rrrrti|prrgratrr linc of the l 9U()Wicner Festw(!-hcn at the 20cl' H(rllr ( thc Mu-
llrc ans
\.r|lr ('t thc 20th Ccntury)' Jcll l]ernard cornbined urban design' nlusic and
aeoliittthrrp) as
I lr( rnr)!r'irnrlirllcr describetlthe windharp (a kind of largc-scale

kinctisches
, rrrurrtli0vistrcllcs Objckt.
*clrhes cltrrch c i n c n k l e i n e nW i n d -
frnetirl(n itnllclriebcnwird und ohne
.ürll|re IilcrSicrulirhrfunklionien.Es
l:rDr !(tr.icdcrtlunnin Cang geselzl
rrt rrltn Lrntllcrbrcitct arte. mcdltil-
tr\ c Nlcl(xtieli)lgcnund Klangstruk-

I lrr' rcrl arttl white url & sould object

.rlrrxr\t -l rrL'lcr'\ high irnd measuring
.' r( ter'\lr()filonlüll). wirs only meünl
,f\ if prolo(ype lor lhe Crcat Vienna
ll n,llarp ( )n'ln strt. x seriesol aboul
Itt u rrrtlhurpswhich should have been
rrll rrr cr Vienna cl()\e l(r promi-
p1.r,,,,'rl
||(.rr buitdings related to culture and
r l r c: | | t \ t h c l i t l l r ' w i n g) e r ' U n f o r t u -
nrtcly. wc can only guess from some
have
Irlrolo nrontages how it could
lxrlctl like. since the complete inslal- FiÄ,.,l: Viennesewindharp, prototype ( l9{i0:
l lr()n $il:\ n(rt sponsored Together pboto: Wolf Kkrskr)
Fiß. -li Scenefrorn lre M".tium is Fom, Content\ a d hierPretution (photor Wolf Kloska)
\\rth lh(.(l(l.tll(tl \!rr|(.ltl ,lrxl (oll\lltl(ll||tl ltl'lll tlx lll lrt rf'\
!\'l( l]llltlt\ll({l rll

\\ 'r\r /'rlrlt'r'lr('
l ) r r \ ! l ( ) j j r '\ \ r ( r l r r \ \ r l r ( i l r ilrrrl r o r (l k \ l ( r \ r r r r r r r r l r r rr \ r r r r l , l r r r \ \l r ' r
'IcIl(lcn/(tnill|)cIhxIb(|('Ib|.Ilfll1].llt:rtrgl'..rtiil.r(;'l||J|'t.\\|Nl((),\lltllIlt||lli|||(l(.ll
l l r e l l li r t r l
e s s i ! h u l n c i l l n r u l l i r r l c ( l i i l l cl :sl l r i r o r r r r r t r ritl.r r S t l r s e r l r r r r r l lt l ( ! l r r l l e t r l i r l : r \
dcm Pcrli)rma0ce sclt(n-. s(nl{lcrn i r t r l J c l c i c h t t r s r r r h i t t t e r rl : r r r i r o r r r l r e r r t r rl)csigtl

& WEMCOl9ll0:'lu)
(Bcrnard

By now, rhe musicalside of WEMCO hasbccomcir nrytll' pltrliculxtly \in(:' rx)

ofTicialrecordings exist,only someprivateoncs.A t(:wyei'lls ago (iisclh(:rSlllckitl
ofl'eredan overviewplusdiscussion with Jefl Bcrnud in onc ol his ORF ratliopro
grams.lt shouldhc mentioned'however.thet - althoughJclf Belnardhirdto rc-
stl'icthis rangcof trtistic ilctivities1()a ccrtainextent1or othcr prolessionalrea-
sons hc has neverlully stoppedthe perlbrmancetype of activity: in 1999'for
instancc.in thc courscof thc ISSs-congrcsson "Signs, Music' Society" at the
Llniversily ol Applied Arts Viennn. he perfbrrncdtogether with the Nrples
avantgardc cellistMarco Vitrli a one-houreventconceivcdby thc fimotrs Itrlian
senrioticianMassitlo A. Bonlirntini.from Milan Onc can neverknow whetherhe
will considerit appropriate againto choosethis kind of exprcssion'
To rcturn to the chronologicalorder.howevel:[n the early 1980s'as the co-
lirunderof the Iniliuti|a :ur regbnalen Ftirdentnt neu?r Kunstund Kultur INK
(locrtedin Batlen,a srrtalltown in Lower Austriacloscto Vicnna)'JefTBernard
addedyct tnotheraspectto his culturcwork lhe Kitltr|r'r'nirll11tr?liin the region
thfoughthc orgtnizationof culturalevcnts.However.as aheadyshownlor archi
'practical"side of Nctivitics
tecturcand tlesign.he usuallycornbineda so-called
with protbundleflectionson thetopicwhich oticn resultcdin resealchpro1ects and
publications. With regardto aulonomous cullurcinitiativcs'we canobscrve exactly
oihis
the slrnrcintefconnection own Kriltoraicil and a rescalchp(tject on the scene.
staningin the micl-1980sandpublishedin the lbur volumesol Slrukturetlautotu'wr
Kulturtt|beitin ÖsterreiLhin 1990and 1995respectivelyThis truly long rilnge
'lction rcsearch"'sincc
(and not yet cntirely flnishcd) study kx)k partly the ti)nn of
in its coursehe co-initiatedthe lbundationof a ncw 1)('1)''7r'e'rl (thenof the Min-
istl'yof Sciencc.Researchand the Arts' k)day within the FederalCihancellery)'
dcalingcxactlywith this segmentof culturc.as well as the assoclahon represcnt
ing the "basis", the IA Kultur )starreith. now still one ol the most prt)gre\\i\e
s A u s l r i a ' sc u l t u r alli t e F o r f i v e y e a r s ( 1 9 9 I r ) 5 ) h e w a s a l s o a m e n t -
i n s t i t u t i o ni n
lxr of theKukurbeirzil,a council that proposedwhich initiativcsand pr()iectsshould
be sponsored by the bove mentioncdl)epanment.
The cxhjbition on 5'emiotitMultinetlia Arl which hc presented duringthe 2nd
Congressol the lnternationolAssociation tirr Semiotic Studies in July I979 at the
/-i(. ir Po\tcr lar t.,ri.t i. Muttutmlitt An tJttl Rcrntrrd l9Ti))
Universityof Vicnna(F13.-5)could scrveas a bridgefrom the artisticaspectsol
 ywy (lhc Arrrrllthtn ol Vlctl'
hin worl to thclr rcniotic hlclSnund md lo thc rcmliie ptrnol hir work in thc fr öllrffrftc(fkr f hc VrllrrlttrlWr.nrr Vllthillun{
nrrc Arlult luluerttirrnltl\tltlltxtll\1, th(' (nSllnl/ltll(nl whteh rttnr thd V'llr'
crhihitrwc]('thc(kI lllncntütiotls
rtri(t rqlrc. llr rrr|tin ol thclw(t 197()
trtttltitttc-
rli pcrlirrtnlnct's lrendytttcntiottcd llxrvc: whilc llcrnttttl'rlt icn(lilll(lilt lhilt I illlc h,|'hvh rn (lhc l)colll("\ c(lll(illlt)llIn\lllull()ll\ whl(h wclc cstllhlt\ll((llll lhc
At ht'rto lttl,lnn<'rlut t r'3lrrr(ol lhc liltc l('tll !(llllllv itntlcvcll tncltttlcrlit Wrtkcr'r
lirich liics (el. in this lrrxrl) showcrlsottlcol his tlispirtlgirtg
closc collitlrrtralrtt
( ] l l c r \l w o \ c t l l l l l l n r '
phototttontagcs.I'hc intr(xltlcl()ry tcxls(ln thc llycts clclllly in(liciltc(llhc sclni()llc I l x . t | I l r r \ ( ' t \ r l yi t l t h c l l l l c l ( ) : o s ) l : \ c r y \ c l l l c \ l c rt.h c l S l i S
scnttrtl
core of both pcrli)rnranccs.
'lir
Ifu or Not to IJe; No Qu?.\li(,tt"leill Konttnuni' lcrl ht Jt'll llt'tttitttl.tn whicll gttcstlccttllcr\\l)citI oll !cneritlitnll itllplictl
(( xllllltln icill ioll ) l)(tth tor VW V tcilrhcl\
kationsspiele,bezw.eher Kotnntunikatirtnsvcrsrtchc, dcre'nIillizicnz ungcwi13 rr . t $ rllt r|)r.ei:tlttttIllitsisrrtlettlltttcitn(l
verbleibt", and Tlre Metlium is Fonn, Cot?ttts und I t(tp r'('l.iti(,rr"zcigl die Kon- {ttrl \cl'(t('(l pllrllclpilt)ls
()lSilll rrl.lurr r\
frontationdes Einzelnenmit den m<dernenInfi)rmations(DclilmDalions-)nledien It'll llt'r' iurl r c(nllltlillllclllto lhc \cllliotic inlixstl tletltlc illld
as hc is vcty ilclivc ill thr' llllc]
auf." t|.,t( o||lrnr(llr) lhc Auslriilnsctniolicctttnnlunily
'lhc i n v o l v c n t t ' ttttll
| | , r t | . r r ;^r \l \ ( ) c i i t l i o nl i r l s c n t i o t i cS t u d i c sI A S S A I S olticill
Jeff Bernardwas first confrontedwith semioticsduring his studiesat the Tech-
nical University. The already mentionedGünther Feuerstein(one of the few pro- tlrr' l,\SS AIS bcgan in l9tl5 whclr hc st r(cd as nty co cditor ol lhc /Ä\'\ z1l\
fessorshe actually acceptedas a relevant source)wrote his dissertationon archi- Itull..tt,,|lrc cw\lcIcr ol tlre Associa{ionwlriclrwits printcdlwicc a yc r lrtttlttts
(lilll
tectureand meaning(especiallyabout archetypicalforms) and was one ofthe flrst rr,,s lru tt rcplrtcctlby itn clcctlonic ncwslclter)' In l9tt7 hc bccrnlc l hc A llsl
| ( lnr\.r rtrl ivc lo lhc l'lxecutive ('onllniltcc.lnd in I 9ll9 hc wtlsclcclc(lto lhe ll()ill(l
to presentthe ideasof Umberto Eco, Max Benseor Roland Ballhes in his courses
as early as in the 1960s. ,'l rlr( /\\s(ri liorl (lirsl its (l(x)rdin|torol lhc PrcsidcntialOllice' liotrr l9()'l ott
(icn
Before dealing with the theoreticalfocus of Jeff Bernard's semiotics,another llntIItlrelllh ('(trgrcssol thc IASS-AlS in July 2(X)4in Lyon its thc Sccrtl ry
rr,'l l lhc IASS'AlS). ucl sinccJuly tjth.20(I'1. as AdminislrutivcVicc-l)r'csitlcnl '
topic should be briefly discussed,however: the science-organizationaland pub-
lishing aspectsof his activities in the semiotic community. \ \ l r ( r ( : r \ ( ) t t t l r c A L l s tt r' il c v c lo n e o l h i s t n l j o r t i l c i w a s a n d s t i l il s t l r c c l o s c c o l
|.r|,or;rtrorr witlr individualscholusandscmioticsocicties in the(esp Ccntritlljastct.tt
The Austrian Association for Semiotics OGS/AAS was founded, after some
preliminaries in 1975,in October 1976, and almost from the very beginning Jeff ,rrr,ll rnt llttrttpcan)ncighbolingcountricswhich staltedlong bclin.cthc Politiell
Bernard took an active part in the sectionof Applied Semiotics(which he chaired ,lr.rrrpr''atottncl1990.the goalswithin the IASS-AIS are' ol course'on rt l'rtgcr
', ,rlt. I htoughouthis ycarsin otTiccJelTBernardworkedtirr lhe s(rbili/Nli()rr hoth
1978-88).andasof 1978he waselectedto the B()ürdof theÖCS/AAS, first in the
,'l .\r\t||)1.:c(x)pct-ations and ofthe positionof semiotics,as well as li)r {hedcvcl-
function of the Treasurer.From 1979-1995he was SecretaryGeneral,and then the
successorof the late Wolfgang Pollak as Presidentof the Association.In 1989Jeff ,!r)nkrtl ()l closeIrel tionson a truly globalizedlevel- from thc two Allrcricil\'lll(l
Bemard initiated the founding of the lnstitut für Sozio-SemiotischeStudienISSS, rrrrr'rcttl A lricanctluntriesto Korea'ChinaandJapanin theFar East ll is ttt' urrtl-
of which he has been the director since the Yery beginning ,h r tlrrrlltc. in this role. was alwaysrathermore than lessintensivelyinvolvetlin
rlk r)rcolr|lion ol the IASS worltl congresses (indeedexcessivelyin lhc cascol'
Both organizations,which collaborateclosely,publish severalbook seriesand
journals and Jeff Bernard is involved in all of them. He has been the acting editor l)rtrrlcrr l()99.li)rwhich thetwo ofus shapedthe wht)lecontentpart by distancc'
r [|lrir!c rcnt). andencouragedmany congresses to be organizedialt 4ilq)l( lit /^5J'
of SemiotischeBerichle since t 979 when theiournal of lhe ÖGS/AAS fi rst appeared
(the 2 issuesbefore were rather info folders), and starting from the first issue in .rrr,lercrt co-ttlganized a few of them

1989of S EuropeanJournal Jor SemioticStudies,the joumal of the ISSS, he is

the Editor-in-Chief. Moreover he is editorial collaborator of the Zeitschrift Jür
Semiotik,the journal of the DeutscheGesellschaftfür Semiotik, which appearsin
cooperationboth with the Austrian and the Swiss Associationsfor Semiotics.Jeff
Bernard is the editor of the book seriesAngewundteSenidii (published by the
ÖGS/AAS) and ofboth seriespublishedby the ISSS: S - A1./r/e ntla. SemioticStud-
ies andS Lubor. Concemingthe nationalsemioticcongresses ofthe OGS/AAS
(which from the start always had internationalparticipation), held every three or
fbur years, as well as the large number of symposiaon special topics we always
find his name,ofcourse, amongthe main organizers.Sincethe mid-1990sthe ISSS
thc
I rrrrlly.I will turn to the scholarlyside of Jefl Bernard'ssemioticactivitics'
rrrrrrnpittttligmsguidinghis work, and the topicsof researchFirst and fi)renrosl
tlr! gcnelallocusand orientationof his semioticshasto bs mentionedIn orderto
l)crlcrrnderstandthe themesof his researchpr(iects and publicationsFor Jell
semioticshasa strongemancipatoryand enlighteningquality' a view which
lle'rrrarcl
hc slturedwith his fiiend Wolfgang Pollak, the famous socio-linguistand fbrmer
Erich Fries,the two of them formulated
tncsidentof the ÖGS/AAS. Togetherwith
(Pollak/Bernard/
ir l)rr)grammaticpaper,titled "EmanzipatorischeZeichentheorie"
semi-
li.ics | 982),which eventuallyled to the first "ofTicial"( i'e state-sponsored)
flic TctlcufrhpnrJortcvct tldllrcd in Auitrin, on irl/(.rr ttlvrtri.' .l /t'itluupru.tit
((X iS-l'nrictttcnfltl9t6: llcrnürd lglth). lhc pnrjtct hnrl lt rtrrDl,lc||tlocipirlory
anrlsrrio-rcrnioticitppr(xtch. llrcscntc(litt clritptcrsby lroll k ltrrl his clrscstc0l-
lirhnllrns (Wollgangl}in(lhitucr,Rohcrl liullncistcr). lirich lrrics.Jcll ltcrn:rnl
and nryscll. ln atltlition. (ll()dilicd l)clphi) survey gitthcrcd answcrs hy
scmioticians liorrrall overlhe wurld conccrninpbolh theorcticllaucslionsandthe
semioticcommunity.
One of the parts,co-authoredby Jetl tsernardand nryself,dealt with the socio-
semiotic conceptsof the author who most strongly influenced and inspired Jefl
Bernard'smodelling:the ltalian semioticianand philosopherFerruccioRossi-Landi
(who actually becamealso our very good friend in the years before his death in
1985). Rossi-Landi'ssemiotics,particularly socio-semiotics,must not be read as
consistingof isolatedor separatedparts.The various conceptsare rather intercon-
nected elementsof one integratedtheory, a complex network in which each and
every idea,eachand every argumenthasits uniqueand proper position.As a conse-
quence,even a brief presentationofRossi-Landi's w$rk would taketoo much space
(and has been done on various occasions,sometimesco-authoredby the two of
us). Thus, I will only enumeratesome of the conceptswhich Jeff Bernardtook up
and developedfurther
Work - consideredin an anthropologicalsenseand with regard to both mate-
rial and sign production- is definitely a central concept.Accordingly, the model-
ling of both sign production (and re-production/consumption)and the entire sign
processhas to be basedon the various forms of work which can be distinguished
(cf. Bemard./Withalm1986a,1986b).This is not only true fbr the external,visible
part of semiosis,but also for the internal sign production in the mind of the sign
workers, as shown in Bernard'sdiff'erentiatedsign model. A secondcore concep-
tion fomulated by Rossi-Landiis the ftomologyofmuterial arul linguistic protluc-
liox. Jeff Bernard adoptedand expandedit, with regard both to the levels and the
areasof production covered,to a generalhomology model of human production
including mental and ideological domains and culminating in the explication of
the creation, making and componentsof cirlrure (that is, integratingalso the find-
ings of hitherto existing approachesin the semioticsof culture).
Bernard's semiotic work can be characterizedboth as theoretical or general
semiotics and as applied semiotics,the one influencing and promoting the other.
Accordingly, we find not only the integration of theory and practice in hrs cuvre
as a whole. Also on the theory side he adheresto an integratedconceptcombining
social and/or socio-culturaltheories, in particular advancedforms of subculture
theory (in the line of Rolf Schwendteror the works of the scholarsof the Centre
for ContemporaryCultural Studiesat the University of Birmingham, whose work
he actually considersforms of culture and media semiotics),and socio-semiotics.
Already in 1979he publishedan articleon the "Semiotik devianrerVerhaltensmusrer
$r{rloliichc I )cviur/ lirit h$ngund Ihctnltivc K(xlcr" (llcnllt'(l 197"),undtcn
('1
tfü\ ll(cr, nt thc.llh IASS Als (irrrgrcsr' hc Pt\:rcntc(lll Prfcr dl{ tllritr8, rulhcr,
(
oftfl rn[, "scnturticsusrt I h('(try(tl (Suh]( \lll tlrc(\) rln(llt |.Mnlcrinl irc" ( llcnlü
Itrr:) |'l hc rrrio-scntioticallyhitsctlsuhtttltttrcilpPl(tileh(()ril\ ht'hrtsprcli'rrcrl
()l
l|| ( ull rt: (hlli'lclli l thc()ryrtl ctllttlrc) wilt thc luil(lin8c(lnccplilt nltllly hir rc'
rrttr h Projcctr.rincc stth't"ttltttrcs citttbc r'|^-nrrl hcrtnctic big ttl stttitll'ptogrcr'
rnr.or rcgtcssivc,clc.. antl pctlplccltn bc lirrcctlinl()lhcit lllilrginillizctllxtritiotl
trr rl r\ thc c rc wilh disithlctlpcrsotts)or dclibcr tcly t{kc this s()cictillP()slln'll
i\irrr.rrr.r.r.orrecltt dislingttish.nrgucsllclnitrd./lalirtrtl.-r,ttr'r hclwcctthcgclltotttc
r ultrrrt'rrrrrl suhcttllttrcs.andiurottgdillcrcnl subculltlrcs. /(mcs which nrc ol !rcilt
thcrrrt'tr,,irlirn(lprilclicrlintcrcsland ilnp()rlitttcc. All thcsccornp()tlctlls (ll ctlllurc
rrtlintc (olslilutc cotttplcxriSrttttilicitrlrl dillcrcntnrakings. andlhc ctrlphasis tttttrt
-
tlrrrrh not orl ctlllurcbul on ltilrrtt's which opcnshis theluy alsoltl "gltrltitlizit-
tl,|| l)lrertorlcnit. Antongthc licld rescarchthcnrcsrclalcdto thc subculturl vlcw
\r.r(. the viui()us works ott disabledpeoplcas suchandon tlisablcdpctlplcand/in
lnd lhc d!-vctoprnenl
rhr.rrrr.tliir ol stratcgies lirr an inrpnrvcdconrmttnication itnd
rrtcrr(tion in socicty;thc sevcralvolulDcson culturc initiillivcs'onc ol wlrich is
\trll to lll)Dcirr: Proicclon tlrugs.ntediaand public reprcssnliltion, etc, itnd.ill'
||I'\t tf(nlicitlly.a snl ll sludyon thc intptetnentation ol sctnioticsitscll lts lt hith-
rrro rclittivclyntargirralphcnolneuonin academia(in thc leslschrililin Wollgtlns
l l ' l l r r l r l l c r n a r t l| 9 l l 5 ) .
, \ l t l r o u g hr h c i n r p l et t l e n t ai ol n o f s c n i o l i c si n a c a d e m i ian A u s l r i a .n s t ( ) l h c
,,'ntt rrts.hirsincrcassdovet the ycarsthroughJefl Bemald'scflitrls. hc was itd-
l i ) rS c n r i '
l l r r t l ( l l \ l c s ss u c c c s s l ui nl i n s t i t u t i o n a l a s p c cTthse r ci s s l i l l n o I n s t i l u t e
',tr\\ rl i[ly Austriilr)Lllli\crsity.This was also otrc ol lhc reasonswhy thc ISSS
rr.rrlrrurrchctl instcadby llernlrd lnd Pollak.Thcrelilrc.oneshouldntcntionI ntorc
r.(.|ll \ign cvcrlt.this tinreone in which Jeli Berntld was rnadehintsclla sign' A
trrr lllstilulc necdsa prof'essor at the held, and in recognitionof his inrprcsstvc
.. r, rrtiliclilitirnc uchievements he wüsmadeone not by the universiticsin wh ich
rrlv now ancltherrhe was given the chanceto hold courses'but by thc Auslri n
title "Professoi'wasbestoweduponlrllll
\r;rr(itscll. In c rly 2003the protessional
l)\ rlrc AuslrianPresident and by the Ministry of Education,Scienccand Culturc
{ }I(' sccsthir(it is sometimespossibleto bypassstructuralresistance.As mucll its
l|(l rlcsclvcdthis allotnrentof "symboliccapital",in Bourdieu'ssense,one musl
alsohint at the tactthatJeff Bernard'sincometiom semioticuctivitiss
||rnrcthclcss
1lIlluly](I},l.whitethisbookgocstotheprcss'hewillcochairasessionon'.CurenllssucsinS()(
s(rriorics rr thc 8th IASS AIS Congressin Lyon (organizcdby the InternationälFcfiucci{) Rossi-
l.rfldiNctwork. one ol the prqecls co-iniliärcd änd up b now cmrdinated by Jcll Bernard) ln this
,;r,rrncction.one shoull also menlion thal the litle ofthe whole congress'.'lnterculturalitynnd Ck)-
hrliÄrtr(nr", w,rs his ideai the first world congressof semiolics in th€ 2lst millennium. he ar8Üed'
\lnnrld indced show lhe rclevanceand potenliali of semidics k) lnswcr lhe challengesofour tlmc
 Srlt(ffottl gnfrrr mt ßrltttt||, bM H I b Wr
|rrüsilFÖdrüü th.tnrt hsr. h (rn)rnlur nruldnlthmof' rcmc' ir*u t !,It/ 2, Stt''f/a hr "u*nn" ßrlttt I ,a|l !. ho'''ffi,tll tnd-&nl|,fihll I btl
thlnj oftoncrllcd"r typlcrllyAurclrnd.rtlny".ln lhlt vlrw,mdtocomcbsckto 1ß|y'/;1oll,tt,tn,,errrlrlt |'i (.8 - Add.ndr'lonLrh StudLr).VLn!|rooE'llts
ü' üLlT tw'|'
ItrBoyqb(f',gf ) Ivo,rrdlth,rtq 7,r.. Eti|,ktfuil l,tt l''i/t'/'.t,
lhc intnxluctory ßtrt€mcntr.onc $hould alro highlight o founb dimcn$ion' thst is,
,,{,t llt ttttth uu! t'f,lhtfit'h lxhlt*Ln. l'l.ntt'h.n ln Ött.tr.k'lt. lJnter bxmbnr Ntr'kltki'
as a sponsorof semiotics,not thc usuül tolc of slicntints: Je/t Eemard the pmmo- tlrttrt Lt "V. et Ptrttnnnr". VlcnnrlISD
tor of science.By creating surplus from deliberatestrategicinteraction(and also a ;nr llrfvo.tlrl( f992I tl?hinl?rung:cia ptctlschtltlü htti Phllttm t n4utt'lr' StrultuTn'
more often than not by using his own money,as well as by the immenseamountof t rrür. (.ltür||8cn ccrcll|ichrft) wicnr Plrltüllcnvc.lstl
a .i{ünn I'ribitr.r (rcd.lllgl1r. ü'kunüt it'rt,Jut ilung "l)i" I) ^trllury \r"t lt/.hh 'nnl
unpaid work he invested in all his endeavors),Jeff Bemard has never ceasedto l'Ln ttth n lirtt".lm R$hmcndcr Gcrlllltuus$lallung und VenrnsullunSsrcihc "Wü$hci0lhicr
struggle to advancethe causeof semiotics despite institutional indifference and rhrr mn ll'. PltdtSoSi$'hcs Institutdcr Slldl wicn vicnnllÖGS lüsll ri'puttltc(ltlkUü' rlxl
h thaa[ti.r c|||||kr[u.ofthc mcnlionad cxhibition.4685 |
resistance. (rcd X l9E8) Mcdi.n undOllentlichlcit= LoS612$lll
a t. lto.annc f"ihit/.r c& Kun Schncidcr
lfurrnncrtnxrr.r '
'Dus
o I WfiM( o ( l9M)). SrotlcWicncrwindhüfcnorchestc. Ifttn{'urcnt 3l6t 4t'53
At the very beginning I promised to demonstrate why the title fits to characterize . I (lkmr Wilh$hr (l9lt3). "7-urDokumentation von Perfofinancc Arl - ftli$cnt|ltionund Anrlyr'
alrr t rlfll,cisfti.fs". wern€r
tn: l,anSlhtller' & Hasko Schneidcr(H8.) Filt'aul.'ithnung'n wr An,/'
Jeff Bernard's life and work, and by now the moment of unity in the diversity of 2J'3?
h.. ,|,en\ütithdrtnterulrion(=papmaks l6) Mlinsler;MAkS Publikalionen'
his collected auvre should be clear. . I (lhrfi Withrlm ( l9li6!). "Fernrcck)Rossi-Landis dialeklis(h-matetialislischc 2hichcnth'otic'
Many of the features just outlined with regad to Jeff Bernard's semiotic and ItlürrlrunS Übcrblick- DisSrammatik"ln: Dutz.KlausD. & PeterSchmittcr(cds):-6'x"/"'t'?
.a.l a;r\ hiütrx hrcibu R der Sembtik.Falllituli"n.Aklender 8 Arb€ißlagung d€$Milnßtcnncr
cultural studies apply likewise to his entire ceuYre,be it anistic, scientific or or- Münster2.-3.10.1985 (=Mäterialien zurCes(hichte dcrSpruchwirrcn'
ArlFrt\lrur\csl0r Senriotik,
ganizational. Most prominent among these traits is the true integration of theory r-hnll ur dcr Scmiotik2). Münster:MAkS Publik.rlionen, 329-366
- l (lh"r wilhrlrn (1986b). "MaterieDialektikArbeil/ G€sell schatlGeschichle Vermitllunson'ndc
and practice, departing from, as well as reaching to, both directions' Anotier facet
Norrcrlungcnru Rossi-Ländis sozio_prozesliualer Zeichentheorie". ln: Schmid, Gcotg(cd ) D/'
is the focusing on semiosic,communicativeprocesseswhich is not confined to his Geschichtswitren r'iaf (=Muerirli'n zur
t k h.,t .l?r Hittu, e. Beittäßezu einersemioloSßthen
actual theorizing on signs and sign processes,but pervadesalso his artistic and lirlrrr\rhcn Sorirlwissenschaft 5). Wi€n-Köln:Böhlau,173-202
lrfhfl, ^ (lrcr\(2(I)|).Zxr"euroPäist:h?n tdentitätderWienerFrce'Ja.z-Avuntgude DieC8thitht'
cultural work. Above all, a strong momentum of responsibility and an emancipa-
/., Mn\lcrrol-Unonh(xlox lazz und (lerRelorm An Unit. Vienna: Diss Univ Vienna
tory stancegovern his work, his thinking and his life: Jeff Bemard never loses sight (I )s | \ r't':l ffcr,fr(BirDdhauer. wolfSang;Bemard'Jeff€t al.)(t 986).fors.,tungsPnjekt " zei'henth"onc
of social dimensionsand societalimplications. nnt /! hutpruris Crundlagenuntersuchung. Teil/ üd ll Vienna: Ms'
h l.t, wolltrn8i Bernard. " Jefi& ErichFries(1982) "Emanzipatorische Zeichentheorie Mat€ri'rlitn
^r\.nIii)l|*-hcnPropädeutik.EinMorivenberichtzumForschungsschwerpunktderosterreichisch
t fcrclfsrhrfi lür Semidik".Seniotische Berichte6(6'7):35-43
REFERENCES Lhrrn{frcr. Roll (2ü)3).Suhkulturelles Wien.Die inibrmelleGruppe(1959-1971)Uterutut'Kultur
,1,/,fr^ Vicrnr: Prornediä
Berdel,Dieter;Bemard,Jeff; Hovorka,Hanset al (l98la). Wohnstätten liir en)achsenegeistiS
Wrhcl'r. (;krrir ( l9ti2)."Der Zeit ihre Kunst,der KunstihreFreiheit(?) Ein BerichtüberdäsFREE
Behindene.Hg. vomlnstitut ftir SozialesDesignISD. Vienna-Munich:Jugeodund Volk ARl s w( )RKSHoPvonJeffBemard:WEMCO& friendsin derwienerSecession, 15-25 1 l91lI "'
- (l98lb\.Wohnstöttenfrb eN^chsene geistigBehindene.Kur<fassuttSHg. vom lnstitut für Sotales
,,rrli| Mrlrn Herbst: n.p.
I14-|8l
DesignISD.wien: ISD,2nd€d. 1982,3rded. 1985
Bemard,Jeff (red.)(1972\.WEMCO- WorldEthnicM^tic Cooperativeyienna: WEMCO
- (19'17),"zwölt Thesenzur Altemativ-Theorie"-SonderdruckMaryinalienMan skripte zür
AttemativenTheorie& Pratit I [Addendumto: ARBEITSGRUPPEALTERNATIVEN (AGA)'
Schlußmit der ewig-gestriSenzukunfi. Aussteungsk^talos vie nai AGA); rePr' ( I 979) "TheseD
zur Alternativtheorie.Apodiktisch,ab€rb€legbar".Falter 40.21
- (19?9)."semiotikdevianterVerhaltensmuster - Soziologische Devianzforschung und altemative
Kod€s". SemiotischeBenchte3(3l4lt 23'36
- ked.r(1981).WEMCO&tiendr. Vienna:WEMCO
- (1985)."ZeichenundStrategien. WolfgangPollak:Bausteine zurernanzipatorischen Semiotik"In:
Bandhauer,wolfgang & RobenTanzmeister(eds.\.Romanistiklntegratiu FestschrÜfiit WoUSang
Pollaft (=WienerRomanistischeArbeiten l 3) Vienna:Braumüller,4 l _57
- (f986). Das ForcchunTsprciekt "zeichentheorieu d zeichenpr&tis" der Osterrcichischen
GesellschoftfbSeniotik AllSemei e Bemerkungen undZusanrnetfossunS. \'lienna:OGS,Lim Ed'
- (1992)."semioticsasa Theoryof(Sub)Cülture(s)andlts Mat€rialCore" In: Deledalle'Cirard (gen'
ed.):Balat, Michef & JaniceDeledalle-Rhodes(edE.).Signsof Humanity- L'Homn4 et sessignes'
Pmceedingsof the Fo th Intemational ConSrcssof the IASS,Barcelona/PerpiSnan, April 1989'
Berlin-NewYork-Amsterdam: MoutondeGriryter,1635-1648