jeff gloria

8/8/2019 Jeff Gloria

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i (ikrrir WithrlmUnity n Diversity. nJeffBernard'sEuvre


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Sro(c hc onlcn n( c "Sttth ol I'o*ct, l\rwcr ol Srlnr" wlr rlgtnittd in horror lJcll l lcl' 'r(l r ' t lr r\ '(,n\tr ' t ' l lrrr il)thhrrtlrrhy. hckl rr rrrthrlirylx(,(.lt lc(lirirlc(l o his urteulll l \ ' !ttr, hi \ Ituhli(ltrorrrnrl tltc eseirrr.hor l hc hls cirrricdot t l l t t r r r rghc t r r t [ . r .a t f t . . r .k rut r r . r . l t | . t ( . ( l tx r t{ , | | t ( , rc ly.nu| | ler i t tcie l \ lx ld i r t i t .Irrrtr ' iul. trictl rrs nrlie|lcdhy rhc itlc to l)rcsc thc lrittcri in a way which\lrr'$\ lltc c().si\lc,cy )l thc nt' j(n itlcas h't havcgtritlctlJcll lcrnartl,s esc.rchrrrrrlrr ' t irl ics n such illcrcnt icltls s art.scicrccl)rgrnizrti(malndpublicationcrrlc;rrols. csclrch rnsrrcial lucstions,ulturc, ulturcpolicy, nd .ofc()urse.herr( r |ltrlslol . hc purticipnts ol thc syntposiunr ould hink of in the irst place:s r ' t t t io l ics .

Ar.c{)|1lingly.hc irst ol th easpects tcntionedn th esummarys heone most,r l tr s i' lhrwscnrioticiansno wof , an dmostprobably ssociate it hJeti Bernartl:Irrs crcarch nd publications.hi s scholarly spectmightbe subsumednder helrt uling lnrnr sociokrgyo socio,semiotics",n order o include he sociological,\o ( r( )culturalas wcll as the socio-semioticesearchn the narrower ense: e.lflI rnt nl tht .uholur who reflectson and analyzes ertain opics related o panlcu_l: r \()cact group\an d heirpositionwithinsociety,opics elatedo heentire ieldr'ore'rcrl y a rucio-semiotic pproach.Se'contlly,hcre is the organizerof conferences nd congresses,he editor ofl( unirls itnd hook series,he memberof the boardof scholarlysocieties nd asso-.rirlr()||\.tnd astbut not east he eachern seminars;n otherwords. he sctence_( ri.lr||r./irtionlllspect,hepublicationaspect, nd he educational spectn his work:.lLll I)tnutd thc utmnunictttor ("der Vermittlel,). connectinghosewho producel.\l\ wilh thosewho receiveextsas well as he various roups nd semioticiansIro||r li l]elcntcountries nd schools. eff Bernard asalsodedicatemuchof hislltrc lo pilsstng n semiotic nowiedge.'I hitrlly. will talk abouta partof his ife andwork which s, mostprobably,lrirstknownto his tiiendsandcolleaguesn semiotics:/zf Bemard,sqrtistic cuvreir w y ol creilting exts which is different from academic ext production re.r,orc()Lrseundcrstoodhere n the broad senseas propagated y the membersof theMosc()w-Tartu choolof semiotics fculture, exts rom music o architecture,roml)crli)rnrancert o literature).Howevcr,since,at leastovgr a certain period of time, the threeaspects an belountlsinrultaneouslyn hisCV, will not enumerateetails nddataon eby oneconsccutively,ut rather evelopmy remarks longside biographic ketch.Jcll Bernardwas born on September12, 1943 n Vienna,or rather n Mdling/Vi-enna.a small town in the southof thecity which today s part of Niedersterreich(Lower Austria),but at hat ime waspartof GreaterVienna.His fatherwasa merlr_cal doctor,andhis motherhad studiedEnglish anguages nd iteratures. fter abouta yeat hi s mothermoyedwith hi m k) a village n UpperAustriasince he Second

WruklWl|r wl|\ \l i l l $tinf rn l tntlVtcnnttwnr hcin! txnllhc(l lccl|tlrc ll c ill l l l lc-rintc ultcr-wlr xltxl wl \ rlrl ct)tttl()rltthlcilhcr.hc lxnl thc irst yt'urs l his il!||| h(' ouotry\i(lc rl \ir l( ' t ltt lnr\l)hcrc.owcvct.whcn t wil\ l i l l lc o lo o \ch(xllrrr t).lt), lrc i||| l i ly cltlrnc(l(t lt ccilpltil l ln(lsctllc(l l l i ln lpilrttl lcnlll thc inldhflrrfrrr.t.f n l()()l hc grir(luirtc(lirrrrr igh schrxrl Passctlhc Mtnnt ils hc ilxllc \n I l | l l i r t ions c ; r l lc r ln At ls l t i i | ) i t l l ( l ont in t tc t l isc t l t tc i l t io t tt t hc l i ' cht l ie l l lI lrr\cr\rly Vicnnawhctc hc stilrtc(l() stu(ly lrchilccltlrc^\ \rxrr rshc p ssc(lhc irstpai ol hissludics1r1rr('ftkt/t,r/irn,g. lc st()ll lx(l.rltrtxlil l! lt l ivcrsily irr a lcw ycars n ortlcr tt work in variotts iclds architcc-trrrc, lir;rlrics..lcsign.tusic.tnd itcraturc sa kinrlol lrcc anccKultururhdtttl )u | | r l r l lc \cyc i r rs - . thci t lc1960s hc ls ( )prcscnledis i rs lpapc tsn thcs r t ',.rllcrl l icundcskrcis' th e (' irclc ol Friends". lstt clclrcd o andnow itnlrtttr.s tlr lrtlotnelfuGruppt' cl' .Schwcntltcr (X).1).!nxrng hc /)i.rtdr wcrc pcr-\r'rirlrtics ik c Roll schwcndter. digcr ngerth.GustavErnst.RobcrtSchindcl,X lr h .iithior Allrcd Holl andntany thcrs aler mbclonging o hc ntclliScntsiil,, l i\ l|\tril. i;onrc l thck)Dics iscusseduch smodels l democracy r hc hc(n,rt \uhculturcsurDed nt o maiol rescarch reas.Onc resullof thcsc cscilrchlc -trr tierwa sJell Bcrnard's lrst vcrsion l "ZwiilfThcsenzur Allcrnativ-' l 'hcoric"rrrrrhlishcdn the nrid-1970sn MARGINALIEN l4unuskriptc.u rAlt(ttttttit\ ' ttl lutrit


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cn l| lho Tc(hnlcrl Unlvcnhy). Ar I conrcqucncc, much rtf lhc worl rlonc rrtl"cunitcin'r plsttningolllca wln tlxm rcicttlchnd hc(!ry.with rtttlics on urhunisltt,c.nvinnrncnttt lcriSn, lucstt(nlr l neccrrihil ity. rblnir it ie nd tottsing roicctslirr Jrcrsons il h (listhil it ics, nd thc ctl it ingol ll lc two inlF)n nt architccturcndifn pcriodiclfs lituttlturt'ttt inu'l /trtrrltrr' n atklilion l() this thc(trelicrllwork. Jeltl lcrnlrdc(,l l i lb( 'r cdot tscvcr plttttning n)icc(sb()lh rchitecluril lln durbanistic) 'nranyol which unlonunatclycmdincdus l skctches ndblucprints. s lirr actu-ally realizcrl uilt l ings,hc second nd hirdphasc f the"experintcntalousing"project t heair base ndairport n LinzlH(irschingUpperAustria) as o bemen-lioned asoneoI thesettlements onsidered ow asbelonging o thearchitectonicallyrnost n(erestingn the morerecenthistory of AustrianarchitectureIn 1980,while collaboratingn a large-scaleesearchroject n housing on -cepts or mentally etarded dults Berdel/Bernard/Hovorkat al. l98la' l98lb)'JetTBernardchanged rom Feuerstein's lanning and esearch ffice to the tnstitutlr SozialesDesign SD, Entwicklung& Forschung'Wien, an extra-universityinstituteof designersand sociologistswho worked predominantlyon topics andobiects elated o disabledand other socially disadvantaged eople. n 1982' heISD was awarded he Dr Karl RennerPreis der Stddt Wien,During the more hanten yearsat the ISD (whosechairmanhe was from 1984 o 1987),Jeff Bernardsomehow ormed he social-science alfofthe Institute ogetherwith the ate HansHovorka(cf. fbr instanceBemard/Hovorka1991, 1992),who actedalso as a pro-tessor for the integrative education of disabled people at the University ofKlagenfun.Apart fiom the deliberations n living conditions, herewereprojectslike aguide or the city of Vienna or peoplewith disabilities,or aprojecton SozialeRehabilitution und llentlichkeitsarbeil, sponsoredby the AUVA (AllgemeineUnt'allversicherunganstalt,.e. AustrianWorkers' CompensationBoard), andcar-ried out in cooperationwith the OGS/AAS. Apart from differentiated onceptsonpublic relationsand heoreticalconsiderations n the depictionof disabledpeoplein the media (which eventually ed to an exhibition; cf. Bemard/Pribitzer 1987:Bcrnard/Pribitzer/Schneider988), he project had also a very practical result; aworking group of researchers nd affectedexperts mostly themselves isabled)ti)rmulateda Clarla zur DarstellungbehinderterMenschen n den Medien whichis still of influence oday.The artistic side of Jeff Bernarddevelopedsimultaneouslywith his work as aplannerand architect,and as a researcher t the ISD. In 1970,approximately hesameperiod in which he resumedhis architecturestudies,Jeff Bernard oundedWEMCO - a group for experimentalartsand music (cf Fig. l) which was veryactive 'rom 1970 o the mid-1980s.WEMCO s an acronymwhich can be read ntwo ways according o the specific focus of a project.Originally, WEMCO wasshort or World Ethnic Music Cooperative a term which' howeYer,was receivedin a much broaderand programmaticsense n the late 1960sand eady 1970sand

lha|'..wor|dntutiic'.tcndc||cicr|hnltniSht$'Undt(xhy)',|lrnturieJrrtirrnror|lry thc gnup nnd iicntls rining lhcm n conecdwur prcdoninntlyroccrtllcr'tlvc nrpn,vi,,utiorr,lthough cll lcrnurdwI(tlc |lvt solltc onlFrsilirttlrnryorlt t r lcnrcnl\ ll hu t inlc.WtiM('O rnitt'drcc.iflrz.hc tirtoric nrl otllcntgr't l.y ntttr ieit l tt ltttrcsrl prplcs it l l ovcr hc w()rld. t lt( l (nltcll lF)ri lrylvtnlSllrdcntttrtt Nltr Mtr'r i l Alt l(nl8lhc (trc lcnttr 'crstl hc"cllssicll"WllM('()crlwcrctcll l lerrrr l l, plrrying axtrythrxlcs,hr


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| | r l . | l l l )hr( \, n| | r l rl i | l l [ l r(xr\ ). Lct l Sr hrth, t t t t' t l r( l l l \ l l l ( ' h l lt l t I i l l l ( l l ll rx l . l t lr l l r r t r ' , r r | r lny , r t r t r t t c r , lc r t t t t r l tRr ' r l t l .Wt l l t c l t t tSr l r r r t r t r l . \ \ r t l t t ' t l { t t lc t r t l t r ll l l i r r r l r ( lS 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 r r \ ,r r r t t \ l l r t t ( ( t l l t A t l l t r t l lM r r r k l i r ( | | i r r r ' t L ' r r i r ) .r | | co l t l t ( t r i r l ( ' t ' l r l l r r c \ o l l h ( l r \ l t t l l i t r ( l c ll h i r l r t | r ( ' .

I n J anua ry ( ) l { 1 . c l c h r i r t i r r gls Io th unniv ( ' r ' \ i t l y . l iM( . ( ) hat l r r r x h ib i t i onlnd I scriesol acconrpanying vcnts (conccfls. liscussions. )crl i )rnt i lncc\) n thcWiener Seccssion. In thc pr()grarn.Jel l l ]ernlrc l wrolc a shorl dcscription ofWEMCO which integratesboth sides:

Di e sterreichischexperimetalkunst-nd -musikgruppe BMCO wurde 1970 onJetf Bernardgegrndetund beschftigte ich vorerstvorrangig nril dcr Weiterenlwick-lung stilistischerStrmungender sptenSechzigerjahrem Bereich frciimprovisieflerMusik.Die ntensive erbundenheit i t denhistorischennd zeitgenssischenusikkulturen aller Vlker vereint mit den Tendenzen er euroDischen onzeflmuslkavant-gardeprgtedas Klangbild.Seit 1974 edocherweiiertc ie Gruppeplannig hre Ausdrucksmglichkeitendurch das Aufgreilen von Elementen er Aktionskunst,der PerlormanceAn. durchdieErslel lungmult irnedialer nvironmentsndde nBa uknstlerischer bjekte nd nstal-l1ionen..T. uch n Zusammenarbei lil verschiedenenildendcn nsl lem ...]. Ziel-vorslel lungstdie Erarbeitungnterdiszipl inreresamtkunstwerke;en wcltanschau-l ichenBackground iefr iefern ultur- undgescllschaftskrit ischeberlegungenufdcr hcoretischcn rundlage er Angewandten emiot ik = Pragmatischeomponentedcr ,chrcvo ndc nZcichcnprozessen).Bemard 98l: 6-7)

WIIMCO played concerts und sessions n various clubs, gal leries and culturalccnters, fike Jo:.:lund. Internationoles KultLtrcentrum (Annagasse), Mo.lern ArtOulerie,


5/9Fi. -li Scene rorn lre M".tium is Fom, Content\ a d hierPretution (photor Wolf Kloska)

lxrf i frfrfrfnccr lr \ t t t(r\ '(nlh, '8r, th co|xnin$cvcll lol thccrhihil iQll ln dw(l'iholt | | l hc Sr'cc$iotl ' gt in t l 'ct l iruttt tnctn Ptlhlic f lr(cl^r n l l t . l . bo l ,,reh lctrr l t trchrt[ l tgcl ltr l \ \ | |n l( t l ll l Incl lwtl r( l l8r \ l l l ( l ( l l lc ([ ( l rcll \ lclL 'rrotk' l i 'r l i l r lu lptrr l l r r |(h n|cl l t l l r rwt' i Slun( lct lnrrF i tx 'r lc n Ki|r l \ lhr l ' lIr l rerct r i l r t t \ tcel lc ( lcf (hwcrLlschi l ( lctcrl l lt c rrr( l ( lcr ' | lnr l rntL 'r l ic j rci trcp|r/uIr l lxr t l r lxnl i l l ( lc\Scec\r i ( r l lslchl i ldc\ni l e l / lcrKrnl i l t^_rwit l ( lcl l ( ll l l Mtl \( l l l ! ' l t l |r lr cr .t rwlrnti 'MLrr i IaIi \CIl||r Icr \t i i r , , l ( |r ( |c |, | i lbci (n]| 'Mi l l | | | li l |c IMi|slC'. ' I t | |cI( l ( r \ i r l l ( ' i l t n | . {r l i l i c r ' t c r .a b c r r rn g c l l i l n l l l hl c i h c l l $ o l l cnd c r ' l r x ( l i l i ( n li l l _ J i l / / i l r ( r l l ll\ . th l t8. ( icsti i r t .vtr | '( lcli c ^ l t i ( ) r) wic bci Jcl t lcrn i trr ' ls l r trstln tl lcntl iehcn ul l lr rJlrr 'ruih l ich vrr t lzwci l )o l izcibcanl lc dcncr ldc r Si luSchi lh cr l )cr l ( rn l |n l lccl t l l'( l rucf /r r \crr l l i l tcl l lwrrr .Ni lchci l tcncr ussi lSc crsucht0 cl l Bcrni l rd l l i l lc ls l ic\cl^ l trorr in \chr vcral lgcrncincncr;or l l l c incn P()rcl l i iu l icrslcr ntl rcl lxluos K{nl lr rrnr l l l i (n l \k)siSkci lun d fy!hosol ia lcr Vcrwuntlung atrustcl lct ldcr'sich nntrhl lbrh ( (r ' xislcl l l ic l lcr Jcrcichc dc fScinsstutcnlhwickcl t l crsl i i r tcNi l lur lxuslcl lc lc r, l |r l !( l \ \cl lcncn Zwcicr l in ic) .rbi tncrKontcxl (grolJsl l id l ischccrkchrsl l l ichc) lr(l. . l r h e r h t |usp h i i r cd ic h c i l i g cn a l l cn d c r t r n s t ) W i th a l n r9 t t2 | p l I 5 l )

l l r r l l ( , .rci f l i (nr l thc wittr t 'r windfutr l t 1980 Fig. , l ) . an obiecl prcscntqdwilh in thcI /r |r 'r r rr t i |prrgratrr inc of the l 9U()Wicner Fe tw(!-hcn at the 20cl ' H(r l l ( hc Mu -\.r | l r (' t thc 20th Ccntury) ' Jcl l l ]ernardcornbinedurbandesign' n lusican d lrc ansI lr ( rnr) !r ' i rnri r l lcr descr ibetl he windharp (a kind of largc-scale eol i i t t thrrp) as

, rrr rr t l i0vistrcl lcsinctisches bjckt.* c l r h e sc l t r r chi n cnk le inenWind-frneti r l (n tn l lcl r iebcn ir d un d ohne.r l l | e i lcrSicrul i rhr unklionien. sl :rDr !( tr . icdcrt lunn n Canggeselzlrr t r r l tn Lrntlcrbrci tctarte. mcdlt i l -tr \ c Nlcl(xtie l i ) lgcnnd Klangstruk-

I l r r ' cr l artt lwhite ur l & sould object.r l r rxr \t l r rL ' lcr '\high irnd measuring.' r ( er '\ r () f i lonl l l ) . wirs only menl,f\ if prolo(ype lor lhe Crcat Viennall n,l larp ( )n 'ln st t. x ser ies l aboulIt t u rrrtlhurps hich should havebeenp1.r,,,, 'r lrl l rrcr Viennacl() \e (r promi-||( .r r buitdings related to culture an dr l r c | | t \ t h c l i t l l r 'w i n g e r ' U n fo r tu -nrtcly. wc can only guess rom someIr lro lo nrontages ho w it could havelxr lct l l ike. since he complete nslal-l l r ( )n $i l : \ n(r t sponsored Together

Fi,. l: Viennesewindharp, prototype 9{i0:pboto: Wolf Kkrskr)


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\ \ r t h l h ( . ( l ( l . t l l ( t l \ ! r r | ( . l t l , l r x l ( o l l \ l l t l ( l l | | t l l t l ' l l l t l x l l l l r t r f ' \ ! \ ' l ( l ] l l l t l t \ l l ( { l rl l

l ) r r \! l ( ) j j r ' \ r ( l r r \ \ r l r ( i l r i r rr l r o r ( k \ l( r \ r r r r r r r r l r r r \ r r r r l , l r r \ \ r' r \\ r \ r / ' r l r l t ' r ' l r ( '' I c I l ( l c n / ( t n i l l | ) c I h x I b ( | ( ' I b | . Il f l l 1 ] . l l t : r t r g l ' . . r t ii l . r ( ; ' l | | J | ' t . \ \ | N l ( ( ) , \ l l t l l I lt | | l l i | | | ( l ( . l le 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 c s: l l r i r o r r r r r t r r t .l r r S t l r s e r l r r r r r l t l( l r r l l e t r l i r l : r \l r e l l l r t r ldcm Pcr l i ) rma0ce scl t (n- . s(n l { lcrn i r t r lJclcich t t rs r r rh i t t te rr : r r r i rorr r l rerr t r r l)csig t l(Bcrnard WEMCO 9ll0:' lu)

By now, rhe musical id eof WEMCO ha sbccomc r nrytll 'pltr l iculxty \in(: ' rx)ofTicialecordingsxist, nl ysome rivate ncs.A t(:wyei' l l ago (iisclh(:r l l lckit lofl 'ered noverview lu sdiscussion it h JeflBcrnud n oncol hisORFratliopr ograms. t shouldhc mentioned' owever.he t although cl f Belnardhird o rc -stl ' ict is rangcof trt istic lctivit ies () ccrtainextent1o rothcrprolessionalea -sons hc hasnever ully stoppedhe perlbrmanceyp e of activity: n 1999' orinstancc.n thc courscof thc ISSs-congrcssn "Signs,Music' Society"at theLlniversilyol Applied Arts Viennn.he perfbrrncd ogetherwith the NrplesavantgardcellistMarcoVitr l i a one-hour vent onceivcd y thc imotrs trl iansenriotician assitloA. Bonlirntini.rom Milan On cca nnever no wwhether ewill considert appropriategain o choosehi skind of exprcssion'

To rcturn o the chronological rder.howevel: n the early 1980s' s he co-lirunder f the niliuti|a :ur regbnalenFtirdentntneu?r Kunst nd Kultur INK(locrted n Batlen, srrtall own in LowerAustriaclosc o Vicnna)' efTBernardadded ct tnotheraspecto hisculturcwork lh e Kitltr|r 'r 'nir l l11tr?lin the egionthfough hc orgtnization f cultural vcnts.However. saheady hown or architecturc nd lesign. e usually ornbined so-called practical"sideof Nctivit icswithprotbund eflections n he opicwhichoticn esultcdn resealch ro1ectsndpublications. it h regardo aulonomousullurc nitiativcs' e canobscrve xactlytheslrnrcntefconnection ihis own Kriltoraicil and a rescalch (tject on thescene.staning n the micl-1980s ndpublished n the bur volumesol Slrukturetl utotu'wrKulturtt|beit n sterreiLhn 1990an d 1995 espectively hi s truly long rilnge(andnot yet cntirely flnishcd)studykx)k partly he i)nn of 'lction rcsearch"'sinccin its course e co-init iatedhe bundation f a ncw 1)('1)' '7r 'e'r lthenof theMin-istl 'yof Sciencc.Research nd he Arts' k)daywithin the FederalCihancellery)'dcaling xactlywith this segment f culturc. swell as he assoclahoneprescntin g th e "basis", he A Kultur )starreith. no w stil l one ol the mostprt)gre\\i\eins t i tu t ionsn Aus l r ia ' s u l tu ra li te For f iveyears(199I r )5 )hewasa lsoament -lxr of theKukurbeirzil,a council hatproposedwhich initiativcsandpr()iects houldbe sponsoredy the bovementioncd)epanment.Th ecxhjbit ionon 5'emiotitMultinetliaAr l whichhc presenteduring he 2n dCongress l the nternationol ssociationirr SemioticStudiesn July I979 at heUniversity f Vicnna F13. 5) ouldscrveas a bridge ro m the artisticaspects l /-i(. ir Po\tcr lar t.,ri.t i. Muttutmlitt An tJttl

Rcrntrrd l9Ti))


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hinworl to thclrrcniotic hlclSnund md lo thc rcmliie ptrnol hir work n thcrtri(t qlrc. l lr rrr|tinrhihitrwc](' hc kI ll lncnttiotlsl thc w(t197()rtttltitttc-rl i pcrlirrtnlnct's rendy ttcntiottcdlxrvc: whilc lcrnttttl 'r t cn(l ll l( l lt hilt l l lcclosccollit lrrtralrttirich liics (el. in this rrxrl) showcrl ottlcol his lispirtlgirtgphoto ttontagcs.'hc ntr(xltlcl()rycxls ln hc lyctsclclll y in(liciltc(lhc sclni()llccore of both pcrli)rnranccs.li r Ifu or Not o IJe;No Qu?.\li(,ttleill Konttnuni'kationsspiele, ezw.eher Kotnntunikatirtnsvcrsrtchc,cre'n ill izicnz ungcwi13verbleibt", and TlreMetlium s Fonn, Cot?ttts und I t(tp r'('l.iti(,rrzcigl die Kon-frontation es Einzelnenmit den m


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flic Tctlcufrh nrJortcvct tldllrcd in Auitrin, on irl/(.rr ttlvrtri.' .l /t'itluupru.tit(( X S-l 'nrictttcnflt 9t6: l lcrnrd glth). lh c pnrjtct hnrl t rtrrDl, l | | t locipirloryanrlsrrio-rcrniotic tppr(xtch.lrcscntc(ltt clritptcrs y lroll k ltrrl hisclrscstc0l-l irhnllrns (Wollgang }in(lhitucr,Rohcrl iul lncistcr). irich lrrics. cl l l tcrn:rnland nryscll. ln atlt l i t ion. (l l()dil icd l)clphi) survey gitthcrcdanswcrs hyscmioticiansiorrrall over he wurldconccrninp ol h heorcticl l ucslions nd hesemiotic ommunity.One of the parts,co-authored y Jetl tsernard nd nryself,dealt with the socio-semioticconceptsof the author who most strongly influencedand inspiredJeflBernard'smodelling: he talian semiotician ndphilosopherFerruccioRossi-Landi(who actually becamealsoour very good friend in the yearsbefore his death n1985).Rossi-Landi'ssemiotics,particularly socio-semiotics,must not be readasconsistingof isolatedor separated arts.The variousconceptsare ather ntercon-nectedelementsof one integrated heory, a complex network in which each andevery dea,eachandeveryargument as ts uniqueandproperposition.As a conse-quence, vena brief presentation fRossi-Landi'sw$rk would take oo muchspace(and has been done on variousoccasions, ometimesco-authoredby the two ofus). Thus, will only enumerate omeof theconceptswhich Jeff Bernard ook upand developed urtherWork - considered n an anthropologicalsense nd with regard o both mate-rial and signproduction is definitely a centralconcept.Accordingly, the model-ling of both sign production (and re-production/consumption)nd the entire signprocess as o be basedon the various orms of work which can be distinguished(cf. Bemard./Withalm 986a,1986b).This is not only true fbr the external,visiblepart of semiosis,but also for the internalsign production n the mind of the signworkers, as shown n Bernard'sdiff'erentiated ign model. A secondcoreconcep-tion fomulated by Rossi-Landi s the tomologyofmuterial arul inguisticprotluc-liox. Jeff Bernardadoptedand expanded t, with regardboth to the evels and heareasof productioncovered, o a generalhomology model of human productionincluding mental and ideological domainsand culminating in the explicationofthe creation,making and components f cirlrure(that s, integratingalso the find-ingsof hithertoexistingapproachesn the semioticsof culture).Bernard's semioticwork can be characterizedboth as theoreticalor generalsemioticsand as applied semiotics, he one influencing and promoting the other.Accordingly,we find not only the integrationof theoryand practice n hrs cuvreasa whole. Also on the heory sidehe adheres o an ntegrated onceptcombiningsocial and/or socio-cultural heories, n particular advanced orms of subculturetheory (in the line of Rolf Schwendteror the works of the scholarsof the Centrefor ContemporaryCultural Studiesat the University of Birmingham,whoseworkhe actuallyconsiders orms of culture and media semiotics),and socio-semiotics.Already n 1979hepublished n articleon the "SemiotikdevianrerVerhaltensmusrer

$r{rlol i ichc I cv ur/ iri t h$ngund hctnlt ivc K(xlcr"(l lcnllt '(l 197"), nd cntf\ ll(cr, nt thc.llh IASS Als (irrrgrcsr' hc Pt\:rcntc(ll Prfcr dl{ tllritr8, ('1 ulhcr,oftf l rn[, "scnturtcsus t I h('(tryt l (Suh ( ll l t lrc(\ rln(l t .Mnlcrinl rc " ( lcnlItrr:) |' l hc rrrio-scntiot ically itsctl uhttt l t t trclpPl(t i leh() r l\ ht 'hrtsprcli 'rrcrll| | ( ul l rt : hl l i ' lcl l i l thc()ry tl ct l l t t lrc wilt thc uil(l in8 (lnccpl lt nlt l l ly )l hir rc'rrttr h Projcctr. incc stth't"tt l t t trcsitttbc r'|^-n rl hcrtncticbig tt l sttt i t l l ' togrcr'rnr.or rcgtcssivc, lc.. antlpctlplc ltnbc irrcctl nl() hcit l l l i lrginil l izctlxtrit iot ltr r rl r\ thc c rc wilh disithlct l crsotts) r dclibcr tcly t{kc thiss()cict i l l ()sl ln'l li \ irrr.rrr.r.r.rre lt t disl ingtt ish.rgucslclnitrd. lal irtrt l .-r, t tr'rclwcctt cgclltotttcr ultrrrt 'rrrrrluhctt l l t trcs.nd urottgdil lcrcnlsubcullt lrcs.(mcswhichnr col !rci l tthcrrrt 'tr, , irlrn(l ri lcl icrl ntcrcsl nd lnp()rl i t t tcc.ll thcsc ornp()t lct l lsll ct l l lurcrrt intc (olsl i lutccotttplcxiSrt tt i l icitr rl di l lcrcntnrakings.nd hc ctrlphasisttt trtt lrrrr notor lct l l lurcbu l on t i lrrt t 's - whichopcnshi s heluyalso tl "gltrl t i t l izit-t l , | | l)lrertorlcnit.ntong hc icld rescarchhcnrcsclalcd o hc subcultur vlcw\r.r(. theviui()us orksott disabled eoplc ssuchan don t l isablcd ctlplc nd/inrhr. rrr.t l i irnd lhc d!-vctoprnenll stratcgiesirr an nrpnrvcd onrmttnicationtn drrtcrr(t ion n socicty; hc sevcral olulDcs n culturc nit i i l l ivcs' nc ol wlrich s\trl l to l l l)Dcirr: Proicclon t lrugs.ntedia nd public eprcssnli l t ion,tc , itnd. ll '| | I '\ t t f(nl icit l ly. snl l l sludyon thc ntptetnentationl sctnioticstscll ts t hith-rrro rcl it t ivcly targirral hcnolneuonn academiain th c eslschri l i in Wollgtlnsl l ' l l r r l l c rnar t l 9 l l5 ) ., \ l t l roughhc nrp let lenta lon of scn io l i csn academian Aus l r ia . s ( ) hc,, 'ntt rrts. irs ncrcassd vet theycars hrough ef l Bemald's f l i trls.hc was td-l l r r t l (l l\ lcss ucccss lu ln ns t i t u t iona laspcctsherc ss l i l lno ns t i l u tei ) rScnr i '', tr\ rl i [ ly Austri i lr) l l l i \crsity. his was alsootrcol lhc reasons hy thc ISSSrr.rr rrurrchctlnstcad y l lernlrd nd Pollak. hcreli lrc. neshould tcntion ntorcr.(. | l l \ ign cvcrlt . his inreone n whichJeli Berntldwas nade intsclla sign' Atrrr l l lst i lulcnecds prof'essort the held, and n recognit ion f his inrprcsstvc.. r, rt i l ic i l i t irnc uchievementsewsmade ne notby theun versit icsn wh chrrlv now ancl herr e wasgiven he chanceo hold courses' ut by thc Auslri n\r;rr( tscll. n c rly 2003 heprotessionalit le"Professoi'was estowedpo n rll l ll)\ rlrcAuslrianPresidentnd by the Ministryof Education, ciencc ndCulturc{ }I(' sccs hir( t i s sometimesossibleo bypass tructuralesistance.s mucll tsl|(l lcsclvcd his allotnrent f "symboliccapital", n Bourdieu's ense, ne musl||rnrcthclcssls ohintat he act hatJeffBernard'sncome io m semiotic ct ivit iss1 l I l l u l y ] ( I } , l . w h i t e t h i s b o o k g o c s t o t h e p r c s s ' h e w i l l c o c h a i r a s e s s i o n o n ' . C u r e n l l s s u c s i n S ( )

s(rriorics rr thc 8th IASS AIS Congress n Lyon (organizcdby the InternationlFcfiucci{)Rossi-l.rfldiNctwork. one ol the prqecls co-inilircdnd up b now cmrdinated by Jcll Bernard) ln this,;r,rrncction. ne shoull alsomenlion thal the itle ofthe whole congress'.'lnterculturalitynnd Ck)-hrlirtr(nr", w,rs his ideai the first world congressof semiolics n th 2lst millennium. he ar8ed'\lnnrld indced show he rclevanceand potenliali of semidics k) lnswcr lhe challenges four tlmc


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|rrsilFdr th.tnrt hsr. h (rn)rnlur nruldnlthmof'rcmc'thlnjofton rllcd r typlcrllyAurclrnd.rtlny". n hltvlrw,md ocomc sckolhc intnxluctory trtmcntr.onc $houldalro highlight o founb dimcn$ion' hst is,as a sponsorof semiotics,not thc usul olc of slicntints:Je/t Eemard the pmmo-tor of science.By creatingsurplus rom deliberatestrategic nteraction and alsomore often hannot by usinghis own money,aswell as by the mmenseamountofunpaid work he invested n all his endeavors), eff Bemard has neverceased ostruggle o advance he causeof semioticsdespite nstitutional indifferenceandresistance.At the very beginning I promised to demonstrate why the title fits to characterizeJeff Bernard's life and work, and by now the moment of unity in the diversity ofhis collectedauvre should be clear.Many of the features ust outlined with regad to Jeff Bernard's semiotic andcultural studies apply likewise to his entire ceuYre,be it anistic, scientific or or-ganizational. Most prominent among these traits is the true integration of theoryand practice, departing from, aswell as reaching to, both directions' Anotier facetis the ocusingon semiosic, ommunicativeprocesses hich is not confined o hisactual theorizing on signs and sign processes, ut pervadesalso his artistic andcultural work. Above all, a strong momentumof responsibilityand an emancipa-tory stancegovern his work, his thinking andhis life: Jeff Bemard never losessightof socialdimensionsand societal mplications.

REFERENCESBerdel,Dieter;Bemard, eff; Hovorka,Hanset al (l98la). Wohnsttteniir en)achseneeistiSBehindene.Hg. vomlnstitut ftir SozialesDesign SD.Vienna-Munich:Jugeod ndVolk- (l98lb\.WohnstttenfrbeN^chsenegeistigBehindene.Kur

jeff gloria

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