TOPO-EUROPE addresses the 4-D topographic evolution of the orogens and intra-plate regions of Europe through a multidisciplinary approach linking geology, geophysics, geodesy and geotechnology. TOPO-EUROPE integrates monitoring, imaging, reconstruction and modelling of the interplay between processes controlling continental topography and related natural hazards. Until now, research on neotectonics and related topography development of orogens and intra-plate regions has received little attention. TOPO-EUROPE initiates a number of novel studies on the quantification of rates of vertical motions, related tectonically controlled river evolution and land subsidence in carefully selected natural laboratories in Europe. From orogen through platform to continental margin, these natural laboratories include the Alps/Carpathians-Pannonian Basin System, the West and Central European Platform, the Apennines-Aegean-Anatolian region, the Iberian Peninsula, the Scandinavian Continental Margin, the East-European Platform, and the Caucasus-Levant area. TOPO-EUROPE integrates European research facilities and know-how essential to advance the understanding of the role of topography in Environmental Earth System Dynamics. The principal objective of the network is twofold. Namely, to integrate national research programs into a common European network and, furthermore, to integrate activities among TOPO-EUROPE institutes and participants. Key objectives are to provide an interdisciplinary forum to share knowledge and information in the field of the neotectonic and topographic evolution of Europe, to

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A new genre of hybrid artworks involving elements of performance, conceptualism, sculpture, and installation practices evokes complex art experiences that are performative yet exist in various material forms—including, implicitly or explicitly, that of the artist’s laboring body. These works call for new ways of engaging that do not dwell on final objects or celebrate “authentic” presence but understand the relational tensions and seductions between human and nonhuman.

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1. Claims of presence and authenticity are extremely common in discussions of performance art both from art historical and performance studies points of view. For example, film and art history scholar Catherine Elwes noted in 1985, "[p]erformance art offers women a unique vehicle for making that direct unmediated access [to the audience]. Performance is about the 'real-life' presence of the artist [...]. Nothing stands between spectator and performer" (165). I don't want to scapegoat Elwes, an important theorist of feminist performance, here; in making these claims, she is completely typical of most writing on performance art particularly in the art context from the 1970s through the 1990s and even into the present.2. The first weeks Abramovic; had a table placed between herself and the other chair, explicitly re-staging the performance Night Sea Crossing (a series begun in 1981), which she and Ulay had enacted at various venues around the world, sitting across from each other with a large table in between. She removed the table partway through the roughly three-month length of the show (14 March-31 May 2010); according to her dealer, Sean Kelly, whom I spoke with while I was waiting in line to "visit" the artist, this was because she felt the table distanced her psychologically from the individuals she faced (Kelly 2010). Assistant Curator Jenny Schlenzka clarified the process of the show's organization (Schlenzka 2010). Amelia Jones is Professor and Grierson Chair in Visual Culture at McGill University in Montréal. She has organized exhibitions on contemporary art and on feminist, queer, and anti-racist approaches to vis ual culture. Her recent publications include the edited volumes Feminism and Visual Culture Reader (Routledge, 2010) and A Companion to Contemporary Art Since 1945 (Wiley-Blackwell, 2006). Following on Body Art/Performing the Subject (University of Minnesota Press, 1998), Jones's books includeIrrational Modernism: A Neurasthenic History of New York Dada (MIT Press, 2004) and Self Image: Technology, Representation, and the Contemporary Subject (Routledge, 2006). Her current projects are an edited volume Perform, Repeat, Record: Live Art in History (with coeditor Adrian Heathfield) and a book tentatively entitled Seeing Differently: Identification and the Visual Arts.