The growing contradictions inherent in capitalism are concentrated, as though at a focal point, in the monetary field—the most, vulnerable point in the whole capitalist economy. The extended period of the general crisis of capitalism is punctuated by periodic bursts of monetary crisis.

J. К. Galbraith begins his book on the history and current problems of money with the following statement: “There is much that is diverting in the history of money, but even more that provides a rich reflection of human behavior and human folly.”.

Interactive media arts offer us new approaches to the role of theatrical representation. Nowadays, digital technology allows us to explore self-representation in systems that cross over between installation art, theatre and performance. By confronting the subject with his or her own image, these devices question the mechanisms of identification and denegation. Both the theatrical creations and the interactive forms that are examined here invite the spectator to explore the relationship between identification and denegation. All the artistic productions that are studied (...) in this article call for a virtual double that the immersant meets: Liquid Views (1992) and Rigid Waves ([1993] 2008) by Monika Fleischmann and Wolfgang Strauss, Telematic Dreaming ([1992] 2007) by Paul Sermon and Eux (2008) by the Crew company and Sensorama (2009) by the Andwhatbeside(s)death company. In all of these artworks, the participant is encouraged to give less importance to his or her cognitive senses in order to allow his or her sensations to create a representation of himself or herself. The overlap between identity and otherness is therefore to be found at the very heart of the sensitive body. (shrink)

Trimalchio is such an established figure of fun in the Satyricon that commentators have been content to note the myths that he jumbles together in his description of his tableware here, without going much further. Clearly his scyphoi portray Medea and her dead children, not Cassandra, and we assume that he can recognize gladiatorial fights when he sees them. Heretofore lacking is any discussion of what scene was actually represented on the capis he acquired from his patron and whether the (...) reader of the Satyricon is meant to be able to decode the scene which Trimalchio so flagrantly misinterprets. (shrink)

Trimalchio is such an established figure of fun in theSatyriconthat commentators have been content to note the myths that he jumbles together in his description of his tableware here, without going much further. Clearly hisscyphoiportray Medea and her dead children, not Cassandra, and we assume that he can recognize gladiatorial fights when he sees them. Heretofore lacking is any discussion of what scene was actually represented on thecapishe acquired from his patron and whether the reader of theSatyriconis meant to be (...) able to decode the scene which Trimalchio so flagrantly misinterprets. (shrink)