A dancer whose choreography has elements of both Graham’s expressionism and Rainer’s objectivity, Jim Self most resembles those Chicago-area visual artists who use the human body to exhibit metaphors of larger physical or social issues. I am thinking, for example, of Phil Berkman’s work in which props—perhaps broken peanut shells or bits of garbage—are strewn about a performance area and then gradually cleared away. Simultaneously, a personal territory is created and a symbolic form built up which maintains the threat of overcrowding. In White on White, Self and “friends” (Duncan Erley, Donna

Leif Brush advocates the so-called marriage of art and technology, a union which in the past has produced frivolous experiments with sophisticated techniques, ecology-oriented demonstrations all too familiar to rural audiences, and reminders of Chemistry 101 experiments with the basic properties of vital substances. Starting with the 1960’s GRAV and New Tendencies protests at human domination, art-and-technology sometimes came with an appeal to conscience, and Sonfist and Haacke still protest a potential ultimate extermination of natural processes by technology.

But Brush announces a personal