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The contemporary art college makes a broad range of media available to students, from which writing is conventionally excluded. Writing entered the art college curriculum in the 1960s as a "frame", or means of integrating art and artists into an academic framework, rather than as a medium of potential study. Drawing on the philosophy of Vilem Flusser (1920-1991), the article accepts that writing has exerted a long, if uneven, control over the power of images, and that the introduction of writing into the art curriculum in the 1960s activated very old tensions. Dramatic changes in communications technology have, however, markedly changed the position of writing with respect to images. Art colleges may now be in a uniquely strong position to reconsider the role of writing in higher education in general.

The discovery that Mars was at times a wetter and warmer planet have made the scientist more optimistic that they will find life somewhere on the planet. This has led to research organizations to devise instruments that will help in future Mars explorations.

Reviewed by Nancy L. Roth, Rutgers University Fifteen years after it first appeared, The Transsexual Empire has been reissued with a new introduction, though no changes have been made in [...]

In this article, the author discusses the images of John Goto in "West End Life." He notes that Goto seem to portray awkward, impatient response from the natives. He comments that the photography reflects the personality of Goto as an established artist with substantial critical acclaim and a long, distinguished exhibition record.

The article offers news briefs on issues concerning the American Viola Society (AVS) in the U.S. The first student chapter of AVS was established by viola and violin students from the University of Northern Colorado in Greeley. A recital of Jennifer Strumm, first prize winner of the AVS William Primrose Competition, was presented by the New York Viola Society. The Oklahoma Viola Society will hold its fourth Viola Day at the Oklahoma Christian University in Edmond.

HIV/AIDS and other epidemics are just one of the elements of the mosaic of misery that plagues many Americans. The rhetoric of such epidemics is characterized by four primary fantasy themes: groups most affected by the disease, cause of the disease, problems posed by the epidemic, and solutions offered to mitigate the problems. Unlike most rhetoric concerning HIV/AIDS and earlier epidemics, Louis W. Sullivan's first policy speech about HIV/AIDS is characterized by apparent paradoxes between his definition of the syndrome's social causes and his proposed individual solutions. Three interpretations of Sullivan's rhetorical vision are offered: the clown, the raven, and the self-made man. While they help to create order among the paradoxical elements of Sullivan's speech, they present a gloomy scenario for the African and Hispanic American communities that are disproportionately affected by the HIV/AIDS epidemic. A new rhetoric that links individuals to their communities and communities to a larger whole is called for, so that the mosaic of misery can be dismantled. [ABSTRACT FROM AUTHOR]

This study explores the evidence of social and personal forces in discussions concerning sexuality in client/provider interactions about HIV/AIDS. It unravels the complex ways that such forces influence the interactions, each other, and, in turn, how interactions can influence the forces themselves. The interactions were observed using participant observation techniques, and were analyzed using a framework suggested by Giddens (1979) and augmented by the author. Analysis suggested that such forces as societal norms about sexuality, promiscuity, and monogamy and the guilt associated with their violation influence client/provider interactions about HIV/AIDS. Unraveling the mutual influences of the forces may provide an opportunity to identify possibilities for altering the reproduction of the system. [ABSTRACT FROM PUBLISHER]