2010 Pilot Pen Tennis
Date:		August 23 – August 28
Edition:		42nd
Surface:
Champions
Men's Singles
Sergiy Stakhovsky
Women's Singles
Caroline Wozniacki
Men's Doubles
Robert Lindstedt / Horia Tecău
Women's Doubles
Květa Peschke / Katarina Srebotnik
Pilot Pen Tennis  < 2009 2011 >

The 2010 Pilot Pen Tennis was a tennis tournament played on outdoor hard courts. It was the 42nd edition of the Pilot Pen Tennis, and was part of the ATP World Tour 250 Series of the 2010 ATP World Tour, and of the Premier Series of the 2010 WTA Tour. It took place at the Cullman-Heyman Tennis Center in New Haven, Connecticut, United States, from August 23 through August 28, 2010. It was the last event on the 2010 US Open Series before the 2010 US Open.

ATP entrants[link]

Seeds[link]

Player	Nationality	Ranking*	Seed
Marcos Baghdatis	Cyprus	20	1
Thomaz Bellucci	Brazil	25	2
Fernando González	Chile	29	3
Mardy Fish	United States	36	4
Andrey Golubev	Kazakhstan	38	5
Tommy Robredo	Spain	39	6
Alexandr Dolgopolov	Ukriane	43	7
Florian Mayer	Germany	45	8
Sergiy Stakhovsky	Ukraine	46	9
Victor Troicki	Serbia	47	10
Xavier Malisse	Belgium	49	11
Thiemo de Bakker	Netherlands	50	12
Michael Berrer	Germany	51	13
Juan Ignacio Chela	Argentina	52	14
Denis Istomin	Uzbekistan	53	15
Victor Hănescu	Romania	54	16

• Seedings are based on the rankings of August 16, 2010.

Other entrants[link]

The following players received wildcards into the singles main draw

• James Blake
• Taylor Dent
• Fernando González
• Donald Young

The following players received entry from the qualifying draw:

• Philip Bester
• Dustin Brown
• Teymuraz Gabashvili
• Mikhail Kukushkin

The following player received the lucky loser spot:

• Radek Štěpánek

WTA Entrants[link]

Seeds[link]

Player	Nationality	Ranking*	Seed
Caroline Wozniacki	Denmark	2	1
Samantha Stosur	Australia	6	2
Francesca Schiavone	Italy	7	3
Elena Dementieva	Russia	8	4
Yanina Wickmayer	Belgium	15	5
Marion Bartoli	France	17	6
Flavia Pennetta	Italy	20	7
Nadia Petrova	Russia	21	8

• Seedings are based on the rankings of August 16, 2010.

Other entrants[link]

The following players received wildcards into the singles main draw

• Elena Dementieva
• Nadia Petrova
• Dinara Safina
• Samantha Stosur

The following players received entry from the qualifying draw:

• Varvara Lepchenko
• Bethanie Mattek-Sands
• Anastasia Rodionova
• Elena Vesnina

The following player received the lucky loser spot:

• Dominika Cibulková

Champions[link]

Men's singles[link]

Sergiy Stakhovsky def. Denis Istomin, 3–6, 6–3, 6–4.

• It was Stakhovsky's 2nd title of the year and 4th of his career.

Women's singles[link]

Caroline Wozniacki def. Nadia Petrova 6–3, 3–6, 6–3.

• It was Wozniacki's fourth title of the year, and the tenth of her career. It was her third consecutive win at the event, also winning in 2008 and 2009.

Men's doubles[link]

Robert Lindstedt / Horia Tecău def. Rohan Bopanna / Aisam-ul-Haq Qureshi, 6–4, 7–5.

Women's doubles[link]

Květa Peschke / Katarina Srebotnik def. Bethanie Mattek-Sands / Meghann Shaughnessy, 7–5, 6–0.

External links[link]

• Official website

This article is about the former New Haven joint tennis event. It is now a women's-only event. For the New Haven men's tennis event known as Volvo International (or Pilot Pen International), click here.

New Haven Open at Yale, Yale Open
Location	New Haven, Connecticut  United States
Venue	Cullman-Heyman Tennis Center
Surface	DecoTurf/Outdoors
[1]
ATP World Tour
Category	ATP World Series (1990–1997) ATP International Series (1998–2008) ATP World Tour 250 series (2009–2010)
Draw	48S / 32Q / 16D
Prize Money	US$750,000
WTA Tour
Category	WTA Tier IV (1988–1989) WTA Tier III (1990–1994) WTA Tier II (1997–2008) WTA Premier Tournaments (2009–current)
Draw	32M / 32Q / 16D
Prize Money	US$600,000

The New Haven Open at Yale (also known as the New Haven Open at Yale presented by First Niagara for sponsorship reasons^[1]) is a professional tennis tournament played on outdoor hard courts. It is a Premier tournament on the WTA Tour. Until 2010 the tournament was part of the ATP World Tour 250 series of the ATP Tour. It is held annually at the Cullman-Heyman Tennis Center in New Haven, Connecticut, United States, just before the fourth and last Grand Slam tournament of the year, the US Open.

History[link]

The tournament was created in 1948 as the U.S. Women's Hardcourt Championships and first played in Sacramento, California in the United States. Over the twenty years of its first run the event was moved regularly to several U.S. locations including San Francisco, Berkeley, California, Salt Lake City, Utah, Seattle, Washington, La Jolla, San Diego, California and Denver, Colorado. Among the winners of the event were Doris Hart, Darlene Hard, Nancy Richey, Rosemary Casals, Billie Jean King and Jane Bartkowicz. The event was discontinued in 1969 following the beginning of the Open Era.^[2]

In 1988 the United States Tennis Association (USTA) decided to reinstate the tournament. The first edition of the new U.S. Women's Hardcourt Championships were held that year in San Antonio, Texas, first as part of Tier IV of the WTA Tour, then as an upgraded Tier III event in 1990. The championships were first sponsored by Post Cereals in 1990^[3] and by Acura from 1992 to 1994.^[3] Over the first years of its second run the tournament had several past or future World No. 1s among its champions, such as Steffi Graf, Monica Seles and Martina Navratilova. After the event was moved to Stratton Mountain, Vermont for the 1993 and 1994 editions, conflicts with the 1996 Summer Olympics prevented the tournament from being held in 1995 and 1996. In 1997 the event returned again, now within Tier II and first taking place in Stone Mountain, Georgia, then in its current location of New Haven, Connecticut in 1998 under the new sponsorship of Pilot Pen.^[2] In the first years of its run in New Haven the event saw its competition dominated by Lindsay Davenport (four-time runner-up in New Haven, one previous time in Stone Mountain, and 2005 champion) and Venus Williams (four-time champion from 1999 to 2002).

When it arrived in New Haven in 1998, the Pilot Pen International became the second tennis tournament of New Haven, alongside the men's Pilot Pen International, first created in Bretton Woods, New Hampshire in 1973 as the Volvo International, and moved to Connecticut in 1990, where it took Pilot Pen sponsorship in 1997. When the men's event was cancelled in 1999, the women's Pilot Pen tournament remained the only one of the region until 2005, when the USTA decided to purchase the men's tournament of Long Island, New York.^[4]

Creating the first large joint ATP–WTA tournament leading to the US Open,^[5] the 2005 merge allowed the Pilot Pen Tennis, which also became the last event of the US Open Series, to continue to attract top players, with Caroline Wozniacki, Svetlana Kuznetsova, James Blake, Justine Henin and Nikolay Davydenko winning the event in recent years.

In 2011 the tournament dropped the men's competition and carry on with the women's event only under the new name New Haven Open at Yale.^[6] The men's competition was moved to Winston Salem.

Past finals[link]

Men's singles[link]

Location	Year	Champions	Runners-up	Score
New Haven	2010	Sergiy Stakhovsky	Denis Istomin	3–6, 6–3, 6–4
	2009	Fernando Verdasco	Sam Querrey	6–4, 7–6(6)
	2008	Marin Čilić	Mardy Fish	6–4, 4–6, 6–2
	2007	James Blake	Mardy Fish	7–5, 6–4
	2006	Nikolay Davydenko	Agustín Calleri	6–4, 6–3
	2005	James Blake	Feliciano López	3–6, 7–5, 6–1
Long Island	2004	Lleyton Hewitt	Luis Horna	6–3, 6–1
	2003	Paradorn Srichaphan	James Blake	6–2, 6–4
	2002	Paradorn Srichaphan	Juan Ignacio Chela	5–7, 6–2, 6–2
	2001	Tommy Haas	Pete Sampras	6–3, 3–6, 6–2
	2000	Magnus Norman	Thomas Enqvist	6–3, 5–7, 7–5
	1999	Magnus Norman	Àlex Corretja	7–6(4), 4–6, 6–3
	1998	Patrick Rafter	Félix Mantilla	7–6(3), 6–2
	1997	Carlos Moyá	Patrick Rafter	6–4, 7–6(1)
	1996	Andrei Medvedev	Martin Damm	7–5, 6–3
	1995	Yevgeny Kafelnikov	Jan Siemerink	7–6(0), 6–2
	1994	Yevgeny Kafelnikov	Cédric Pioline	5–7, 6–1, 6–2
	1993	Marc Rosset	Michael Chang	6–4, 3–6, 6–1
	1992	Petr Korda	Ivan Lendl	6–2, 6–2
	1991	Ivan Lendl	Stefan Edberg	6–3, 6–2
	1990	Stefan Edberg	Goran Ivanišević	7–6, 6–3
Long Island (exhibition)	1989	Ivan Lendl	Mikael Pernfors	4–6, 6–2, 6–4
	1988	Andre Agassi	Yannick Noah	6–3, 0–6, 6–4
	1987	Jonas Svensson	David Pate	7–6, 3–6, 6–3
	1986	Ivan Lendl	John McEnroe	6–2, 6–4
	1985	Ivan Lendl	Jimmy Connors	6–1, 6–3
	1984	Ivan Lendl	Andrés Gómez	6–2, 6–4
	1983	Gene Mayer	Heinz Gunthardt	6–7(9), 6–4, 6–0
	1982	Gene Mayer	Johan Kriek	6–2, 6–3
	1981	Brian Teacher	Yannick Noah	4–6, 6–3, 6–4

Women's singles[link]

Location	Year	Champions	Runners-up	Score
New Haven	2011	Caroline Wozniacki	Petra Cetkovská	6–4, 6–1
	2010	Caroline Wozniacki	Nadia Petrova	6–3, 3–6, 6–3
	2009	Caroline Wozniacki	Elena Vesnina	6–2, 6–4
	2008	Caroline Wozniacki	Anna Chakvetadze	3–6, 6–4, 6–1
	2007	Svetlana Kuznetsova	Ágnes Szávay	4–6, 3–0 retired
	2006	Justine Henin	Lindsay Davenport	6–0, 1–0 retired
	2005	Lindsay Davenport	Amélie Mauresmo	6–4, 6–4
	2004	Elena Bovina	Nathalie Dechy	6–2, 2–6, 7–5
	2003	Jennifer Capriati	Lindsay Davenport	6–2, 4–0 retired
	2002	Venus Williams	Lindsay Davenport	7–5, 6–0
	2001	Venus Williams	Lindsay Davenport	7–6(6), 6–4
	2000	Venus Williams	Monica Seles	6–2, 6–4
	1999	Venus Williams	Lindsay Davenport	6–2, 7–5
	1998	Steffi Graf	Jana Novotná	6–4, 6–1
Stone Mt.	1997	Lindsay Davenport	Sandrine Testud	6–4, 6–1
	1996	Not Held
	1995	Not Held
Stratton Mountain	1994	Conchita Martínez	Arantxa Sánchez Vicario	4–6, 6–3, 6–4
	1993	Conchita Martínez	Zina Garrison	6–3, 6–2
San Antonio	1992	Martina Navratilova	Nathalie Tauziat	6–2, 6–1
	1991	Steffi Graf	Monica Seles	6–4, 6–3
	1990	Monica Seles	Manuela Maleeva-Fragniere	6–4, 6–3
	1989	Steffi Graf	Ann Henricksson	6–1, 6–4
	1988	Steffi Graf	Katerina Maleeva	6–4, 6–1
	1987 - 1970	Not Held
Sacramento	1969	Eliza Godwin
La Jolla	1968	Maryna Godwin
Sacramento	1967	Jane "Peaches" Bartkowicz
La Jolla	1966	Billie Jean King	Patti Hogan Fordyce	7–5, 6–0
Sacramento	1965	Rosemary Casals
	1964	Kathy Harter
La Jolla	1963	Darlene Hard
Seattle	1962	Carol Hanks Aucamp
La Jolla	1961	Nancy Richey
	1960	Katherine D. Chabot
Denver	1959	Sandra Reynolds Price
La Jolla	1958	Beverly Baker Fleitz
	1957	Beverly Baker Fleitz
	1956	Nancy Chaffee Kiner
	1955	Miriam Arnold
Salt Like City	1954	Beverly Baker Fleitz
	1953	Anita Kanter
Seattle	1952	Mary Arnold Prentiss
Salt Lake City	1951	Patricia Canning Todd
Berkeley	1950*	Patricia Canning Todd	Magda Rurac	6–2, 6–1
San Francisco	1949*	Doris Hart	Dorothy Head Knode	6–3, 6–4
	1948*	Gertrude Moran	Virginia Wolfenden Kovacs	2–6, 6–1, 6–2

• From 1948 through 1950, the U.S. Women's Hardcourt Championships were a combined event with the Pacific Coast Championships.

Men's doubles[link]

Location	Year	Champions	Runners-up	Score
New Haven	2010	Robert Lindstedt Horia Tecău	Rohan Bopanna Aisam-Ul-Haq Qureshi	6–4, 7–5
	2009	Julian Knowle Jürgen Melzer	Bruno Soares Kevin Ullyett	6–4, 7–6(3)
	2008	Marcelo Melo André Sá	Mahesh Bhupathi Mark Knowles	7–5, 6–2
	2007	Mahesh Bhupathi Nenad Zimonjić	Mariusz Fyrstenberg Marcin Matkowski	6–3, 6–3
	2006	Jonathan Erlich Andy Ram	Mariusz Fyrstenberg Marcin Matkowski	6–3, 6–3
	2005	Gastón Etlis Martín Rodríguez	Rajeev Ram Bobby Reynolds	6–4, 6–3
Long Island	2004	Antony Dupuis Michaël Llodra	Yves Allegro Michael Kohlmann	6–2, 6–4
	2003	Robbie Koenig Martín Rodríguez	Martin Damm Cyril Suk	6–3, 7–6
	2002	Mahesh Bhupathi Mike Bryan	Petr Pála Pavel Vízner	6–3, 6–4
	2001	Jonathan Stark Kevin Ullyett	Leoš Friedl Radek Štěpánek	6–1, 6–4
	2000	Jonathan Stark Kevin Ullyett	Jan-Michael Gambill Scott Humphries	6–4, 6–4
	1999	Olivier Delaître Fabrice Santoro	Jan-Michael Gambill Scott Humphries	7–5, 6–4
	1998	Julian Alonso Javier Sánchez	Brandon Coupe Dave Randall	6–4, 6–4
	1997	Marcos Ondruska David Prinosil	Mark Keil T.J. Middleton	6–4, 6–4
	1996	Luke Jensen Murphy Jensen	Hendrik Dreekmann Alexander Volkov	6–3, 7–6
	1995	Cyril Suk Daniel Vacek	Rick Leach Scott Melville	5–7, 7–6, 7–6
	1994	Olivier Delaître Guy Forget	Andrew Florent Mark Petchey	6–4, 7–6
	1993	Marc-Kevin Goellner David Prinosil	Arnaud Boetsch Olivier Delaître	6–7, 7–5, 6–2
	1992	Francisco Montana Greg Van Emburgh	Gianluca Pozzi Olli Rahnasto	6–4, 6–2
	1991	Eric Jelen Carl-Uwe Steeb	Doug Flach Diego Nargiso	0–6, 6–4, 7–6
	1990	Guy Forget Jakob Hlasek	Udo Riglewski Michael Stich	2–6, 6–3, 6–4

Women's doubles[link]

Location	Year	Champions	Runners-up	Score
New Haven	2011	Chuang Chia-jung Olga Govortsova	Sara Errani Roberta Vinci	7–5, 6–2
	2010	Květa Peschke Katarina Srebotnik	Bethanie Mattek-Sands Meghann Shaughnessy	7–5, 6–0
	2009	Nuria Llagostera Vives María José Martínez Sánchez	Iveta Benešová Lucie Hradecká	6–2, 7–5
	2008	Květa Peschke Lisa Raymond	Sorana Cîrstea Monica Niculescu	4–6, 7–5, [10–7]
	2007	Sania Mirza Mara Santangelo	Cara Black Liezel Huber	6–1, 6–2
	2006	Yan Zi Zheng Jie	Lisa Raymond Samantha Stosur	6–4, 6–2
	2005	Lisa Raymond Samantha Stosur	Gisela Dulko Maria Kirilenko	6–2, 6–7(1), 6–1
	2004	Nadia Petrova Meghann Shaughnessy	Martina Navratilova Lisa Raymond	6–1, 1–6, 7–6(4)
	2003	Virginia Ruano Pascual Paola Suárez	Alicia Molik Magüi Serna	7–6(6), 6–3
	2002	Daniela Hantuchová Arantxa Sánchez Vicario	Tathiana Garbin Janette Husárová	7–6, 1–6, 7–5
	2001	Cara Black Elena Likhovtseva	Jelena Dokić Nadia Petrova	6–0, 3–6, 6–2
	2000	Julie Halard-Decugis Ai Sugiyama	Virginia Ruano Pascual Paola Suárez	6–4, 5–7, 6–2
	1999	Lisa Raymond Rennae Stubbs	Elena Likhovtseva Jana Novotná	7–6(1), 6–2
	1998	Alexandra Fusai Nathalie Tauziat	Mariaan de Swardt Jana Novotná	6–1, 6–0
Stone Mt.	1997	Nicole Arendt Manon Bollegraf	Alexandra Fusai Nathalie Tauziat	6–7(5), 6–3, 6–2
	1996	Not Held
	1995	Not Held
Stratton Mountain	1994	Elizabeth Sayers-Smylie Pam Shriver	Conchita Martínez Arantxa Sánchez Vicario	7–6(4), 2–6, 7–5
	1993	Elizabeth Sayers-Smylie Helena Suková	Manuela Maleeva-Fragniere Mercedes Paz	6–1, 6–2
San Antonio	1992	Martina Navratilova Pam Shriver	Patty Fendick Andrea Strnadová	3–6, 6–2, 7–6(4)
	1991	Patty Fendick Monica Seles	Jill Hetherington Kathy Rinaldi	7–6(2), 6–2
	1990	Kathy Jordan Elizabeth Sayers-Smylie	Gigi Fernández Robin White	7–5, 7–5
	1989	Katrina Adams Pam Shriver	Patty Fendick Jill Hetherington	3–6, 6–1, 6–4
	1988	Lori McNeil Helena Suková	Rosalyn Fairbank Gretchen Rush-Magers	6–3, 6–7(5), 6–2

2011 Earthquake[link]

On August 23 2011 1:51 PM local time^[7] a 5.8 magnitude earthquake in Virginia stopped play for two hours^[8] while the main stadium was checked for damage by the fire department.

References[link]

External links[link]

Wikimedia Commons has media related to: New Haven Open at Yale

• Official website
• atptennis.com profile (New Haven years)
• atptennis.com profile (Long Island years)
• sonyericssonwtatour.com profile (New Haven years)

This article has multiple issues. Please help improve it or discuss these issues on the talk page. This biography of a living person needs additional citations for verification. Tagged since November 2011. It relies on references to primary sources or sources affiliated with the subject, rather than references from independent authors and third-party publications. Tagged since November 2011. It is written like a personal reflection or essay rather than an encyclopedic description of the subject. Tagged since November 2011.

Bruce Barber (born in New Zealand) is an artist, writer, curator, and educator based in Halifax, Nova Scotia, where he teaches at NSCAD University. His artwork has been shown at the Paris Biennale, the Sydney Biennial, the New Museum of Contemporary Art, the Walter Phillips Gallery, London Regional Gallery, and ArtSpace Auckland. Barber is the editor of Essays on Performance and Cultural Politicization and of Conceptual Art: the NSCAD Connection 1967-1973. He is co-editor, with Serge Guilbaut and John O'Brian of Voices of Fire: Art Rage, Power, and the State. His critical essays have appeared in numerous anthologies, journals and magazines. His art practice is documented in the publication Reading Rooms. He is best known for his early performance work, his Reading Rooms, Squat Projects and his writing and theory on Littoral Art.

Reading Rooms[link]

Bruce Barber, Reading Room III: The Red Room, Halifax, 1992

In his Reading Rooms, Barber worked with Alexander Rodchenko's 1925 Reading Room as a model for a workers' library and study. These multi-part installations made use of multi-media formats to re-present various forms of corporate advertising and news reporting. The Red Room addressed the construction of masculinity through media representation. The imagery used for critical readings was obtained from various sites of popular culture including film, advertising, war history, weapons magazines and comic books. The Newsroom section contained newspaper accounts of male violence; the Viewsroom contained slide projections; the Videoroom contained video footage of x-rated films and a Marvin cartoon satirising male parenting behaviour; the Theory/Criticism Room provided tools with which readers could alter a selection of magazines. A theoretical essay titled "Excision, Detournement and Reading the Open Text" elaborated the process they would have then been using. Among some of the aphorisms contained in this essay are the following:

3) The excision is less a surgical operation than a cognitive procedure, opening up the possibilities for renegotiating the areas of signification both within and beyond the image or text. Excising elements from the image confirms the existence of a primary context, pretexts and within the image itself, subtexts which disclose the competing economies of the sign(s).

9) Warning: Excision should not become the servant of censorship.

25) Close reading has never been a good substitute for criticism.

29) Absence only becomes a problem where power is concerned. Absence is difference (Jacques Derrida). Open reading allows readers to acknowledge the provisionality of meaning. Power and political efficacy is a function of use. In this context history may represent change yet remain the same.

30) The open reader accepts his/her status as a political subject with all this may imply.

38) Open reading may assist the promotion of critical education.

39) Critical education may become education for criticism.

Operative art[link]

In a number of texts, beginning in the early 1980s, Barber has considered the potential for performance work to avoid its ossification into a genre category. Clearly, the type of conceptual performance art that was common in the late sixties and early seventies had run its course. While emerging forms of postmodern performance were appropriating mainstream forms of entertainment, their critical function was often weakened or altogether abandoned. Performance could possibly withstand becoming affirmative culture (Herbert Marcuse) by rediscovering its sources in avant-garde theatre. Bertolt Brecht, for instance, echoed Karl Marx's critique of philosophy when he wrote: "The theatre became an affair for philosophers, but only for those philosophers as wished not just to explain the world, but also to change it." Brecht coined the term umfunctionierung (functional transformation) to enable theatre to become an instrument to serve the interests of class struggle. And in his famous essay, "The Author as Producer," Walter Benjamin extolled the virtues of the "operative" artist, providing as his example the communist author Sergei Tretyakov, who thought of his work not merely as descriptive reporting on reality, but an active intervention. Benjamin believed that cultural practice should refuse modish commerce and should give work a revolutionary use value. This meant the avoidance of the impulse to aestheticize and the ordination of critical agency as a post-aesthetic strategy, one that can contain values that are nominally subsumed under several progressive political/aesthetic ideologies. In an implicit effort to politicize advanced forms of performance, Barber placed the term performance under erasure with the formulation of [performance].

Since the publication of "Towards and Adequate Interventionist [Performance] Practice" (1985), Barber has explored the radical potential of performance. The table of binary oppositions below represents general differences between two types of political action, configured as acts of protest or resistance. Depending on the circumstances and the type of event, intervention can become an exemplary action, and thus devolve into a form of political posturing, closely implicated in extreme versions of behaviour characterized by violence, anarchic rejection or destructive nihilism. While exemplary actions are usually without theoretical support, interventions attempt to put theory into action. The intentions and ultimately the audience response are different. The exemplary action consists, instead of intervening in an overall way, in acting in a much more concentrated way on exemplary objectives, on a few key objectives that will play a determining role in the continuation of the struggle.

Among the artists that Barber has recognized for their contributions to [performance] practice - Martha Rosler, Adrian Piper, Guerrilla Art Action Group, Critical Art Ensemble and WochenKlausur, among others - he gave a priviled role to the Situationist International as an exemplary model of operative art. The SI and the students they influenced participated in occupations, sit-ins, teach-ins, theatrical agit-prop events and other forms of protest. The SI endorsed the fundamental importance of intervention as a post-theoretical and practical aspect of their critique of the "Society of the Spectacle" - as theorized by Guy Debord. Among the theoretically informed strategies that were developed by the SI is the constructed situation. The constructed situation is bound to be collective both in its inception and development. However, it seems that at least during an initial experimental period, responsibility must fall on one particular individual. This individual must, so to speak, be the 'director' of the situation. For example, in terms of one particular situationist project - revolving around the meeting of several friends one evening - one would expect (a) an initial period of research by the team, (b) the election of a director responsible for co-ordinating the basic elements for the construction of the decor, and for working out a number of interventions, (c) the actual people living the situation who have taken part in the whole project both theoretically and practically, and (d) a few passive spectators not knowing what the hell is going on should be reduced to action.

Communicative action and littoral art[link]

Bruce Barber, Diddly Squat performance #2, 2003; photo by Miklos Legrady

According to Barber, communicative action is very different from direct action or intervention, although it may seem to employ some of the characteristics of both. Jürgen Habermas, who has arguably done more than anyone else to theorize various forms of political action within the public sphere, distinguishes between strategic, instrumental and communicative actions. The distinction, he argues, between actions that are oriented toward success and those toward understanding is crucial. In strategic actions one actor seeks to influence the behavior of another by means of the threat of sanctions or the prospect of gratification in order to cause the interaction to continue as the first actor desires. Whereas in a communicative action one actor seeks rationally to motivate another by relying on the illocutionary binding/bonding effect of the offer contained in the speech act (J.L. Austin). Donative and Littoral art practices work in a way that challennges the strategies of the postmodern era: taking, quoting, and appropriating.

In a number of essays on "littoral art," Barber has emphasized donative art practices as examples of communicative action. Donative art actions insist that giving can be used strategically to further a number of identifiable lifeworld and humanitarian goals, as well as provide some critical intervention into the ideological fabric of our culture. While donative practices may activate a cycle of reciprocity, gifts may remain unreciprocated. Each cultural intervention, exemplary or not, engages a "logic of practice" (Pierre Bourdieu) that encourages an infinite variety of exchanges or gifts, challenges, ripostes, reciprocations, and repressions. The logic of practice privileges agency in its unpredictability and provides, according to Habermas, an alternative to money and power as a basis for societal integration. Among the artists engaged in donative art practices and who are mentioned in Barber's writings are: Istvan Kantor, David Mealing, Yin Xiaofeng, REPOhistory, Kelly Lycan & Free Food, Bloom 98, WochenKlausur, Ala Plastica, Peter Dunn & Lorraine Leeson, Art Link, Hirsch Farm Project.

External links[link]

• Official site

Marc Robbins (3 January 1868 – 5 April 1931), was an American actor of the silent era. He appeared in 78 films between 1914 and 1923.

He died in Los Angeles, California.

Selected filmography[link]

• Alias Jimmy Valentine (1920)
• Secret Love (1916)
• Judge Not; or The Woman of Mona Diggings (1915)
• The Star of the Sea (1915)
• The Master Key (1914)

External links[link]

• Marc Robbins at the Internet Movie Database

Persondata
Name	Robbins, Marc
Alternative names
Short description	Actor
Date of birth	3 January 1868
Place of birth
Date of death	5 April 1931
Place of death	Los Angeles, California  United States

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