How does the cookie crumble? legal costs under a uniform interpretation of the United Nations Convention on Contracts for the International Sale of Goods

A family owned Mexican company, Zapata Hermanos Sucesores, S.A. ("Zapata"), sold approximately US$950,000 worth of cookie tins over a period of four years to the Maurice Lenell Cooky Company ("Lenell"), an American company that produced baked goods. Lenell failed to pay Zapata for the cookie tins so Zapata sought legal advice and instituted legal proceedings against Lenell for breach of contract in the Federal District Court of Illinios. The cookie tin sale contracts were governed by the United Nations Convention on Contracts for the International Sale of Goods ("CISG"). Zapata succeeded in its Federal District Court claim and, as part of the Court's order, was awarded US$550,000 as foreseeable loss under Article 74 of the CISG, being the amount of legal fees incurred by Zapata in bringing proceedings against Lenell. On appeal to the Federal Appellate Court, however, the award of legal fees was overturned. The parties now find themselves contesting a leave application to appeal to the Supreme Court of the United States of America in a much anticipated debate over who should pay the lawyers.

Technology as collaborator in somatic photographic practice

This article will address several areas of research. Firstly it will propose that a dance experience can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. By acknowledging the inter-relationship between the body and the camera my project seeks to challenge a perceived separation between the disciplines. Fly Rhythm, an exhibition of 13 photographs and one video projection was conceived through a performative somatic process. I have developed the term ‘somatic photography’ to articulate subjective experiences in the context of my process of imaging movement in stillness. My thinking has been informed by visual art practice exploring movement and meaning using video and an older history of performance as a dancer and choreographer. I am primarily interested in movement initiated by a bodily response to light through still rather than moving imagery although artists such as Maya Deren whose films explore themes of time and space have influenced me. In my practice the term ‘somatic photography’ helps articulate the act of taking photographs, which is how meaning is being created rather than purely in the finished art works. The term somatic photography puts emphasis on the action of taking the image. Through using a custom made camera I was able to negotiate time and space as a dancer and create a visual drawing that talked to both choreography and fine art practice. This article engages with the following ideas: somatic photography, photography as choreography, body memory, ageing body, technology as collaborator, gallery interface, screen interface and movement.

There will be no more night

Exploring how the body and light are connected in interdisciplinary practice, in this work I make sound design and moving image re inscribing physical yet out of body experiences of light in near death – recorded from youtube. The image of fading light is in real time and constitutes a symbolic interpretation of eternity mirroring the audio. This work has been curated into a group exhibition at ‘Strange Neighbour’ alongside internationally recognised artists such as Peter Booth and Sam Shmith. The work has also been curated in my solo exhibition by Conny Dietzschold and is the subject of the essay in the catalogue by Sean Redmond and was presented in my paper ‘Motion and stillness: a bodily approach to photography.’ and is mentioned in the journal article to be published titled ‘Technology as Collaborator in Somatic Photographic Practice.’ Intellect Books