Reproduction of cover illustration of the book "Kinder-Turnen in Haus" by Fritz Strube. Sports

The drawing is modeled after Elizabeth Gottschalk (later Krakauer)

Freddy Gottschalk making a bridge over his sister Ursula Gottschalk in a reproduction of an illustration for the book "Kinder-Turnen in Haus" by Fritz Strube. Sports

Digital Image

Kurt and Hal Gottschalk exercising with a medicine ball in a reproduction of an illustration for the book "Kinder-Turnen in Haus" by Fritz Strube. Sports

Digital Image

Freddy Gottschalk making a bridge over his sister Ursula Gottschalk in a reproduction of an illustration for the book "Kinder-Turnen in Haus" by Fritz Strube. Sports

Digital Image

Kurt and Hal Gottschalk exercising with a medicine ball in a reproduction of an illustration for the book "Kinder-Turnen in Haus" by Fritz Strube. Sports

Digital Image

Outdoor group portrait, Haus Horst Changer?, including Ernst Peter Pick (first row center) Portraits Groups

Digital Image

Unser Haus Am Erlenweg : Weihnachten 1911.

Cloth covered, oversize album featuring photographs of a family home.

苹果绵蚜（Eriosoma lanigerum Haus）及其天敌日光蜂（Aphelinus mali Hald）的生物学特性和种间关系研究

本文系统地比较了苹果绵蚜（Eriosoma lanigerum Hausmann）和日光蜂（Aphelinus muli Haldeman）的各项生物指标。研究了环境条件对苹果绵蚜－－日光蜂系统的影响以及苹果绵蚜和日光蜂相互依存、相互制约的关系。制作了苹果绵蚜和日光蜂相互作用的计算机模拟模型，并利用该模型作了系统的灵敏度分析。主要结果如下：1. 苹果绵蚜的发育起点，有效积温和最适温度都低于日光蜂，使得日光蜂的生长发育全面落后于苹果绵蚜。昆明地区春、夏、秋三季温度偏低，春季和夏初湿度较小，有利于苹果绵蚜的发育繁殖。这是昆明地区苹果绵蚜大发生的环境基础。2. 在20 ℃和25 ℃恒温下，苹果绵蚜的内禀增长力均大于日光蜂。这是苹果绵蚜大发生的生物学基础。3. 用本文建立BOXCAR TRAIN模型模拟的苹果绵蚜和日光蜂的种群动态与调查结果比较吻合，为该模型可用于苹果绵蚜和日光蜂种群的预测。4. 通过BOXCAR TRAIN模型的灵敏度分析，得知温度对苹果绵蚜－－日光蜂系统影响极大，而相对湿度的影响则较小。苹果绵蚜在不同年份为害程度不同，可能是由于年份间温度的微小变化所致。不同的蜂蚜比例对苹果绵蚜－－日光蜂系统的影响较大。在模拟模型中，假设日光蜂不存在，到模拟后期，苹果绵蚜的数量将比有日光蜂存在多一倍。在模拟中，不断增加日光蜂成虫，可以将苹果绵蚜压低在一定水平。模拟中还发现，降低苹果绵蚜数量比增加日光蜂数量对整个系统的影响大。5. 苹果绵蚜－－日光蜂系统不是一个稳定系统。

No Haus Like Bau

The project consists of a live performance taking the 2005 IKEA riot as the starting point for a speculative history of a fictional future, culminating in a choreographed re-enactment of the original event. It is accompanied by a film series explores the possibility of collective action emerging from the capitalist relations inherent in the consumer riot. The performance, staged at the Berlin Biennale, continues this research into re-enactment and post-1989 politics, using a stage set made of flatpack furniture. Using the aesthetics of Modernism and the avant garde, the project transposes early twentieth century utopian ideology to a present day setting where mass uprisings are motivated by cheap commodities. By re-evaluating biomechanics and Bauhaus theatre theory, these explorations of consumerism and revolution propose that the mechanized movement developed in conjunction with industrial labour survives as a historical re-enactment in the wake of manufacturing work in the west. In the absence of a visual language apt to the contemporary, No Haus Like Bau uses re-enactment as a retrogarde tactic. Its purpose on the one hand is to invoke trajectories for alternate futures that never materialized at an originary moment. On the other hand, the clash of past forms with present content serves to accentuate the historical changes that have thrown into question these forms. Rather than reflecting the present, the projection of the past into a fictional future aims to destabilize the dominant narrative that suggests the current configuration of art, politics and human nature has always been this way. The project has been widely exhibited internationally and supported by Film London and Arts Council England. A theoretical essay on re-enactment as a strategy for performance has been published in Art Papers and in Memory [MIT]. The project also formed the basis of a solo exhibition at Te Tuhi Art Centre, Auckland.