The Gurs Zyklus, performance of Trimpin's stirring and uncategorizable reflection on memory and remembrance, tragedy and renewal, exploration and wonder.From the astonishing mind of MacArthur "Genius Award"- winning inventor and sound sculptor, Trimpin: A stirring and uncategorizable reflection on memory and remembrance, tragedy and renewal, exploration and wonder.

Combining live performance with kinetic sculpture, and world history with personal biography, The Gurs Zyklus ("Gurs Cycle") represents the fruits of a lifetime of curiosity, investigation, inspired tinkering, and riveting invention on the part of Trimpin, the brilliant artist of one name and no definable genre.

As a youth in southwestern Germany in the 1950s, Gerhard Trimpin (as he was then known) was haunted by the fact that, in the Nazi era, the Jews from his town had all been deported to the internment camp at Gurs, near the Spanish-French border. Decades later, Trimpin worked with maverick composer Conlon Nancarrow, who revealed that he, too, had been interned at Gurs-during the Spanish Civil War. More recently, a 2006 New Yorker profile of Trimpin mentioned this Gurs connection. Trimpin was contacted shortly thereafter by Victor Rosenberg, a descendant of a family interned at Gurs, who, having read the article, offered the artist the use of more than 200 of his family's letters mailed from the camp.

These and other elements, united by history, profound coincidence, and the power of Trimpin's imagination, weave together in a stage performance truly like no other: Vocalists sing and speak texts drawn from the Rosenberg letters into "fire organs" of Trimpin's invention. Projections of historic images from Gurs meld with film from Trimpin's own retracing of the journey by train to the camp. The music of Nancarrow meets sounds derived from bark patterns of the trees near Gurs-among the last living "witnesses" to the camp's dark history. Throughout, Gurs Zyklus offers a novel perspective on an important story now at the edges of living memory, as well as a stage experience that is immersive and deeply moving.

POST-PERFORMANCE DISCUSSION with Trimpin and Jenny Bilfield.

This event is sponsored by Stanford Lively Arts.

For more information, please visit the Stanford Ethics and War Series website.

Trimpin discusses his year-long Stanford residency and his new work which combines kinetic musical sculpture with emotionally-powerful WWII history.

As a youth in southwestern Germany in the 1950s, Gerhard Trimpin (as he was then known) was haunted by the fact that, in the Nazi era, the Jews from his town had all been deported to the internment camp at Gurs, near the Spanish-French border. Decades later, Trimpin worked with maverick composer Conlon Nancarrow, who revealed that he, too, had been interned at Gurs-during the Spanish Civil War. More recently, a 2006 New Yorker profile of Trimpin mentioned this Gurs connection. Trimpin was contacted shortly thereafter by Victor Rosenberg, a descendant of a family interned at Gurs, who, having read the article, offered the artist the use of more than 200 of his family's letters mailed from the camp. These and other elements, united by history, profound coincidence, and the power of Trimpin's imagination, come together in a unique multimedia stage performance, The Gurs Zyklus, that will be presented by Stanford Lively Arts on Saturday, May 14.

This event is sponsored by the Aurora Forum.

For more information, please visit Stanford's Ethics and War Series webstie.

Prince Hans-Adam II has dedicated his reign to bring Liechtenstein into the modern international community. Under his leadership Liechtenstein has joined the United Nations and the European Economic Area with the European Union.

In 2003 Prince Hans-Adam II was able to accomplish the monarchy’s constitutional reform, after the failure of parliamentary negociation, with a plebiscite outcome of a majority of voters in favor of the Princely House’s constitutional proposal.

Having appointed Hereditary Prince Alois his permanent deputy for exercising the duties of Head of State of the Principality of Liechtenstein, Prince Hans-Adam II has returned to devoting himself more to managing the assets of the Princely House.

Event Synopsis:

HRH Prince Hans-Adam II asserts that to survive, states must reflect a new model geared toward preventing wars, serving not only the privileged but the whole population, promoting democracy and the rule of law, and being globally competitive. To achieve this, the state must operate like a service company. It must avoid behaving like a monopoly, including with regards to its territory. The prince cites legislation he introduced to allow each of Liechtenstein's 11 communities to vote on whether to remain with or leave the principality and outlines other relevant examples from Europe. In the "service company" model of states, defense spending fueled by taxpayer money will be unnecessary. Many current government functions would be privatized or transferred to local communities, with the exception of foreign policy, law and order, education, and state finances. He details all four of these areas, discusses ways in which they intersect, and outlines suggested reforms to legislative systems to achieve these goals.

The prince makes a special case for private education funded by state vouchers to parents; for indirect taxation by the state and the opportunity for local communities to impose direct taxes; and for using tax surpluses and proceeds from selling unwanted state property to pay down the national debt. Above all, he emphasizes a "lean and transparent" state that can be financed by only a small fraction of GDP, with funds flowing directly to local communities. In conclusion, he predicts that the state - and even monarchies - will survive the millennium, but not in the traditional model or large, centralized states.

A discussion session raised such questions as: Who "owns" a state operating like a service company? What options exist to deal with the growing global imbalance of wealth? Should healthcare and waste disposal/natural resource management be provided by the state or privatized? Does Lichtenstein derive any direct benefits from its association with the European Economic Community? Is Liechtenstein large enough to have an impact on world politics with its foreign policy, or is foreign policy an area better handled at a higher level like that of the EU? What is the current situation of minorities in Europe?

The Fog of War: Eleven Lessons from the Life of Robert S. McNamara is a 2003 film about the life and times of former U.S. Secretary of Defense Robert S. McNamara. The film, directed by Errol Morris, won the Academy Award for Best Documentary Feature (2003) and the Independent Spirit Award for Best Documentary Feature (2003).

Using archival footage, United States Cabinet conversation recordings, and an interview of the eighty-five-year-old Robert McNamara, The Fog of War depicts McNamara's life, from his birth during the First World War remembering the time American troops returned from Europe, to working as a WWII Whiz Kid military officer, to being the Ford Motor Company's president, to his being employed as Secretary of Defense and the Cuban Missile Crisis, to managing the American Vietnam War, as defense secretary for presidents Kennedy and Johnson — emphasizing the war's brutality under their regimes, and how he was hired as secretary of defense, despite limited military experience.

According to Morris, hearing McNamara raise all of these ethical issues and questions about a war which most of us see as morally unambiguous is very, very powerful. What Morris especially liked about the film was that it proved it was possible to make a movie about events – events that are removed from us by 40, 50, 60 years but which are very much about today. Many of the issues that McNamara is talking about in the movie are relevant to what's going on right now, and there's this surreal sense that nothing has changed.

» Watch the trailer.

Faculty talk back led by Scott Sagan (Co-Director of Center for International Security and Cooperation / Political Science, Stanford)

War Photographer is director Christian Frei's 2001 film that followed photojournalist James Nachtwey. Natchtwey started work as a newspaper photographer in New Mexico in 1976 and in 1980, he moved to New York to begin a career as a freelance magazine photographer. His first foreign assignment was to cover civil strife in Northern Ireland in 1981 during the IRA hunger strike. Since then, Nachtwey has devoted himself to documenting wars, conflicts and critical social issues. He has worked on extensive photographic essays in El Salvador, Nicaragua, Guatemala, Lebanon, the West Bank and Gaza, Israel, Indonesia, Thailand, India, Sri Lanka, Afghanistan, the Philippines, South Korea, Somalia, Sudan, Rwanda, South Africa, Russia, Bosnia, Chechnya, Kosovo, Romania, Brazil and the United States.

The film received an Academy Award Nomination for "Best Documentary Feature" and won twelve International Filmfestivals.