Performance script for an extra, performed by Michele Sereda, from a manuel autocue fixed onto one of the cameras:

"The Dance of entrepreneurship"

"Entrepreneurship is the creation of organizations. What differentiates entrepreneurs from non- entrepreneurs is that entrepreneurs create organizations, while non-entrepreneurs do not. In behavioural approaches to the study of entrepreneurship is seen as a set of activities involved in organization creation, while in trait approaches an entrepreneur is a set of personality traits and characteristics. However trait approaches have been unfruitful and behavioural approaches will be a more productive perspective for future research in entrepreneurship.

Why do certain individuals start firms when others, under similar conditions, do not? Asking why has led us to answering with who: Why did X start a venture? Because X has a certain inner quality or qualities. This focus can be identified in any research which seeks to identify traits that differentiate entrepreneurs from non- entrepreneurs: need for achievement, locus of control, risk taking, values, age.... X starts a venture because of qualities that made X who she is . who is an entrepreneur. ?

The entrepreneur is assumed to be a particular personality type, a fixed state of existence, a describable, species that one might find a picture of in the field guide, and the point of much entrepreneurship research has been to enumerate a set of characteristics describing this entity known as the entrepreneur. One indication of the tenacity of this point of view - i.e. once an entrepreneur - always an entrepreneur, since it is a personality type, a state of being that doesn't go away.

But how real is the difference? Entrepreneurs are not capitalists, or investors, or employers, although this is highly arguable - especially the last. Also, part of entrepreneurship is knowing how to raise, deploy and invest capital. Everyone who can face up to decision-making can learn to be an entrepreneur and to behave entrepreneurially'.

The general explanation is that entrepreneurship involves taking risks. While that is true, so does all human activity. The risk run in taking an entrepreneurial decision is no different from the non-entrepreneurial risk of, say, offering somebody a job. The classical definition of the entrepreneur is somebody who 'shifts economic resources out of an area of lower and into an area of higher productivity and greater yield'.

CHANGE IS CRUCIAL The crucial word here is 'change'. Change carries the risk that your second state will be worse than the first. That is, you launch a new, innovative product: if it succeeds, all is well; if it fails, your job may fail, too. The calculation is the same one that tilts the balance of executive decisions towards 'No' rather than 'Go'. Approval commits the approver to a new course of action. 'No' preserves the status quo. The obvious answer, which is to create an atmosphere that encourages positive behaviour and discourages the negative variety, is also supposed to be very difficult to achieve. That, however, is a matter of perception.

Most managers, for example, would believe it risky in the extreme to buy companies in a flash, as many as three in three weeks, without doing any more 'due diligence' than the strictly limited time allows. In fact, that sounds imprudent to the point of irresponsibility - but not in cyberspace.

QUESTIONS 1. Do you 'evangelise' about your company and its products and services - both internally and externally? 2. Are you aroused to the extent of competitive paranoia by threats and actual challenges from rivals new and old? 3. Are you 'brutally frank' in your views and criticisms? 4. Are you intensely focused on the key business and strategy of the organisation? 5. Do you take decisions and act at a speed that's near to instantaneous? 6. Do you like ambiguity and feel comfortable in unclear situations? 7. Is your judgment good?

1. Are we making what customers want and working on the products and technologists they will want in future? 2. Are we staying ahead of all our competitors? 3. What don't our customers like about what we do, and what are we doing about it? 4. Are we organised most effectively to achieve our goals?

The questions are right, but the answers are what matters.

Extras Protest Text
A: I don't have any idea what this is, here, this prey I live in. What sort of PREY is this, I'm LIVING IN! THIS HERE! There is this city and it is prey, and suddenly location marketing is transferred to human organisms. (...) A: But in this thing here, this ... city, it wasn't just marketing that was announced all the time was it? Some time or other something else was sold in this city, wasn't it? It cannot have been selling just itself all the time! This shit! City development policy cannot have been location marketing and the transformation of public spaces into real estate all the time. (...)

P: In face of the reduction of industrial workplaces communities see themselves forced to developing entrepreneurial profiles. (...) A: This SHIT-COMMUNITY HERE IS DEVELOPING AN ENTREPRENEURIAL PROFILE! We're lying around in this community hooked on location marketing or city development policy - I DON'T KNOW FOR SURE ANY MORE! And some entrepreneurially driven gas has taken over from the physical manifestations of factories. And all the demands for self-fulfillment and autonomy have been realized by this community out there. (...) Suddenly there are all these service firms lying around in this community.

P: SHIT! THIS SHIT-COMMUNITY HERE IS DEVELOPING AN ENTREPREURIAL PROFILE! And its management philosophy is transferred to human organisms. THIS HERE! And all you walk through, here, is city management. The city as company. Here you stroll through MANAGEMENT! And anyway you just stroll through management. Your walking is MANAGEMENT! You walk through this town, and your walking is regulated through consumption, milk coffee and architectural design, that you can take a look at or SWALLOW.

F: Shit. And that I'm working within a body-less factory here. In a company fludizing itself . It's all around me, here, this SHIT! Somebody has called this new, growing form of power, HERE!, that you're sprinkled in, that I AM sprinkled in, somebody has called it gas, gas that's taking over from the physical manifestations of factories. WHO WAS THAT AGAIN? SHIT! I don't have a damn life anymore, it must have sold itself when I wasn't watching. (...) There used to be something, and somtimes things reminded me of something I had once, but it has somehow vanished into air. And where I used to live once, there's some sort of retail area now. (...) (...)

B: All we talk is corporate gas, and that's clouding our social displays. This here. This PREY! This face, of which I love the fluid technology of power. But I thought this would be yours, this would be your technology of power or self, or mine, but it's just your company's!

I had this dream: I am superman, my grandfather is a clairvoyant and has forseen the winning lottery numbers. He writes them down on a sheet of paper. Me, superman, now has to take these numbers to the nearest lottery place. Of course the evil forces have already gained knowledge of this and are trying to eliminate me and to get hold of the note. I am flying as fast as I can , but the enemies have got better weapons.

I want this to be PAID FOR! ... I want to BUY experiences. It can't be normal to just HAVE experiences and feelings..."

... he thought there was something theatrical about the protest, ingratiating, even, in the parachutes and skateboards, the styrofoam rat, in the tactical coup of reprogramming the stock ticker with poetry and Karl Marx. He thought Kinski was right when she said this was a market fantasy. There was a shadow of transaction between the demonstrators and the state. The protest was a form of systemic hygiene, purging and lubricating. It attested again, for the ten thousandth time, to the market culture's innovative brilliance, its ability to shape itself to its own flexible ends, absorbing everything around it.

I dreamt I was superman, my grandfather was a clairvoyant and has forseen the winning lottery numbers.

Uranium
Uranium is a silver-gray metallic chemical element in the actinide series of the periodic table that has the symbol U and atomic number 92. It has 92 protons and 92 electrons, 6 of them valence electrons. It can have between 141 and 146 neutrons, with 146 (U-238) and 143 in its most common isotopes. Uranium has the highest atomic weight of the naturally occurring elements. Uranium is approximately 70% more dense than lead, but not as dense as gold or tungsten. It is weakly radioactive. It occurs naturally in low concentrations (a few parts per million) in soil, rock and water, and is commercially extracted from uranium-bearing minerals such as uraninite.

Uranium is used as a colorant in uranium glass, producing orange-red to lemon yellow hues. It was also used for tinting and shading in early photography. Its radioactive properties were uncovered in 1896. Research in 1934 led to its use as a fuel in the nuclear power industry and in Little Boy, the first nuclear weapon used in war.

When refined, uranium is a silvery white, weakly radioactive metal, which is slightly softer than steel, strongly electropositive and a poor electrical conductor. It is malleable, ductile, and slightly paramagnetic.

When finely divided, it can react with cold water; in air, uranium metal becomes coated with a dark layer of uranium oxide. Uranium in ores is extracted chemically and converted into uranium dioxide or other chemical forms usable in industry.

Applications/Military The major application of uranium in the military sector is in high-density penetrators. This ammunition consists of depleted uranium (DU) alloyed with 1-2% other elements. Gulf War Syndrome).[8] Depleted uranium is also used as a shielding material in some containers used to store and transport radioactive materials.[6] Other uses of DU include counterweights for aircraft control surfaces, as ballast for missile re-entry vehicles and as a shielding material.[5]

The main use of uranium in the civilian sector is to fuel commercial nuclear power plants; The CANDU reactor is the only commercial reactor capable of using unenriched uranium fuel. Uranium glass glowing under UV light Uranium glass used as lead-in seals in a vacuum capacitor

After Marie Curie discovered radium in uranium ore, a huge industry developed to mine uranium so as to extract the radium, which was used to make glow-in-the-dark paints for clock and aircraft dials Uranium was also used in photographic chemicals (esp. uranium nitrate as a toner),[5] in lamp filaments, to improve the appearance of dentures, and in the leather and wood industries for stains and dyes. In the early 19th century, the world's only known source of uranium ores were these old mines.

Antoine Henri Becquerel discovered the phenomenon of radioactivity by exposing a photographic plate to uranium (1896). He determined that a form of invisible light or rays emitted by uranium had exposed the plate. Biotic and abiotic Main article: Uranium in the environment Uraninite, also known as Pitchblende, is the most common ore mined to extract uranium. Plants absorb some uranium from the soil they are rooted in.

Production and mining High-grade ores found in Athabasca Basin deposits in Saskatchewan, Canada can contain up to 70% uranium oxides, and therefore must be diluted with waste rock prior to milling, as the undilute stockpiled ore could become critical and start a nuclear reaction.

Monument
At the top of the Gellert Hill in the Buda part of Budpest, there is a monument to the liberation of the city by the Red Army in 1945: the gigantic statue of a woman waving an outstretched flag. This statue, usually perceived as an exemplary case of socialist-realist baroque kitch, was actually made in 1943 on the orders of the Fascist dictator Admiral Horthy to honor his son, who fell on the Russian front fighting the Red Army; in 1945 when Marshal Kliment Voroshilov, the Soviet Commander, was shown the statue, he thought it could serve as a monument of liberation... dos this message not say a lot about the openness of the message of a work of art? "