Performance art was begun by the futurists, for example by the visual artists Filippo Tomaso Marinetti, Giacomo Balla and Carlo Carra, who presented such events to audiences. Later the dadaists Tristan Tzara, Hugo Ball, Marcel Duchamp and Kurt Schwitters also presented such events. Years later, in the 1960s, the North American and European Happening and Fluxus artists (Allan Krapow, Dick Higgins, George Brecht, Wolf Vostell, Joseph Beuys, Addi (Arthur) Kopke and Eric Anderson) also produced Performance-art events [1]. More recently, this type of art has often become a basic input for Video art. Today it is the main means of expression of the new-dadaists to get more attention for their obsessions. Among these artists are Anna Banana, Bill Gaglione, Don Milliken, Buster Cleveland and Boyd Rice [2]. (The new-dadaists are notto be confusedwith the neo-dadaists. The latter label has been applied to artists who paint banal subjects or incorporate industrial refuse into their works [3]. In Performance art familiar daily activities of people in industrial societies are presented in a rather unsophisticated theatrical way with every-day objects as props, and individual demonstrations of an artist's ego are supposed to be avoided [4]. Furthermore, these activities generally deal with unexpected or with unusual situations. Thus, a bathroom might be presented on stage in which toenail-cutting is carried out; a discourse on aerodynamics might accompany the making of a toy paper airplane and the fall to the floor of the toy airplane may be accompanied by a recorded simulated noise of a crash of a real airplane [5]. Usually, a stage is not used, an event being performed in the midst of an audience. Performance art should not be likened to television