Stelarc Prosthetic Head

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Best Stelarc Head Videos | Chatbots in Art & CultureThinking Head Project

Stelarc’s prosthetic head J Clarke – CTheory, 2015 – Our desire to construct simulated human talking machines may be traced to Joseph Faber’s Euphonia (1830) an artificial face attached to the front of a series of exposed bellows; plates, chambers and an artificial tongue that could make it speak.[1] Advanced computer … Cited by 6

Materializing new media A Munster – Embodiment in information aesthetics, 2006 – Citeseer … faciality, 21; in computers, 123; in Huge Harry, 137-38; interface and problem of facialization, 117-24; portraiture, 179: soul and thought expressed in face. 125-zG; in Stelarc’s Prosthetic Head, 130-32; and subjectivation, 122-23; in television. 129-30. … Cited by 19 Related articles All 3 versions

From talking to thinking heads: report 2008. …, G Paine, DMW Powers, M Riley, S Stelarc… – AVSP, 2008 – … 1. Introduction The Thinking Head project [1] originated from the interaction of performance artist Stelarc [2] and his ‘Prosthetic Head’, with a number of cognitive, computer, speech and language scientists. Building on the Prosthetic … Cited by 5 Related articles All 7 versions

[BOOK] Sensualities/textualities and technologies: writings of the body in 21st century performance S Broadhurst, J Machon – 2010 – Skip to content. Middlesex University Middlesex University Research Repository. Research work by Middlesex University staff and alumni. … Cited by 11 Related articles All 2 versions

Reconfiguring human-robot relations L Suchman – … Communication, 2006. ROMAN 2006. The 15th …, 2006 – … This alternative is developed through a close analysis of a project at the intersection of computing and new media art, performance artist Stelarc’s Prosthetic Head. … I elaborate these ideas further through the case of performance artist Stelarc’s ‘Prosthetic Head’. … Cited by 4 Related articles All 2 versions

Thinking head: Towards human centred robotics DC Herath, C Kroos, CJ Stevens… – … Robotics & Vision ( …, 2010 – … Also the authors would like to thank Stelarc for insightful discussions with him, his artistic interpretations and most of all providing the impetus for the project through his prosthetic head (thanks also go to the original developers) and the Articulated Head. … Cited by 6 Related articles All 4 versions

Mixed reality interaction: audience responses to robots and virtual characters K Cleland – Digital Creativity, 2010 – Taylor & Francis … While some interesting conversations occur between audience members and Stelarc’s Prosthetic Head, often the head’s conversational responses are socially inappropriate or fall short of audience’s expectations of a typical human conversation. … Cited by 3 Related articles All 4 versions

Face-off J Clarke – Meanjin, 2005 – … JC: I notice that the fragmentation you mention in relation to the Partial Head occurs on the soundtrack of Humanoid: Fractal Remix (2004), which features the vocals of the Prosthetic Head. Would you expand on this, please? Stelarc: Oh, you’re referring to the recent … Cited by 2 Related articles All 2 versions

Digital parts/modular doubles: fragmenting the ‘digital double’ D Ploeger – Body, Space and Technology Journal, 2011 – … generated image of Ariel. In the same category, Dixon also mentions Stelarc’s Prosthetic Head (2002 -), which is a virtually intelligent copy of the artist’s head which speaks in response to questions typed by exhibition visitors. … Cited by 2 Related articles All 3 versions

The Rhetoric of Digital Utopia after Sade: Utopian Architecture and the Static Subject of Digital Art E Amiran – Discourse, 2010 – … The skin of the Prosthetic Head, constructed from digital images of Stelarc’ [sic] own head, overlaid onto the polygon scaffold becomes not just a Prosthetic Head, but Stelarc’s prosthetic head, for it is an animated, digital self-portrait of the artist. 64. … Cited by 2 Related articles All 3 versions

Interactive Art: Digital Entities and the Audience Experience M Miranda – MultiMedia, IEEE, 2008 – … Stelarc’s Prosthetic Head is another interac- tive, talking head that converses with gallery audiences. … Similarly, although attempts have been made to make Stelarc’s Prosthetic Head as lifelike and naturalistic as possible, it still comes across as strange and peculiar. … Cited by 1 Related articles All 6 versions

Evoking agency: Attention model and behavior control in a robotic art installation C Kroos, DC Herath – Leonardo, 2012 – MIT Press … developing the Prosthetic Head further into a robotic installation: © 2012 ISAST LEONARDO, Vol. 45, No. 5, pp. 401–407, 2012 401 artists ‘ article Evoking Agency: Attention Model and Behavior Control in a Robotic Art Installation Christian Kroos, Damith C. Herath and Stelarc … Cited by 3 Related articles All 4 versions

Corporeal Mélange: Aesthetics and Ethics of Biomaterials in Stelarc and Nina Sellars’s Blender J Clarke – Leonardo, 2006 – MIT Press … Nevertheless, the artist’s body, so preva- lent in Stelarc’s performance oeuvre and alluded to in his Prosthetic Head instal- lation and tissue-engineered quarter-scale extra ear project, has disappeared com- pletely from Blender, in which the body of the artist, at least in its … Cited by 1 Related articles All 2 versions

Nonverbal intimacy as a benchmark for human–robot interaction B Lee – Interaction Studies, 2007 – … Future incarna- tions of the person-centered therapist emulator Eliza, and embodied conversa- tional agents, such as Stelarc’s prosthetic head (see Suchman, 2006), will doubt- lessly continue to raise the bar on Turing-type tests of human emulation. … Cited by 3 Related articles All 4 versions

Intimate Encounters: the Mixed Reality Paradigm and Audience Responses K Cleland – Digital Arts and Culture 2009, 2009 – … Stelarc’s Prosthetic Head, a 3D computer graphic animation based on scans of the artist’s own head, was created to look as much like Stelarc as possible and audience members converse with the head by typing questions that the head answers using a computer generated … Cited by 1 Related articles All 2 versions

Stelarc: The Monograph E Scheer – Culture Machine, 2006 – … Cambridge, MA and London: The MIT Press. ISBN 0-262-19518-6. Does Stelarc’s Prosthetic Head Dream of Electric Sheep? Edward Scheer. … This was, of course, a reference to Stelarc’s Prosthetic Head interactive project then on display at a gallery in Western Sydney. … All 3 versions

CTheory Live: Taiaiake Alfred in Conversation with Arthur and Marilouise Kroker CTLIT Alfred – CTheory, 2006 – … “Stelarc’s Prosthetic Head,” CTheory 28.3, article td019 (Fall 2005) articles.aspx?id=491 Marquard Smith, Ed. Stelarc: The Monograph, Cambridge, Mass.: The MIT Press, 2005. Marina Grzinic, Ed. … Related articles

The floating head experiment D St-Onge, N Reeves, M Hanafi… – … (HRI), 2011 6th …, 2011 – … An aerobot was combined to Stelarc’s artwork named ”The Prosthetic Head”, which consists in the 5-meters-high projection of a 3D avatar linked to a chatbot-like discussion engine in order to interact with the visitors. Stelarc’s … All 3 versions

[BOOK] The Affective turn, or Getting Under the Skin Nerves: Revisiting Stelarc J Jagodzinski – 2012 – … The Partial Head (inspired from the Prosthetic Head, 2003) is generated from the “image of the flattened digitalized skin that had been made for the Prosthetic Head.”[23] Stelarc face was scanned along with a hominid skull. … Related articles All 5 versions

Envisioning Cyborg Hybridity Through Performance Art: A Case Study of Stelarc and His Exploration of Humanity in the Digital Age C Hunt – 2015 – … Chapter 5 ?closely? ?analyzes two of his pieces, ?Prosthetic Head ?and? Ear on Arm,? in order to explore how his art … awareness, prosthesis, and ‘natural.’ ?Chapter 6 summarizes my argument and concludes with remarks about the importance of Stelarc, our relationship to …

Abject Bodies Beckett, Orlan, Stelarc and the politics of contemporary performance K Smith – Performance Research, 2007 – Taylor & Francis … View larger version(105K), •above: Stelarc: prosthetic head, San Francisco, Melbourne, 2003. Stelarc’s conception of body is specific: he states that when he speaks of the body, he speaks of this cerebral, phenomenological, aware, and operational entity immersed in the world. … Related articles

Case Study on Four Interactive Self-portraits: Technology for Empathy H Kim, HG Kim – 2015 – … D. Stelarc, Prosthetic Head (2002) Stelarc’s Prosthetic Head (2002) is a 3D-rendered animated avatar head in the likeness of the artist that is projected largely in a darkened gallery space. … Fig. 3. Stelarc, 3D Model of Prosthetic Head 3. Interactive Technology …

Encounters: from talking heads to swarming heads DC Herath, C Kroos – Human-Robot Interaction (HRI), 2012 7th …, 2012 – … platforms. In this video we highlight a number of projects woven around the iRobot Create research robot platform and an embodied conversational agent called the Prosthetic Head — an installation work by Stelarc. We start … All 3 versions

Self-portraits C Robb, C Hood, S Smart, P Dawson, S Slee… – Meanjin, 2005 – … Kristin Headlam, Self-portrait in Bed with Dora Pamphlet and Hercules (1999-2000) Oil on canvas 90 x 90 cm Stelarc, Skin for Prosthetic Head (December 2002) Digital image TextaQueen, Self-portrait (2005) Felt-tips on paper 29.5 x 42 cm … All 2 versions

Interrogating Interactive Interfaces: On balance in the evocation of environmental responsibility in the creation of Responsive Environments J Wodak – 2012 – … Stelarc’s Prosthetic Head (2003) (Figures 2-11, 2-12) exemplifies interrogating interactive interfaces along the lines advocated by Kac and Huhtamo. … 71 Figures 2?11, 2?12: Stelarc Prosthetic Head (2003) Figure 2?13: Screen Capture of Futurama (2005) … Related articles

Inverse Embodiment: An Interview with Stelarc L Aceti – Leonardo Electronic Almanac, 2010 – … AMPLIFIED BODY, LASER EYES AND THIRD HAND, Tokyo, 1985 Photographer: Takatoshi Shinoda STELARC … The PROSTHETIC HEAD, 2003 (a kind of digital portrait of the artist) has also generated the WALKING HEAD, 2006 (a kind of robot portrait of the artist) and the … All 3 versions

Art: Body work A King – Nature, 2011 – … Stelarc’s Prosthetic Head, a giant on-screen avatar whom visitors can interrogate through a keyboard, has been a major draw. The head, occupying a room of its own, displays real-time lip synching, speech synthesis and facial expressions — and attitude. … All 3 versions

Haptic Visuality And Neuroscience PATRÍCIA SILVEIRINHA CASTELLO BRANCO PSC BRANCO – The Aesthetic Dimension of Visual Culture, 2010 – … Are contemporary technological images still a portrait of Medusa? If not, in what sense? II The mirror neurons discovery Let us stay for a moment with a piece by a famous contemporary artist: Stelarc’s Prosthetic Head. … Clarke, Julie. 2005. Stelarc’s Prosthetic Head. Ctheory. … Related articles

‘Phantom’ puppetry in Stelarc’s work Y Sone – Australasian Drama Studies, 2007 – … According to Stelarc, The Prosthetic Head might be able to make more personal conversation with viewers by referring to their appearance. … 37 Stelarc, ‘Prosthetic Head: Intelligence, Awareness and Agency’, Ctheory: Theory, Technology and Culture 28.3 (2005). … Related articles All 5 versions

Memory And Immortality: From Prince Charming To Stelarc S Chiper – University of Bucharest Review. Series Literary and …, 2013 – … Stelarc has also had three projects involving the head: the Prosthetic Head, the Partial Head and the Walking Head. The former is a 3D avatar head that is “automated, animated and reasonably informed” (“Zombies and Cyborgs”). … Related articles All 4 versions

Sensualities/Textualities and Technologies: Writings of the Body in 21st-Century Performance (review) S Schaffner – Theatre Journal, 2011 – … Accordingly, John Freeman considers John Leguizamo’s work, Josephine Machon analyzes the plays of Caryl Churchill, and Stelarc discusses his own interactive piece “Prosthetic Head.” The latter is one of the highpoints of the collection, as Stelarc’s three-dimensional …

The transitioning of sound from consciousness into the external space C Tomaz – … [6] YouTube. 2008. “Stelarc’s Prosthetic Head on the Subject of the Post Human”. Date Last Accessed 09/30/2011. com/watch?v=Nym8hfNI9Gg. [7] Stelarc, Marquard Smith. 2005. … Related articles All 2 versions

Face to Face has an exhibition catalogue, which includes an essay by the curator Kathy Cleland where she discusses the works in the exhibition and the … D Cranswick – 2008 – Citeseer … While the conversational remarks of the ventriloquist dolls in Biohead Actualized are one-sided (the dolls cannot hear or respond to audience comments), Stelarc’s Prosthetic Head takes the idea of an animated conversational portrait a step further Page 8. KATHY CLELAND 5/5 … Related articles All 4 versions

Face to Face has an exhibition catalogue, which includes an essay by the curator Kathy Cleland where she discusses the works in the exhibition and the … K Cleland – 2008 – … While the conversational remarks of the ventriloquist dolls in Biohead Actualized are one-sided (the dolls cannot hear or respond to audience comments), Stelarc’s Prosthetic Head takes the idea of an animated conversational portrait a step further Page 8. 1/3 … Related articles All 5 versions

Cybernetics in Society and Art S Jones – 2013 – … These include Stan Osot- ja-Kotkowski’s interactive paintings of the early 1970s, Mari Velonaki’s Fish-Bird robotics project circa 2006 and Stelarc’s Prosthetic Head (2003-2009). Keywords: Cybernetics, self-regulating systems, Cybersyn, conversation, interactive art. … All 2 versions

Materializing New Media: Embodiment in Information Aesthetics [Book Review] D Palmer – 2006 – … Chapter Four follows on by critiquing convendonal imderstandings of the body- computer inlerface in favour of “interfaciality”—a “line of subjecdvadon.” Artworks such as David Rokeby’s seminal Ve)y Netuous System (1986-90) and Stelarc’s Prosthetic 101 Page 4. … All 2 versions

Restoring Information’s Body S Hardin – 2011 – … Suchman then discussed a topic related to her interest in humans interacting with machines. Performance artist Stelarc created a “Prosthetic Head” a few years ago; Suchman had a conversation with it in March of 2003. She showed a video clip of the conversation. … Related articles All 2 versions

From a Pin-up Girl to Star Trek’s Holodeck: Artificial Intelligence and Cyborgs N Lee – Digital Da Vinci, 2014 – Springer … appearances of the real world. My Fig. 1.8 Prosthetic Head (San Francisco, Melbourne). (3D model by Barrett Fox; Courtesy of Stelarc) Page 16. N. Lee 16 approach would be to flush out Second Life a bit more. Second Life for me … Related articles All 7 versions

New Media and Interactivity M Jensen – 2006 – … Visited 28/6/05 13 Prosthetic Head. Stelarc. Screen dump. Visited 26/8/04 14 PowerStation (2006). … QuickTime™ and a TIFF (Uncompressed) decompressor are needed to see this picture. Image 13, Prosthetic Head, Stelarc Page 29. 22 … Related articles All 2 versions

The listening room: a speech-based interactive art installation A Wright, A Evans, A Linney, M Lincoln – Proceedings of the 15th …, 2007 – … 4.3 Artistic Context The Listening Room has been compared to The Prosthetic Head by Australian artist Stelarc. However, the two works differ in several important ways. The Prosthetic Head incorporates a large video projection … Cited by 2 Related articles All 8 versions

Asia Calls N Clarke, J Dyer, C Archer, A Ewing – … This huge exhibition in four parts, Emotive Digital; The Recombinant Reality; Here, There & Everywhere and Beyond Body, featured Stelarc’s The Prosthetic Head, along with over 40 major new media art installations by established and emerging artists worldwide. …

Adopt-a-robot: a story of attachment DC Herath, C Kroos, C Stevens… – Proceedings of the 8th …, 2013 – … 1). In the final stage (week 16), a talking head complete with the ALICE chatbot – the Prosthetic Head [3] was added … ACKNOWLEDGMENT Authors would like to acknowledge the staff and students at the MARCS institute especially, Stelarc (artist) Zhengzhi Zhang (programming … Related articles All 4 versions

Project SLARiPS: An investigation of mediated mixed reality J Stadon – Mixed and Augmented Reality-Arts, Media and …, 2009 – … REFERENCES [1] Stelarc. Prosthetic Head, , 1000 Days ofTheory: td018 Arthur and Marilouise Kroker, Editors. 2005 [2] Wittgenstein, Ludwig. Preliminary studies for the “Philosophical … Cited by 6 Related articles All 2 versions

Performing In-Difference E-Interview E Scheer – Performance Paradigm, 2005 – … Performance Paradigm 1 (March 2005) 90 Stelarc might very well be called a performance. … PROSTHETIC HEAD (Eyeballs, tongue and teeth are separate moving elements) Melbourne and San Francisco, 2003 Programmers: Karen Marcelo, Sam Trychin 3D Model: Barrett Fox …

“Involving Interface”: An Extended Mind Theoretical Approach to Roboethics M Anderson, H Ishiguro, T Fukushi – Accountability in research, 2010 – Taylor & Francis … robots. Artistic creativity also allows less restricted forms of thinking to emerge on these topics. For example, the artist Stelarc (2005)49. Stelarc (2005). Prosthetic Head: Intelligence, Awareness, and Agency. CTheory. http://www … Related articles All 4 versions

Also in this section P Head, CT Sites – 2005 – With no small sense of irony, Foucault here apostrophizes the terrifying voice of the Sovereign State. This voice is issued both as a command and as a promise, spoken in the name of a nameless” we” to an equally nameless” you.”” You” are at once included in the” … Related articles All 2 versions

The Interactive Object–Undermining the Artist and Empowering the Audience. M Flisher – … audience to revolve a metal axis and view the spinning plates from a metre away, to the performances of Stelarc’s Prosthetic Head (2002) in which the spectators could engage in a dialogue with the object of Stelarc’s art (Dixon 564). In more recent years the use of … Related articles

Portrait of the artist as a feminist, practice-led researcher C Coombs – 2013 – … Perth Stelarc is a performance artist who explores alternate anatomical architectures with bodies, … body choreographed by internet data streams. PROSTHETIC HEAD is an embodied conversational agent that speaks to the person who interrogates it. It became the research …

Cyborg Tales: The Reinvention of the Human in the Information Age J Guga – Beyond Artificial Intelligence, 2015 – Springer … Similar to what William Gibson does in fiction, Stelarc amplifies the present reality by pushing the limits of the body structure which … His works such as Suspensions, The Third Hand, The Stomach Sculpture, Frac- tal Flesh, Prosthetic Head, Exoskeleton, and The Extra Ear / Ear … Cited by 1 Related articles All 3 versions

Merging the fields of swarm robotics and new media: Perceiving swarm robotics as new media MO Ivanova, MS Couceiro… – … International Journal of …, 2014 – … For instance, an interactive installation and a research project in human robot interaction called Swarming Heads is based and built upon Stelarc’s project ‘Prosthetic head’ [35]. … 35. Stelarc, “Prosthetic head”, 2003, (Accessed: May 2014). 36. … Related articles

Evaluating a synthetic talking head using a dual task: Modality effects on speech understanding and cognitive load CJ Stevens, G Gibert, Y Leung, Z Zhang – International Journal of Human- …, 2013 – Elsevier … 5.1.2. Stimuli. The synthetic talking head was based on the prosthetic head created in the likeness of performance artist Stelarc (? The avatar, shown in Fig. 1, is an animated head displayed on an LCD screen which subtended 24.35° visual angle. … Cited by 4 Related articles All 7 versions

For a definition of cyberformance C Gomes – Proceedings of the SLACTIONS 2012 International …, 2012 – … Proceedings of the SLACTIONS 2012 International Conference Life, imagination, and work using metaverse platforms 34 organs’ said Stelarc, or, better, is Prosthetic Head avatar, a sentence that has a resonance in Me Myself and I. Lux Nix, my performing avatar, does not age … Cited by 2 Related articles All 2 versions

Blended Reality Performance J Chafer – New Opportunities for Artistic Practice in Virtual Worlds, 2015 – Page 258. 232 Chapter 11 Blended Reality Performance Joff Chafer Coventry University, UK ABSTRACT This chapter focuses on the integration of live performance that blends virtual (avatars animated live in Second Life) and physical performers. …

PETA: a pedagogical embodied teaching agent D Powers, R Leibbrandt, M Luerssen, T Lewis… – Proceedings of the 1st …, 2008 – … nonverbal behaviours. The original Prosthetic Head was commissioned for performance artist Stelarc, and the latest version is performing at the National Art Museum of China in association with the Beijing Olympics. The Head … Cited by 7 Related articles All 6 versions

The Prosthetic Self: Technology and Human Experience in Contemporary Speculative Fiction NHBTEZ MATTAR – 2014 – … I will state 8 The Cypriot-Australian performance artist, Stelarc, has amplified his body with various prosthetics such as a third hand, a prosthetic head, and an extra ear on his arm, in order to explore alternative and involuntary interfaces with technology (Lustig). Page 16. 16 … Related articles All 2 versions

Documenting the context of software artworks through social theory: towards a vocabulary for context classification L Konstantelos – Software art, 2012 – … For instance, in Ken Feingold’s Sinking Feeling (2001) 6 and Stelarc’s Prosthetic Head (2003) 7 the artworks respond to human feedback and engage in a dialogue with the observer that depends on the inputs provided. Leeson’s … Cited by 1 Related articles All 3 versions

Love in the Time of Tamagotchi D Pettman – Theory, Culture & Society, 2009 – Page 1. Love in the Time of Tamagotchi Dominic Pettman Abstract There is a popular conception among many Zeitgeist watchers, especially in places like the US, Western Europe and Australia, of the urbanized East as existing somehow further into the future. … Cited by 43 Related articles All 5 versions

Limited study of mechanical intelligence as media S Middleton – 2007 – … In chapter two: Situated Intelligence and the Walking Head project I describe the collaborative process between myself, Stelarc and F18 in Germany to produce a simulated prosthetic head displayed on a video monitor mounted on a walking robot. … Related articles All 2 versions

Arts-Based Research Otherwise J Wallin – Arts-Based Research, 2013 – Springer … time” (Zdebik, 2012, 178-179.) Skin’s significance, when theorizing contemporary art, is explored on three intra-related levels through three contemporary performance artists—two of which are very well-known within global artistic circles for their extremism—Stelarc and Orlan …

[BOOK] Critical digital studies: a reader A Kroker, M Kroker – 2008 – … Page 9. viii Contents 31 Prosthetic Head: Intelligence, Awareness, and Agency 476 STELARC 32 Simulated Talking Machines: Stelarc’s Prosthetic Head 489 JULIE CLARKE 33 Slipstreaming the Cyborg: Interview with Christina McPhee 499 FRANCESCA DE NICOLÒ IN … Cited by 9 Related articles All 2 versions

Image avatars: Self-other encounters in a mediated world K Cleland – 2008 – … 232 Figure 7-10 Stelarc photographed with his Prosthetic Head at ACMI (Australian Centre for the Moving Image) during the Transfigure exhibition (8 December 2003 – 9 May 2004). 233 … 240 Figure 7-16 Scan of Stelarc’s head and face used to create his Prosthetic Head. 241 … Cited by 5 Related articles All 2 versions

NeMe: Remarks on Modernity, Mobility, Nomadism and the Arts M Haerdter – 2005 – … You might also be interested in… Thoughts on Participatory Art by Helene Black & Yiannis Colakides; Prosthetic Head: Intelligence, Awareness and Agency by Stelarc; Collectivity, Modest proposals and Foolish Optimism by Charles Esche; Shaken hands with statues… … Cited by 1

[BOOK] Materializing new media: Embodiment in information aesthetics A Munster – 2011 – … The interface is installed in a street in Potsdam. figure 16 Screenshot of Memory Flesh 2.0: A Micro Media Record (2004) by Diane Ludin. figure 17 Stelarc, Skinfor Prosthetic Head (2002). 20 46 49 59 59 74 75 83 84 87 105 107 110 119 121 131 ix Page 12. … Cited by 201 Related articles All 4 versions

Subject objects L Suchman – Feminist Theory, 2011 – Page 1. Feminist Theory 12(2) 119–145 ! The Author(s) 2011 Reprints and permissions: DOI: 10.1177/1464700111404205 Article Subject objects Lucy Suchman Lancaster University, UK … Cited by 22 Related articles All 3 versions

[BOOK] Multimedia Performance R Klich, E Scheer – 2011 – … Produced by LG15 Studios PROSTHETIC HEAD, San Francisco, Melbourne 2002, 3D Model: Barrett Fox, STELARC Body Movies, Relational Architecture 6 (2006) Rafael Lozano-Hemmer, Museum of Art, Hong Kong, China Under Scan, Relational Architecture 11 (2008 … Cited by 19 Related articles All 2 versions

A Change In Essence? Hegel’S Thesis On The Past Character Of Art As Considered By Heidegger, PatoþKa And Nancy – The Aesthetic Dimension of Visual …, 2010 – Page 176. ACHANGE IN ESSENCE? HEGEL’S THESIS ON THE PAST CHARACTER OF ARTAS CONSIDERED BY HEIDEGGER, PATOýKAAND NANCY MILOŠ ŠEVýÍK I Introduction Hegel’s thesis of the past character of art … Related articles

I have witnessed a strange river: re-placing non-human entities within visual narratives of three Australian freshwater sites VP Cooper – 2012 – Page 1. This file is part of the following reference: Cooper, Victoria Pamela (2012) I have witnessed a strange river: re-placing non-human entities within visual narratives of three Australian freshwater sites. PhD thesis, James Cook University. Access to this file is available from: … Related articles

Beating a Path: Designing in the Posture of Body F Bronet – Performing Nature: Explorations in Ecology And the …, 2005 – Page 287. Beating a Path. Designing in the Posture of Body Frances Bronet The project Beating a Path: Design in Movement is one of a series of full-scale built investigations examining reciprocal relationships between movement and architecture. … Cited by 1 Related articles All 2 versions

[BOOK] Liveness: Performance in a mediatized culture P Auslander – 2008 – Page 1. — PHILIP AUSLANDER L VENESS PERFORMANCE IN A MEDIATIZED CULTURE Z O |_ D LLI D Z O O LIJ (O Page 2. LIVENESS Reviews of the first edition: “Wide-ranging and deeply absorbing . . . a first point of reference … Cited by 1504 Related articles All 2 versions

[BOOK] Art practice in a digital culture MH Gardiner, C Gere – 2012 – … Notes on Contributors xv Stelarc is an Australian artist who has used prosthetics, robotics, VR systems, the Internet and … His projects include the Third Hand, Virtual Arm, Stomach Sculpture, Exoskeleton, Extended Arm, Prosthetic Head, Muscle Machine, Partial Head and … Cited by 11 Related articles All 7 versions

Inspiring Strathern A Reed – Recasting Anthropological Knowledge: Inspiration and …, 2011 – Page 177. 10 Inspiring Strathern Adam Reed In this chapter, I want to explore what it might mean, as an anthropolo- gist, to claim an intellectual debt. How should one properly recognise the influence of the ideas of another? … Related articles

Bio-cartography: Towards a New Theory of Portraying MA Glosowitz – 2012 – … 33 4.1.2. Stelarc ….. 33 … apparatus. The detailed analysis of certain art works (Marta de Menezes, Frederik de Wilde, Eduardo Kac, Stelarc, Marc Quinn) will be provided in a frame of categorization of various … Related articles All 3 versions

[BOOK] Performance, identity, and the neo-political subject F Walsh, M Causey – 2013 – … The earliest proponents of a liberated and extended sense of self possible in digital domains include Allucquere Rosa- nne Stone, Jaron Lanier, and Stelarc who heralded an abandonment of the body (‘obsolete bodies’38) in an expanded practice of the performance of a virtual … Cited by 5 Related articles All 5 versions

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