Stelarc Prosthetic Head

Notes:

The performance artist Stelarc explores the significance of the body through his art. Stelarc is known for using various prosthetics, such as a third hand, a prosthetic head, and an ear on his arm, in order to explore alternative and involuntary interfaces with technology. He has also created artworks that involve an embodied conversational agent (a virtual entity that can speak to people) and has attempted to surgically attach a prosthetic to his body. Stelarc’s work deals with the historical, cultural, and technological constructions of the body and how it performs, and it also touches on themes such as artificial life, media art, and the intersection of computing and new media art. There is also a project involving movement and architecture, as well as the concept of interfaciality, which is described as a “line of subjectivation.”

In the context of Stelarc’s work, it appears that “interfaciality” refers to the idea of the body as an interface between the internal and the external, the self and the other, or the subject and the object. It seems to be a concept that challenges traditional understandings of the body-computer interface, and instead suggests that the body is not just a passive receptor of stimuli or a vessel for communication, but rather an active agent that engages in a dialogue with its environment. Interfaciality may involve the use of technology, such as prosthetics or virtual avatars, to extend or alter the body’s capabilities and create new forms of interaction and communication. It is not clear from the text provided how Stelarc specifically explores the concept of interfaciality in his work, but it seems to be an important aspect of his artistic practice.

The Prosthetic Head is an art project created by the performance artist Stelarc. It appears to be a virtual, computer-generated representation of the artist’s head that can engage in conversation with exhibition visitors. The head is described as being able to display real-time lip synching, speech synthesis, and facial expressions, and it is projected in a darkened gallery space as a large, three-dimensional animation. The Prosthetic Head seems to be part of Stelarc’s ongoing exploration of the body as an interface and the use of technology to alter and extend the body’s capabilities. It is not clear from the text provided exactly how the Prosthetic Head works or what its specific themes or messages are, but it seems to be a significant work within Stelarc’s artistic practice.

Resources:

Wikipedia:

References:

See also:

100 Best Stelarc Head Videos | Chatbots in Art & Culture | Stelarc Articulated Head | Thinking Head Project

Stelarc’s prosthetic head
J Clarke – CTheory, 2005 – mmduvic.ca
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 …

In conversation with the body conveniently known as Stelarc
C Abrahamsson, S Abrahamsson – cultural geographies, 2007 – journals.sagepub.com
… (emphasis added). 4 Ibid. 5 For an interview between Stelarc and ‘his’ head see ‘Prosthetic head: intelligence, awareness and agency’ (ctheory.net, 2005): www.ctheory.net/ articles.aspx?id490 … See Stelarc, ‘Prosthetic head’ …

From talking to thinking heads: report 2008.
…, G Paine, DMW Powers, M Riley, S Stelarc… – AVSP, 2008 – isca-speech.org
… 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 …

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 …

Reconfiguring human-robot relations
L Suchman – … Communication, 2006. ROMAN 2006. The 15th …, 2006 – ieeexplore.ieee.org
… 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’ …

Talk to Me: getting personal with interactive art
K Cleland – Interaction: systems, practice and theory, 2004 – Citeseer
… H: It is something that makes me feel slow with groups. (Source: http://www.kenfeingold.com/) Stelarc’s “Prosthetic Head” (2002) is another interactive 3D talking head, although in this case the head is a virtual projected image … Figure 14 Stelarc, “Prosthetic Head”, 2002 …

Sensualities/textualities and technologies: writings of the body in 21st century performance
S Broadhurst, J Machon – 2016 – books.google.com
… doc (image by the author) SKIN FOR PROSTHETIC HEAD, San Francisco 2002. Image: Barrett Fox.© STELARC PROSTHETIC HEAD CONSTRUCTION, San Francisco 2002. Image: Barrett Fox.© STELARC CLONED HEADS, San Francisco 2002 …

Face-off
J Clarke – Meanjin, 2005 – search.informit.com.au
… 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 …

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 …

Thinking head: Towards human centred robotics
DC Herath, C Kroos, CJ Stevens… – … Robotics & Vision …, 2010 – ieeexplore.ieee.org
… 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 …

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 …

Abject Bodies Beckett, Orlan, Stelarc and the politics of contemporary performance
K Smith – Performance Research, 2007 – Taylor & Francis
… Marquard. 2005. Stelarc: The Monograph, Edited by: Smith, Marquard. London: MIT Press. [Google Scholar]: 231). This prosthetic head, with human characteristics, but not, nevertheless, human, provokes a confused response. The …

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 con- versation …

The rhetoric of digital Utopia after Sade: Utopian architecture and the static subject of digital art
E Amiran – Discourse, 2010 – muse.jhu.edu
… 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 …

Digital parts/modular doubles: fragmenting the’digital double’
D Ploeger – Body, Space and Technology Journal, 2011 – people.brunel.ac.uk
… 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. Page 3 …

Interactive Art: Digital Entities and the Audience Experience
M Miranda, K Cleland – IEEE MultiMedia, 2008 – ieeexplore.ieee.org
… 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 …

From robot arm to intentional agent: the articulated head
C Kroos, DC Herath – Robot Arms, 2011 – intechopen.com
… On the hardware side, the Articulated Head consist of a Fanuc LR Mate 200iC robot arm with an LCD monitor as its end effector (see Figure 1). The Articulated Head represents the robotic embodiment of the Prosthetic Head (Stelarc, 2003) by Australian performance artist …

Technology and magick
S Collins – 2004 – researchonline.mq.edu.au
… figures. Stelarc’s “Prosthetic Head” installation project would provide an excellent framework with which to work … Books Stelarc, “Prosthetic Head”, http://www.stelarc. va.com.au/prosthetichead/ last accessed 20th March 2004 …

The floating head experiment
D St-Onge, N Reeves, M Hanafi… – … (HRI), 2011 6th …, 2011 – ieeexplore.ieee.org
… 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 …

Intimate Encounters: the Mixed Reality Paradigm and Audience Responses
K Cleland – 2009 – escholarship.org
… 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 …

Art: Body work
A King – Nature, 2011 – nature.com
… 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 …

The Affective turn, or Getting Under the Skin Nerves: Revisiting Stelarc
J Jagodzinski – 2012 – researchgate.net
… 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 …

Nonverbal intimacy as a benchmark for human–robot interaction
B Lee – Interaction Studies, 2007 – jbe-platform.com
… 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 …

PROSTHETIC HEAD: Ideas and Anecdotes on the Seductiveness of Embodied Conversational Agents
H Stelarc, C Penny – Sensualities/Textualities and Technologies, 2008 – Springer
5 PROSTHETIC HEAD: Ideas and Anecdotes on the Seductiveness of Embodied Conversational Agents Stelarc From: pfinnigan@ ncc. nsw. gov. au Subject: amusing story Date: 23 October 2008 12: 54: 57 AM To: stelarc@ va. com. au Hello Stelarc, You may know that the Gallery here …

Prosthetic Head, 3D animated installation, Exhibited at: Alter: Between Human and Non-Human, Gus Fisher Gallery, Auckland, New Zealand
S Stelarc – 2016 – espace.curtin.edu.au
Our technological environment is increasingly populated with chatbots and avatars. These conversational entities are necessary and seductive interfaces between human and virtual systems. Self, agency and identity are unsettled and made ambivalent in increasingly liminal …

Stelarc: The Monograph
E Scheer – Culture Machine, 2006 – culturemachine.net
… 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 …

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

Case Study on Four Interactive Self-portraits
H Kim, HG Kim – TECHART: Journal of Arts and Imaging Science, 2015 – thetechart.org
… 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 …

Face to face: Portraiture in a digital age
R Lort – Eyeline, 2010 – search.informit.com.au
… Stelarc’s Prosthetic Head was easily the most seductive work included in the show. A 3D animated alter ego, looking just like Stelarc, it allows us to ask ‘Stelarc’ questions with a computer key pad … Interactive installation; Stelarc, Prosthetic Head, 2003. Interactive installation.

Androids, Replicants and Chimeras: Alternate Embodiments/Uncanny Agencies
S Stelarc – Proceedings of the 2016 ACM Conference on …, 2016 – dl.acm.org
What it means to be human is perhaps not to remain human at all. To become other is an irresistible urge. What a body is and how a body performs is a historical, cultural and technological construct but because it is also in the realm of contingency it is also highly …

Envisioning Cyborg Hybridity Through Performance Art: A Case Study of Stelarc and His Exploration of Humanity in the Digital Age
C Hunt – 2015 – digitalwindow.vassar.edu
… 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 …

The Prosthetic Experience Between Body and Technology
M Sondergaard – Contemporary Arts and Cultures, 2017 – contemporaryarts.mit.edu
… This investigation may be witnessed in all of Stelarc’s projects—from the early suspension pieces to the Prosthetic Head, Ear on Arm, and Internet Ear … [4] Stelarc, “Prosthetic Head,” the website of the artist, http://stelarc.org/?catID=20241 (accessed November 1, 204) …

MICHELLE JENSEN
MOFV ARTS – 2006 – core.ac.uk
… http://www.gamespot.com/finder/findgames.html. Visited 28/6/05 13 Prosthetic Head. Stelarc. Screen dump. http://www.stelarc.va.com.au/. Visited 26/8/04 14 PowerStation (2006). Michelle Jensen, still from interactive Flash …

Encounters: from talking heads to swarming heads
DC Herath, C Kroos – Proceedings of the seventh annual ACM/IEEE …, 2012 – dl.acm.org
0&?uÄf?*ª?¬b?l?****@ñ??*??*ù?á?^¿P?***SfOriginalFPS**?ô**Engineer*Damith Herath*Artist*Various*WMFSDKVersion 12.0.7601.17514*WMFSDKNeeded*0.0.0.0000 IsVBR***(ASFLeakyBucketPairs*r?]*~?0u}*»?»?sÉ?*`Y?*F?+Ç?*r?*0W*ò? í*¿.*É#*n …

Self-portraits
C Robb, C Hood, S Smart, P Dawson, S Slee… – Meanjin, 2005 – search.informit.com.au
… 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 …

Interrogating Interactive Interfaces: On balance in the evocation of environmental responsibility in the creation of Responsive Environments
J Wodak – 2012 – openresearch-repository.anu.edu.au
… 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) …

Engineering the Arts
D Herath, C Kroos – Robots and Art, 2016 – Springer
… One reason for including the artist in the Thinking Head project was the convenience factor that he already had a working talking head—Stelarc’s Prosthetic Head [1]. The Prosthetic Head formed the basis on which later Thinking Head research would be based on …

Inverse Embodiment: An Interview with Stelarc
L Aceti – Leonardo Electronic Almanac, 2010 – journals.gold.ac.uk
… 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 …

Transfigure
D Tofts – Eyeline, 2004 – search.informit.com.au
… 7 mins; colour. Collection ACMI. Courtesy the artist; Stelarc. Prosthetic Head. 2002 Live, interactive embodied conversational agent displayed as single-channel projection; mono audio. Interactive. Collection the artist. Courtesy the artist …

Haptic Visuality And Neuroscience PatríCia Silveirinha Castello Branco
PSC BRANCO – The Aesthetic Dimension of Visual Culture, 2010 – books.google.com
… 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 …

Transfiguring ACMI [Australian Centre for the Moving Image]
L Gye – Artlink, 2004 – search.informit.com.au
… The passiVity of traditional gallery spectatorship is replaced by the dynamism of interactive engagement with the artworks. In order to be able to engage with Stelarc’s Prosthetic Head, you have to talk to it. acmipark demands that you play it …

Cultural geographies in practice
C Abrahamsson, S Abrahamsson – cultural geographies, 2007 – academia.edu
… of media as our extended nervous system, Stelarc argues that ‘[p]lugged in, the body becomes a parasite sustained by an extended, external and virtual nervous system.’4 Stelarc’s more recent and ongoing projects and performances include the Prosthetic Head – an artificial …

Phantom’puppetry in Stelarc’s work [Paper in: Puppetry and Visual Theatre in Australia and New Zealand.]
Y Sone – Australasian Drama Studies, 2007 – search.informit.com.au
… 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) …

Excess and Indifference: Alternate Body Architectures
H Gardiner, C Gere – Art Practice in a Digital Culture, 2016 – taylorfrancis.com
… Figure 6.2 Prosthetic Head Source: Stelarc, 2002. San Francisco, Melbourne. 3D Model: Barrett Fox. Page 5 … Stelarc: You should think more logically. Prosthetic Head: Stelarc is always thinking. Stelarc: Do you really think? Prosthetic Head: For real …

On Board
B Craig – Citeseer
… existence itself. By Patricia Olynyk, Assistant Professor & Director, Penny W. Stamps Distinguished Visitors Program, UM School of Art + Design Stelarc and the “Prosthetic Head” Inset: Stelarc and Patricia Olynyk “Dan and I …

Sensualities/Textualities and Technologies: Writings of the Body in 21st-Century Performance
S Schaffner – Theatre Journal, 2011 – muse.jhu.edu
… 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 …

Performing Science
R Rousi – researchgate.net
… In Stelarc’s work, we see the Extra Ear and Extra Ear % Scale (1997–1999) and other articulations, such as his Prosthetic Head (2003–2004), Stomach Sculpture (inserted technology), Third Hand (attached technology), and Exoskeleton (extending technology) …

SLS G
J Watkins – 2014 – academia.edu
… The Death of Tragedy. 1961. New York: Oxford UP, 1980). Print. Stelarc. “Prosthetic Head.” Dixon 263–66. Thacker, Eugene. “Data Made Flesh: Biotechnology and the Discourse of the Posthuman.” Cultural Critique 53 (2003): 72–97, Print. Thurman, Judith …

Memory And Immortality: From Prince Charming To Stelarc
S Chiper – University of Bucharest Review: Literary & Cultural …, 2013 – ceeol.com
… 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”) …

Time Matters: Case Studies Analyzing Temporal Elements of the Aesthetic Interactive Experience in Interactive Media Art
HC Kim, H Kim – International Journal of Software Engineering and Its …, 2016 – earticle.net
… Creative Temporalities 4. Case Studies 4.1. Holger Friese and Max Kossatz, www.antworten. de (1997) 4.2. Stelarc, Prosthetic Head (2002) 4.3. David Rokeby, n-cha(n)t (2001) 4.4. Dennis Del Favero, Pentimento (2002) 5. Conclusion Acknowledgments References. Keywords …

Real-Time Motion Tracking in digital art installations
O Habibi – pdfs.semanticscholar.org
… 1 Arnspang, Jens, “MOSART Task 4 survey”, page 4. Available online at: http://www.diku.dk/ forskning/musinf/mosart/midterm/T4/arnspang-detection.pdf 2 Stelarc, 2003; “Prosthetic Head”. Available online at: http://www.newmoves.co.uk/archives/newterritories2003/stelarc.htm …

The transitioning of sound from consciousness into the external space
C Tomaz – tcnj.edu
… http://www.youtube.com/watch?v=ytGw1_MOTrU. [6] YouTube. 2008. “Stelarc’s Prosthetic Head on the Subject of the Post Human”. Date Last Accessed 09/30/2011. http://www.youtube. com/watch?v=Nym8hfNI9Gg. [7] Stelarc, Marquard Smith. 2005 …

Churchill’s Tragic Materialism; or, Imagining a Posthuman Tragedy
E Diamond – PMLA, 2014 – MLA
… Compared with performance art, in which audiences scatter seeds, grow bacteria, speak to a prosthetic head, or watch moving bodies dissolve into ASCII code, theater may seem hopelessly encrusted in … Page 9. 3. “Standing”; Critical Art Ensemble; Stelarc; Igloo; see also Gomoll …

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 – scanlines.net
… 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 …

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 …

Cybernetics in Society and Art
S Jones – 2013 – ses.library.usyd.edu.au
… 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 …

Materializing New Media: Embodiment in Information Aesthetics [Book Review]
D Palmer – Australian and New Zealand Journal of Art, 2006 – search.informit.com.au
… 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 …

ASIS&T 2010 plenary session: Restoring information’s body
S Hardin – Bulletin of the American Society for Information …, 2011 – Wiley Online Library
… 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 …

ASIS&T 2010
S Hardin – stage.asis.org
… 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 …

Restoring Information’s Body
S Hardin – 2011 – scholars.indstate.edu
… 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 …

The listening room: A speech-based interactive art installation
A Wright, A Evans, A Linney, M Lincoln – Proceedings of the 15th ACM …, 2007 – dl.acm.org
… 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 …

Being One, Being Many
C Kroos, D Herath – Robots and Art, 2016 – Springer
… The project’s starting point was the Prosthetic Head by Australian performance artist Stelarc, a convincing virtual 3D representation of the artist, created using a laser scan of the artist’s head and animated using computer graphics …

Live Performance and the Digital
S Broadhurst – Digital Practices, 2007 – Springer
… Stelarc’s Prosthetic Head (2003d) involves an embodied conversational agent, an avatar that speaks to any person who interrogates it, and he has attempted to surgically attach a ‘soft’ prosthesis in the form of an Extra Ear (2004c) to his body (His attempt to incorporate such a …

Digital performance and avant-garde artistic distinctions
P Sztabi?ska – Art Inquiry. Recherches sur les arts, 2017 – ceeol.com
… correlate. The next question con- cerns the Prosthetic Head: can the statements made as a reaction to the audience’s questions by Stelarc’s head resembling Stelarc’s own appearance – be regarded as a performative work? From …

Adopt-a-robot: a story of attachment
DC Herath, C Kroos, C Stevens… – Proceedings of the 8th …, 2013 – dl.acm.org
… 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 …

From a Pin-up Girl to Star Trek’s Holodeck: Artificial Intelligence and Cyborgs
N Lee – Digital Da Vinci, 2014 – Springer
… why I call it a prosthetic head. Open image in new window. Fig. 1.8 Prosthetic Head (San Francisco, Melbourne). (3D model by Barrett Fox; Courtesy of Stelarc). The Walking Head (see Fig. 1.9) is a more chimeric construct: an …

New Media and Interactivity
M Jensen – 2006 – ses.library.usyd.edu.au
… Visited 28/6/05 13 Prosthetic Head. Stelarc. Screen dump. http://www.stelarc.va.com.au/. 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 …

Limning the Limit or Notes toward an Outline of Activist Performance at the Limit
S Dayal – Performing Ethnicity, Performing Gender, 2016 – taylorfrancis.com
… What is hoped for is the traversal of the fantasy. In my discussion of Kristeva’s meditation, I have sought to draw attention to the productive resonances between her “severed head” and Stelarc’s prosthetic head, but also with Orlan’s surgically mutilated head …

The Hinges on the Doors of Marriage: The Body’s Openness to Information in the Art of Stelarc and Blake
P Morgan – Sexy Blake, 2013 – Springer
… stable. One of Stelarc’s principles is that ‘we fear what we have always been and what we have already become’ (‘Prosthetic Head’ 478). This is his response to those who express fear at the prospect of becoming more automated …

Project SLARiPS: An investigation of mediated mixed reality
J Stadon – Mixed and Augmented Reality-Arts, Media and …, 2009 – ieeexplore.ieee.org
… REFERENCES [1] Stelarc. Prosthetic Head, , 1000 Days ofTheory: td018 www.ctheory.net/articles.aspx?id=490 Arthur and Marilouise Kroker, Editors. 2005 [2] Wittgenstein, Ludwig. Preliminary studies for the “Philosophical …

Performing In-Difference E-Interview
E Scheer – Performance Paradigm, 2005 – performanceparadigm.net
… 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
… Who Needs Emotions? The Brain Meets the Robot. Oxford: Oxford University Press, pp. 203–44. Stelarc. (2005). Prosthetic Head: Intelligence, Awareness, and Agency. CTheory. Available at: http://www.ctheory.net. Last accessed on June 19, 2007. Tsakiris, M. (2008) …

The Interactive Object–Undermining the Artist and Empowering the Audience.
M Flisher – 2008 – pdfs.semanticscholar.org
… 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 …

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 …

Portrait of the artist as a feminist, practice-led researcher
C Coombs – 2013 – eprints.qut.edu.au
… 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 …

Avant-garde against avant-garde
R Kluszczy?ski – Art Inquiry. Recherches sur les arts, 2017 – ceeol.com
… Among his signature pieces, Stelarc has exhibited Walking Head (2006), an autonomous robotic sculpture anchored in cybernetics; biotechnological Ear on Arm (2006), ie an additional ear im- planted in the artist’s forearm; Prosthetic Head (2003) as a form of artificial intel …

Robots and Art: Exploring an Unlikely Symbiosis
D Herath, C Kroos – 2016 – Springer
… He has performed with a Third Hand, a Virtual Body, an Extended Arm, a Stomach Sculpture, Exoskeleton and a Prosthetic Head. He is surgically constructing and stem-cell growing an ear on his arm that will be Internet enabled. Publications include Stelarc: The Monograph …

The Heritage of Conceptual Art and Posthumanist Art
J Beuys – Media, Culture, and Society – researchgate.net
… Stelarc (1997): Hollow Body/Host Space: Stomach Sculpture. In: Cultural Values 1(2), 250- 251. Stelarc (2005): Prosthetic Head – Intelligence, Awareness and Agency. In: CTHEORY. http://www.ctheory.net/printer.aspx?id=490 (accessed July 22, 2013) …

Numbers 1-2: Portraits of the Artist Number 3: Beautiful Minds Number 4: On Translation
C Andrews, L Plaine-Voyageurs – search.informit.com.au
… 1-2, p. 187 Slee, Simone, On_Simone, nos. 1-2, p. 175 Smart, Sally, Self-portrait: X-ray, nos. 1-2, p. 173 Stelarc, Skin for Prosthetic Head, nos. 1-2, p. 182 Sworder, Zeno, Eyedrops, nos. 1-2, p. 185 TextaQueen, Self-portrait, nos. 1-2, p. 184 [216]

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 (?http://stelarc.org?). The avatar, shown in Fig. 1, is an animated head displayed on an LCD screen which subtended 24.35° visual angle …

Still and Useless: The Ultimate Automaton
N Reeves, D St-Onge – Robots and Art, 2016 – Springer
… Thanks to the “attention model” developed by Stelarc’s team (Christian Kroos and Damith Herath), Stelarc’s Prosthetic Head and a Tryphon aerostabile from NXI Gestatio could merge to create a hovering oracle who was able to maintain a cyberdialogue with members of the …

Merging the fields of swarm robotics and new media: Perceiving swarm robotics as new media
MO Ivanova, MS Couceiro… – … International Journal of …, 2014 – search.proquest.com
… 156 Maejo Int. J. Sci. Technol. 2014, 8(02), 143-160 that has already been created in the field. 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] …

Is There Life in Cybernetics? Designing a Post-Humanist Bioethics
J Zylinska – Deleuze and Law, 2009 – Springer
Page 1. 117 8 Is There Life in Cybernetics? Designing a Post-Humanist Bioethics Joanna Zylinska The pretence of humanism Bioethics – by which I mean the interrogation of ‘ethical issues aris- ing from the biological and medical …

Domenico De Clario–Curriculum Vitae
D de Clario – 2013 – marsgallery.com.au
… let it, sound performance, Club Zho, Perth, with Burnt Friedman/Hayden Chisholm seven times thank you, paintings/text, Goddard de Fiddes Gallery, Perth home on the range, sound performance at the breadbox, Perth prosthetic head, performance with stelarc, lindsay vickery …

For a definition of cyberformance
C Gomes – Proceedings of the SLACTIONS 2012 International …, 2012 – academia.edu
… 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 …

Environments for Interactive Dance
J Birringer – Performing Nature, 2005 – ingentaconnect.com
… of artificial life and media art unleashed provocative research into genetic algorithms, cellular auto- mata, tissue cultures, and behavioural robotics which also influenced, for example, Stelarc’s recent performance experiments with walking machines or the ‘Prosthetic Head’ (2003 …

PETA: a pedagogical embodied teaching agent
D Powers, R Leibbrandt, M Luerssen, T Lewis… – Proceedings of the 1st …, 2008 – dl.acm.org
… 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 …

The Prosthetic Self: Technology and Human Experience in Contemporary Speculative Fiction
NHBTEZ MATTAR – 2014 – scholarbank.nus.sg
… 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 …

Documenting the context of software artworks through social theory: towards a vocabulary for context classification
L Konstantelos – The Preservation of Complex Objects, 2012 – academia.edu
… For instance, in Ken Feingold’s Sinking Feeling (2001) 1 and Stelarc’s Prosthetic Head (2003) 2 the artworks respond to human feedback and engage in a dialogue with the observer that depends on the inputs provided. Leeson’s …

A Networked Self and Human Augmentics, Artificial Intelligence, Sentience
Z Papacharissi – 2018 – books.google.com
… In a playful encounter with performance artist’s Stelarc’s (2017) Prosthetic Head, a three-dimensional simulacrum of the artist’s own, capable of responding to queries typed on a keyboard, Lucy Suchman carried on the following conversation: LS: (types) “Do you have feelings …

Avatars, agency and performance: the fusion of science and technology within the arts
R Salmon – 2014 – researchdirect.westernsydney.edu …
… Thank you to Professor Michael Atherton for his sort lived but influential supervisory support and last but not least to Assoc. Prof Garth Paine and Stelarc, who have been the mainstay of support in the conception and completion of this work. Together, Stelarc, Assoc …

Liveness: Performance in a mediatized culture
P Auslander – 2008 – taylorfrancis.com
Page 1. Page 2. LIVENESS Reviews of the first edition: “Wide-ranging and deeply absorbing . . . a first point of reference for anyone interested in the meaning and prospects of performance in the contemporary world.” – Steven …

Animal Pasts and Presents
J Parker-Starbuck – Performing Animality, 2015 – Springer
… full body and generally not considered on its own. There are exceptions: the famous skull scene in Hamlet, or the ‘prosthetic head’ developed by multimedia/performance artist Stelarc. In the puppet form of Bunraku, it takes 20 …

Also in this section
CT Sites – 2005 – ctheory.net

Animal Pasts and Presents
TT Travellers – Performing Animality: Animals in Performance …, 2015 – Springer
… full body and generally not considered on its own. There are exceptions: the famous skull scene in Hamlet, or the ‘prosthetic head’developed by multimedia/performance artist Stelarc. In the puppet form of Bunraku, it takes 20 …

I Scream the Body Electric’: Performance, the Field Body, and Zombies in Societies of Entrainment
D Fancy – Performance, Identity, and the Neo-Political Subject, 2013 – taylorfrancis.com
… body and the regularities of the aggregate effects of individual bodies that institute a politics of population.’35 For his part, Stelarc foregrounds the … not for a self, but a sculpture’; in Extra Ear (1997), an additional auditory device is added to the body; in Prosthetic Head (2002), an …

Love in the Time of Tamagotchi
D Pettman – Theory, Culture & Society, 2009 – journals.sagepub.com
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 …

Mimicry and expressiveness of an ECA in human-agent interaction: familiarity breeds content!
CJ Stevens, B Pinchbeck, T Lewis, M Luerssen… – Computational cognitive …, 2016 – Springer
… Equipment. The ECA was based on the prosthetic head created in the likeness of performance artist Stelarc (http://stelarc.org). The agent, shown in Fig. 1, was an animated head displayed on an LCD screen which subtended 24.35° visual angle …

Limited study of mechanical intelligence as media
S Middleton – 2007 – researchbank.rmit.edu.au
… 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 …

After the run: A development of global ecosystems
HJ Bullard – 2014 – search.proquest.com
… Stelarc spoke of in vivo and in vitro methods of body adaption, and of the end of necessity for decomposition, and death itself. He spoke of organ printing, digital transplants, and remote actuation. Towards the end of his talk, the artists virtually augmented Prosthetic Head said [i …

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 …

Critical digital studies: a reader
A Kroker, M Kroker – 2008 – books.google.com
… 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 …

Digital Alchemy: On Transhuman Performance
SA Schrum – academia.edu
Page 1. 1 Digital Alchemy: On Transhuman Performance By Stephen A. Schrum, PhD Foreword Once more you hover near me, forms and faces Seen long ago with troubled youthful gaze. And shall I this time hold you, limn the traces, Fugitive still, of those enchanted days …

“L’Isle (et autrefois Royaume) de Chypre”, Paris 1720. Courtesy of the Bank of Cyprus Cultural Foundation.
P Moullart-Sanson – moi.gov.cy
Page 1. 1 Editorial The history of cartography of Cyprus presents an impressive diversity and a wealth of material. The circulation of some 250 works in Western Europe over the centuries reveals the unabated interest of the Occident in the island …

Life Expansion: Toward an Artistic, Design-Based Theory of the Transhuman/Posthuman
N Vita-More – 2012 – pearl.plymouth.ac.uk
… Burgess, Sean Cubitt, Joe Davis, David Hanson, Jens Hauser, Eduardo Kac, David Kremers, Marta de Menezes, Leonel Moura, Melentie Padilovski, Stelarc, Ionat Zurr, and Kevin Warwick … biology (ie, body art) (eg, Orlan, Stelarc), create alternative personas (ie, performance …

Bioethics in the age of new media
J Zylinska – 2009 – books.google.com
… I especially want to thank Clare Birchall, Dave Boothroyd, Rosi Braidotti, Dorota Glowacka, Gary Hall, Sarah Kember, Angela McRobbie, Mark Poster, Nina Sellars, Doug Sery, Stelarc, Bernadette Wegenstein, and Adam Zaretsky, as well as the anonymous MIT Press reviewers …

Image avatars: Self-other encounters in a mediated world
K Cleland – Sidney: University of Technology, 2008 – kathycleland.com
… 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 …

Materializing new media: Embodiment in information aesthetics
A Munster – 2011 – books.google.com
… 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 …

Multimedia performance
R Klich, E Scheer – 2011 – books.google.com
… 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 …

Subject objects
L Suchman – Feminist Theory, 2011 – journals.sagepub.com
Page 1. Feminist Theory 12(2) 119–145 ! The Author(s) 2011 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1464700111404205 fty.sagepub.com Article Subject objects Lucy Suchman Lancaster University, UK …

Graduate Institute Of Social Sciences
MÇ BELGESAY – 2013 – academia.edu
… 81 Figure 5.12 “Tribute to Buddha”, Ekmal Ertan……………89 Figure 5.13 “Alter Ego”, Alexa Wright……………93 Figure 5.14“Prosthetic Head”,Stelarc……………100 Figure 5.15 “Body …

A Change In Essence? Hegel’S Thesis On The Past Character Of Artas Considered By Heidegger, PatoýKaand Nancy Miloš šEvýíK
OFACBY HEIDEGGER – The Aesthetic Dimension of Visual …, 2010 – books.google.com
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 …

I have witnessed a strange river: re-placing non-human entities within visual narratives of three Australian freshwater sites
VP Cooper – 2012 – researchonline.jcu.edu.au
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 …

Art practice in a digital culture
H Gardiner, C Gere – 2016 – books.google.com
… 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 Scul ture, Exoskeleton, Extended Arm, Prosthetic Head, Muscle Machine, Partial Head and alking …

Beating a Path: Designing in the Posture of Body
F Bronet – 2005) Performing Nature. Explorations in Ecology and …, 2005 – books.google.com
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 …

Art Practice in a Digital Culture
M Deegan, L Hughes, MH Short, A Prescott – 2012 – books.google.com
… Stelarc is an Australian artist who has used prosthetics, robotics, VR systems, the Internet and biotechnology to explore … with hooks into the skin.His projects includethe ThirdHand, Virtual Arm, Stomach Sculpture, Exoskeleton, Extended Arm, Prosthetic Head, Muscle Machine …

10 Inspiring Strathern
A Reed – Recasting Anthropological Knowledge: Inspiration and …, 2011 – books.google.com
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 …

Evolving the drum-kit: frameworks and methods for diachronic live electronic performance practice and bespoke instrument design
CG Michalakos – 2014 – era.lib.ed.ac.uk
… 38 3.6 Laptop Screen – Instructions . . . . . 39 3.7 Stelarc – Prosthetic Head – Visual awareness not necessary . . . . . 40 3.8 2011 – LLEAPP (City Arts Centre, Norwich) . . . . 42 …

Bio-cartography: Towards a New Theory of Portraying
MA Glosowitz – 2012 – dspace.library.uu.nl
… 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 …

This land is your land: performing philosophy in an American terrain
C Salyers – 2014 – search.proquest.com
… is a self-described performance artist who has visually probed and acoustically amplified his body (stelarc.org). His efforts to alter his physical form through the use of technology, including growing an internet-enabled third ear on his arm and creating a prosthetic head, do not …