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09 NOVEMBER 2014

The Visitor: Living by Numbers (2001)

Luc Courchesne (2001). 'The Visitor : Living by Numbers' immersive experience (reflexive Panoscope) work premièred at Art Gallery of New South Wales (Sydney, Australia), August 2001.

"Interactive video panorama for computer with microphone and hemispheric projection system (Panoscope 360). Created with support from the Daniel Langlois Foundation for Art, Science and Technology, the International Academy for Media Arts and Sciences, the Canada Council for the Arts, Université de Montréal and the Société des arts technologiques (SAT). The original version is in English.

General description: The Visitor: Living by Numbers is inspired by Pier-Paolo Pasolini's 1969 film Theorema and by a dream Courchesne's daughter had when she was 10 years old. In the installation, visitors are planted somewhere in the Japanese countryside. From there they will try to make a life for themselves by saying any number between one and twelve to indicate the direction they want to go or to show interest in people and what they have to say. Exploring the territory, happening upon and entering a shelter, meeting and dealing with the inhabitants and gaining status within the group will define a visitor's experience. Leaving the place and the inhabitants to themselves (as in Pasolini's film) or being forced to escape after an earthquake (as in his daughter's dream) will further characterize the visitor's experience.

The experience starts in daytime, in the middle of rice fields just north of Ogaki-City in central Japan (Gifu Prefecture). In the inner garden of a low building, visitors will happen upon a woman preparing tea. This first encounter may lead to an invitation to diner where a mixed group of people (6) prepare and share a Japanese style stew (nabet). The diner is endless but conversations with dining partners may bring a visitor to spare moments in the intimacy of one's room where he or she is offered the host's mind and thoughts on different topics growing increasingly personal. In the process, a visitor builds a position in the group that either will have him invited to take more place among the group, or gradually ignored and abandoned.

Meanwhile, night has come and the risk of an unforgiving event in this earthquake prone area is more tangible. If such a thing was to happen, destroying the shelter and forcing everyone out, visitors would, depending on their status, be left behind or invited to join in the chaotic and confuse quest for a new place where every aspect of this group’s life will resume in the same way as if nothing had happened."

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TAGS

2001 • Art Gallery of New South Wales Sydney • art installationAustraliaimmersive aesthetic experienceimmersive experienceinteractive artworkintimate interactionsintimate interfaces • Japanese countryside • Luc CourchesneSydney

CONTRIBUTOR

Simon Perkins
12 JUNE 2014

REX: independent mobility through hands-free robotic exoskeleton

"Rex Bionics Plc (The Rex Bionics Group) is the global technology leader in robotic exoskeletons (REX). Uniquely, REX® provides independent mobility to wheelchair users and other mobility impaired persons using advanced robotic technology, custom–designed electromechanical actuators, precision engineering, and specialised networking systems.

The key differentiator of REX is the fact that it has been designed from the outset to provide mobility to non–ambulatory wheelchair users rather than as a means to enable otherwise fit individuals to lift supra–physiological loads, enhance endurance or aid mobility of those able to walk with crutches.

The device is designed to enable all users to stand and walk, and REX Personal™ users to scale stairs and navigate slopes."

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TAGS

ambulatory disability • Aotearoa New Zealandapplied researchartificial limbbionicsbodycyborgdesign for disabilitydisability • electromechanical actuators • engineeringexoskeletonfuturistic machines • hands-free robotic exoskeleton • human body • independent mobility • intimate interfaceskiwi ingenuitylegslocomotionman machinemechanical engineeringmitigating impairmentmobility • mobility aid • mobility impaired • movingnew ways of being • paraplegic • physical engagementphysiologyproduct designprosthesisprosthetic leg • REX • Rex Bionics • Rex Bionics Group • Rex Bionics Plc • Richard Little • Robert Irving • robotic exoskeleton • robotic systemsrobotic technologyrobotics • Sophie Morgan • spinal cord injury • supraphysiological • thoracic vertebrae • walk • walkingwalking machine • wheelchair users

CONTRIBUTOR

Simon Perkins
04 MAY 2012

Lucy McRae: body architect and synthetic biologist

"Lucy creates provocative and often grotesquely beautiful imagery that suggests a new breed existing in an alternate world.

Trained as a classical ballerina and architect her work inherently fascinates with the human body. The media call her inventor, friends call her a trailblazer. Either way, she relies on instinct to evolve an extraordinary visual path that is powerful, primal and uniquely Lucy McRae."

(Lucy McRae)

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TAGS

absurd • alternate world • anatomyarchitecture • Bart Hess • beauty expressionbody • body architect • body morph • Champagne Valentine • classical ballerina • corporealcostume designfashionfashion body • future human • future human shapes • genetic manipulationgrotesquegrotesquely beautiful imageryhuman bodyhuman enhancement • human silhouette • ideal formintimate interfaces • invent and build • inventorlow-tech • Lucy McRae • LucyandBart • material world • new breed • performancephysical archetypeposthuman • primal • prostheticsprovocative • psychic-sexual • re-shape • scenario • shockingskinspeculative design • surrealist • synthetic biologist • transposing materialsvisceralvisual spectaclevisualisation

CONTRIBUTOR

Simon Perkins
03 NOVEMBER 2010

Stelarc: The Body is Obsolete

"Stelarc is an Australian artist who has performed extensively in Japan, Europe and the USA – including new music, dance festivals and experimental theatre. He has used medical instruments, prosthetics, robotics, Virtual Reality systems and the Internet to explore alternate, intimate and involuntary interfaces with the body."

(Contemporary Arts Media)

Fig.1 Stelarc (2005) 'The Body is Obsolete' DVD & CD–ROM

Fig.2 Stelarc (2009) 'Stretched skin' type C photograph, 120.0 x 180.0 cm, Courtesy of the artist and Scott Livesey Galleries

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TAGS

2005 • alternate interfaces • artistartworkAustralian artistbodycorporealcreative practicedeviceengineeringexoskeletonexperimentalhypothetical questionsintimate interfaces • involuntary interfaces • motion prosthesis • movement performance • muscle • nervous systemperformanceperformance artperformance artistprostheticsrobotic artroboticssculptureservo • Stelarc • telematic • transhuman • virtual bodyvirtual realitywalking sculptures

CONTRIBUTOR

Simon Perkins
19 FEBRUARY 2004

CyberSM: remote tactile interaction

"The cyberSM project was an attempt to create a real time, visual, auditory, and tactile communication in the world of cyberspace. In the first cyberSM experiment, the user began to experience what others have only talked about for years: live, tactile communication through a computer environment. The CyberSM project expanded upon text based virtual environments, such as Minitel, MUDs, or most BBSs. It also takes the next logical step toward true telepresence by employing 3D graphics, live audio, and direct physical stimulation to allow participants to physically 'touch' each other over distances. The cyberSM project allows the establishment of trans_gender appearances, identities and entities by letting the participants choose their own visual appearance from a large databank of digitized human bodies. Once chosen, the participants send the image of their virtual self to the others on the network. The body thus becomes a visual fantasy. Central to the cyberSM project is the ability to transmit physical stimuli from one participant to the other. This is made possible through the use of stimulator suits connected over international telephone lines, which allow the users to remotely stimulate one–another's bodies. Not only does this physical element of communication allow the CyberSM project to more closely model inter–human communication, it creates a new form of interaction. Throughout the cyberSM connection, participants have a physical dialogue, but they remain anonymous the whole time."

(Ståhl Stenslie)

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