Normal text sizeLarger text sizeVery large text size
Performance artist Stelarc is world-renowned for using his body as a canvas for his art, which explores themes of the post and trans-human, from voluntary surgeries (yes, he still has his third ear, now a permanent part of his body, on his forearm), his flesh-hook suspensions and robotic attachments. But his latest work is a stand-alone installation that not only operates without the artist present, but is effectively controlled by anyone.
For the Science Gallery Melbournes new exhibition Swarm, Stelarc worked with Dr Paul Loh from the Melbourne School of Design and David Leggett from LLDS Architecture to create an enormous kinetic sculpture which senses and responds to the presence of humans. The project is also a collaboration with PhD students at the School of Computer Science and Information Systems, Pelican Studios and pneumatic and electric automation company Festo.
Swarm, which features 16 large-scale installations from around the world, explores ideas of collective behaviour, highlighting the way social behaviour underlies everything from molecular movements, the lives of insects, the algorithms in our hyper-connected digital world and how AI and new technologies replicate swarming behaviour.
Artist Stelarc with his work Anthropomorphic Machine at Science Gallery Melbourne.Credit:Chris Hopkins
Stelarcs eight-metre high Anthropomorphic Machine, which will sit in the Gallerys corner window on Swanston St, uses a system of cameras to detect visitors and reacts in real time to their gestures and movements. And while its a machine, it does so using the principles of human body structure.
Its a robot in the sense that its a machine thats interactive and responsive, says Stelarc, but its not your usual humanoid or insect-like robot.
He describes it as an alternative anatomical architecture. The work is anthropomorphic in the sense that its not figurative, but in the sense that it has skeletal tensegrity structure it has other muscles, steel tendons, a circulatory system of air, pneumatic lungs and a computational system.
A series of cameras are linked to the machine to detect the space beneath and around the structure, and whether a person is in proximity. Depending on whether the person is static or moving around, the machine will respond differently via a system of pneumatic rubber muscles that work with compressed air, which move all or some of 498 stainless-steel struts held together by cables.
Stelarc with his third ear which was implanted in his forearm in 2012.Credit:Helen Nezdropa
The whole structure is flexible and deformable, says Stelarc. As a muscle contracts in length, it pulls part of the structure it then deforms the tensegrity.
Loading
The machines cameras track the dynamic behaviour of the crowd, the speed of interaction between people, and their distribution, using what Science Gallery Melbourne Director and Swarm curator Dr Ryan Jeffries calls a swarm algorithm.
I see also the structure itself becoming like a murmuration, says Jeffries, but also responding to groups of people, and thats at the heart of Swarm in terms of social, collective behaviour.
When still, the machine is beautiful, its rubber and steel parts appearing to float mid-air, but it becomes something eerie when its moving, as air hisses and the struts clank gently.
Stelarcs artwork is a machine that operates with a human-like bodily structure.Credit:Chris Hopkins
As the struts change their positioning orientation, it can be described as a kind of swarming, says Stelarc, where one strut affects another and the movement spreads across the structure. Its also about the notion of machine aliveness what constitutes a machine, what sort of vocabulary of movements generate a sense of aliveness.
Anthropomorphic Machine can also be controlled remotely; people can log on to a website and interact with the machine at any time which might be alarming for passersby.
If you go to a website, the camera switches on and your movements in front of the camera can make it respond remotely. Anyone, anywhere at any time can access the robot and animate it, explains Stelarc. Halfway through the night, when nobody is here, it is lit up, and[it] will start responding.
Stelarc, now 76, has long been interested in the idea of bodies being physically separated but electronically connected. Before most of us even knew what the internet was, he staged an interactive performance in the mid-90s called Fractal Flesh.
My body was in Luxembourg, and people in the Pompidou Centre in Paris, the media lab in Helsinki, and a conference in Amsterdam could access my body and remotely activate it via muscle stimulation, he says. There was no exoskeleton involved just 50 volts in different body sites which made my body move, done with a touchstone interface.
He performed a similar piece, ReWired/ReMixed, in Perth, where he lives, in 2016 at the Perth Institute for Contemporary Art, using an exoskeleton arm controlled remotely by strangers. Wearing a mask and headphones, he also decoupled his vision and hearing.
Loading
For five days, six hours a day, I could only hear with ears that were in New York, I could only see with eyes in London and anyone, anywhere at any time could access my right arm and remotely animate it.
Wasnt that weird? Yes, he says. But most things I do are weird. A touch of understatement from the man who, with his partner and frequent collaborator Nina Sellars, created the work Blender, which used combined sterilised bodily material surgically extracted from the pair inside a sealed, air-powered machine.
That work was, he says the inverse of his 1993 work The Stomach Sculpture, in which he swallowed a small crab-like robotic sculpture which opened and closed, had a flashing light, and made a beeping sound, and was filmed through an endoscopic camera fed into his oesophagus.
With Blender, instead of a machine choreographing inside a soft human body, here a machine becomes the host for a liquid body composed of biomaterial from two artists bodies. There were proximity senses around the machine so when people approached, it triggered the blender blades to blend the material.
Anthropomorphic Machine, in comparison, seems almost conservative, despite its human-machine hybridity. Its a continuation, Stelarc says, of his works around machine bodiments and hybridities.
Loading
Because of its skeletal structure, the pneumatic rubber muscles, the circulatory system of compressed air, the pneumatic lung, the vision and computational system, he says, if you werent referring to a machine, those descriptions might easily refer to a body.
Late-night CBD pedestrians have been warned.
Swarm is at Science Gallery Melbourne, August 13 - December 3. On August 20, Anthropomorphic Machine will perform with dancer Carol Brown and the Bolt Ensemble. melbourne.sciencegallery.com
Read the original here:
Artist Stelarcs creature comes to life at Science Gallery - The Age
Recommendation and review posted by G. Smith
