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Stelarc is the most celebrated artist in the world working within technology and the visual arts. He is both an artist and a phenomenon, using his body as medium and exhibition space. Working in the interface between the body and the machine, employing virtual reality, robotics, medical instruments, prosthetics, and the Internet, Stelarc's art includes physical acts that don't always look survivable—or, as science fiction novelist William Gibson puts it in his foreword, "sometimes seem to include the possibility of terminality."
Stelarc's projects include Third Hand, a grasping and wrist rotating mechanism with a rudimentary sense of touch that is attached to the artist and activated by EMG from other body areas; Amplified Body, in which the artist performs acoustically with his brainwaves, muscles, pulse, and blood flow signals; and the Stomach Sculpture, a device—or "aesthetic adornment"—placed in the artist's stomach and presented through video. Works in progress include the Extra Ear Project, a soft prosthesis of skin and cartilage to be constructed on the artist's arm. Stelarc's work both reflects and determines new directions in performance art and body art. Although there have been hundreds of articles written about Stelarc since he began performing in the late 1960s, Stelarc: The Monograph is the first comprehensive study of Stelarc's work practice in over thirty years. Gathering a range of writers who approach the work from a variety of perspectives, it includes William Gibson's account of his meetings with Stelarc, Arthur and Marilouise Kroker's emphatic "WE ARE ALL STELARCS NOW," and Stelarc himself in conversation with Marquard Smith. Taken together, these writers give us a multiplicity of ways to think about Stelarc.
- Sales Rank: #2541521 in Books
- Published on: 2005-09-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .75" w x 8.00" l,
- Binding: Hardcover
- 272 pages
Review
"In this collection of essays, we are invited to envelop ourselves in a series of events that oscillate between tranquil meditations and violent crashes as data, hardware, and flesh mix in a variety of unbounded artistic orchestrations. With contributions from the critics and theorists who know Stelarc best, this book contains illuminating commentary on and analysis of his technoperformative work that is as compelling and as disturbing as anything found in the most radical of science fiction novels. Welcome to the world of Stelarc."
—Steven Kurtz, Critical Art Ensemble
"A Nietzschean experimental site, Stelarc delivers a punch of utmost severity, joining performance art with prosthetic innovation and philosophical reflection. This book brings together a colloquy of techno-warriors who probe the limits of the eviscerable body, its post-pornographic submission, and hybrid presumptions. One imagines Heidegger traversed by Schreber."
—Avital Ronell, Professor of German, Comparative Literature, and English, New York University, author of The Test Drive and The Telephone Book
“For far too long there has been a gap on many bookshelves waiting to be filled by a publication like Stelarc: The Monograph. This rich critical analysis and celebration of one of the world’s most influential, prescient, provocative and discussed artists is an invaluable and welcome resource for everyone engaged with discourses and disciplines spanning visual, performance and digital art, cyberculture, artificial intelligence, biotechnology and robotics.”
—Lois Keidan, Director. Live Art Development Agency, London
About the Author
Marquard Smith is Director of the Institute for Modern and Contemporary Culture, University of Westminster, London. He is a Founder and Editor-in-Chief of Journal of Visual Culture.
Most helpful customer reviews
3 of 3 people found the following review helpful.
glittering vision of a transhumanist future
By W Boudville
In the early 80s, I brought Stelarc to speak at Caltech. He showed up with a mechanical third arm and a collection of slides. He proceeded to declaim at length about his previous art performances throughout the world, and his vision of what his performances were meant to convey to a lay audience. Then, I recently ran across this book, with a foreword by William Gibson, no less.
It is a collection of essays by various intellectuals, revolving around analysing Stelarc. His worldview is presented. A different approach from that epitomised in Mary Shelley's Frankenstein, Kapek's RUR, Saberhagen's Berserkers or the Terminator movies. Those echo the fear of a machine, born of man, that turns against humans. Instead, Stelarc's view is much cheerier. He is a performance artist, whose exhibitions are physical metaphors that suggest a peaceful evolution of humans, where we incorporate technological items into or perhaps on or around our bodies. He draws a distinction between Darwinian evolution, where obsolescence can mean extinction. Instead, any differences between us and machines are elided, as we absorb what they can offer, to exhance and extend our capabilities.
To some this is repulsive. To others, it is a glittering vision of a transhumanist future. Where we can someday (soon?) overcome the limitations of frail flesh. The book has echoes of views espoused by Vernor Vinge and Ray Kurzweil. Though it does not go so far as to posit a technological singularity in the near future.
The photos in the book show Stelarc's remarkable talent. He has exhibited in Tokyo, Copenhagen, London and many other places since the 1980s. In many of the photos, he is naked, but adorned with some strange electromechanical gizmo, that has some type of feedback with his body. (When he spoke at Caltech, he was fully clothed.) Other photos show him dangling by many fish hooks through his skin. In one instance, one storey above a city street.
At least one chapter comments on the irony of his exhibitions. While he speaks of a metaphor of transcending the human form, his very nakedness starkly emphasises that form.
Of course, when he first did his exhibitions, all he could provide were rough metaphors. Limited by the crude mechanical devices of the time. But as microminiturisation proceeds, and as genetic engineering takes on more of an engineering aspect, all coupled with a world wide web, then he looks prescient.
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