Podcasts about Stelarc

Sólo hay algo más ajeno a toda lógica que las obras de arte contemporáneo: el mercado del arte contemporáneo. En ese contexto, no resulta tan extraño que un artista modifique su cuerpo. El caso de Stelarc es curioso, porque muchos de sus escritos que relacionan cuerpo y máquina resultan interesantes. ¿Pero hace falta implantarse máquinas para validar esos planteos?   Apertura de Pablo Marchetti del programa 1024 de AUNQUE ES DE NOCHE (2-5-2024)   AUNQUE ES DE NOCHE. De lunes a viernes de 2 a 5 AM (hora Argentina) por Radio AUNQUE FM (www.aunquefm.com) . Conducción: Pablo Marchetti. Con Laura Szerman y Rama Preckel. Diseño sonoro: Charly Escalante. Mensajes a nosoypablomarchetti@gmail.com  Mirá, escuchá y leé todo lo que hago, acá www.pablomarchetti.com

Joining me today for the last episode (135) of 2023 is the hugely talented Stelarc! Stelarc is a performance artist who performs with prosthetics, robotics and online interactivity.

Seen in the context of recent events — from Monday's note on the 35th Tokyo International Film Festival and an upcoming new animated shorts festival at Shibuya's Eurospace, to Wednesday's note on a 400 year-old chisel recovered from within part of Daitoku-ji Temple, Kyoto — the purchase of five wooden "Brillo's Box" sculptures by Andy Warhol by Tottori prefecture for almost ¥300 million, bought in preparation for the new Tottori Prefecture Museum of Art opening next year, is causing something of a stir. Meanwhile, Damian Loeb "Still" at Taka Ishii Gallery and tomorrow's screening of "Event for Modified Man" (1976) by Australian artist Stelarc at the Keio University Art Center's Mita Campus in Tokyo both probe and amplify the best of what the city has to offer post-lockdown. Learn more about your ad choices. Visit megaphone.fm/adchoices

Art Simone meets 76-year-old Stelarc. Although he gives Art 'grandpa' vibes, he is concealing something that no one has ever done before, and it's unlike anything you've ever seen.What is Stelarc concealing? And will Art Simone be able to uncover this secret?Check it out on the socials:Instagram: instagram.com/concealedwithartsimone/Tik Tok: tiktok.com/@concealedwithartsimone Learn more about your ad choices. Visit megaphone.fm/adchoicesSee omnystudio.com/listener for privacy information.

Intro/Outro: The Amplified Elephants Shore from Deep Creatures  Let Your Freak Flag Fly - Radiothon Compilation #2Tina Douglas - The electrical energy of 100,510,000,000J Will Guthrie - Wakanui No Man's Land - Lagomorpha Descending Warren Burt - A Bureaucrat Tells the Truth   Shoeb Ahmad - twopointtwelve  Michelle Nguyen - Song for Mogget  Sisters Akousmatica - Planets  Stellar Metal Arc: Stelarc & BOLT EnsembleLegendary performance artist Stelarc supported by the sonic art of The BOLT Ensemble: Robotic performance art meets art music.16-18 & 23-25 June, Thu-Sat, 8pmat JOLTED: 342 High St NorthcoteTickets and more info here.  Beware! by Stelarc and CortexBeware of the Arm of Fleshfrom the album Great Performances from the JOLT Festival Basel on Label: Tree in a Field (Swiss). Released 2011. Feather Girl - un released. (BOLT ensemble). 

Performance art tests the limits of the body and the gallery space. Fiona Kelly McGregor's latest book relives its bracing ascendancy in Sydney's queer and underground scene, and the well-known and lesser-known artists who lived and breathed it.Plus, performance artists Justin Shoulder and Stelarc. And, how do art galleries preserve performance art?

Performance art tests the limits of the body and the gallery space. Fiona Kelly McGregor's latest book relives its bracing ascendancy in Sydney's queer and underground scene, and the well-known and lesser-known artists who lived and breathed it. Plus, performance artists Justin Shoulder and Stelarc. And, how do art galleries preserve performance art?

Performance art tests the limits of the body and the gallery space. Fiona Kelly McGregor's latest book relives its bracing ascendancy in Sydney's queer and underground scene, and the well-known and lesser-known artists who lived and breathed it. Plus, performance artists Justin Shoulder and Stelarc. And, how do art galleries preserve performance art?

Performance art tests the limits of the body and the gallery space. Fiona Kelly McGregor's latest book relives its bracing ascendancy in Sydney's queer and underground scene, and the well-known and lesser-known artists who lived and breathed it. Plus, performance artists Justin Shoulder and Stelarc. And, how do art galleries preserve performance art?

Thank you for listening to this track produced by the Art Gallery of South Australia. Join us as Associate Curator of Prints, Drawings and Photographs, Maria Zagala, discusses new acquisitions by performance artist Stelarc. For more information please visit agsa.sa.gov.au Photo: Saul Steed

Australian Musk ducks can talk, Third thumb protheses by Ian Woolf Stelarc talks about his transhuman performance art at the Singularity Summit Australia in 2011, Hosted and produced by Ian Woolf

Although Stelarc is just shy of the 60 year mark—The Long Run podcast is centred on speaking with artists who have 60 year careers—his performances and installations, and the centrality of the body in his art, get to very meaningful ideas about life and technology.Whether placing an artwork in his stomach, actualising a body with a third hand, giving his agency over to performance viewers, and rather famously growing an extra ear on his arm, Stelarc has gone to true extremes. The way he challenges himself through his art sets down a challenge to his viewers.Through this practice, Stelarc has problematised the limits and capabilities of the human body. As he says, “Walking with six legs on a robot. Being algorithmically actuated by a full body exoskeleton. So, all of these experiences have been about exploring these alternate anatomies.”Born in Cyprus, Stelarc's family moved to Australia when he was four years old. He studied art in Melbourne, and soon after lived in Japan for almost two decades in the 70s and 80s. He first became well known for his early suspension performances where he'd hang naked, suspended by hooks into his skin, whether in the gallery or in a public setting.In investigating the human body, his later performances are often entwined with technology—and have seen him perform nationally and internationally amongst myriad galleries and institutions.Stelarc is incredibly interesting to speak with, and we talk about his suspension performances and some more recent technology-based performances. We also discuss what Stelarc means when he says the human body is obsolete, as well as questions of agency and death, and the ways in which Stelarc has used his body in his art for almost 60 years.His work is showing for RMIT Gallery's FutureU exhibition, which is currently closed due to lockdown restrictions.Future URMIT Gallery29 July – 23 OctoberThis series is kindly sponsored by Leonard Joel Auctioneers and Valuers, based in Melbourne and Sydney.Produced and presented by Tiarney Miekus, engineering by Patrick Telfer, and music by Mino Peric.

Although Stelarc is just shy of the 60 year mark—The Long Run podcast is centred on speaking with artists who have 60 year careers—his performances and installations, and the centrality of the body in his art, get to very meaningful ideas about life and technology. Whether placing an artwork in his stomach, actualising a body with a third hand, giving his agency over to performance viewers, and rather famously growing an extra ear on his arm, Stelarc has gone to true extremes. The way he challenges himself through his art sets down a challenge to his viewers. Through this practice, Stelarc has problematised the limits and capabilities of the human body. As he says, “Walking with six legs on a robot. Being algorithmically actuated by a full body exoskeleton. So, all of these experiences have been about exploring these alternate anatomies.” Born in Cyprus, Stelarc's family moved to Australia when he was four years old. He studied art in Melbourne, and soon after lived in Japan for almost two decades in the 70s and 80s. He first became well known for his early suspension performances where he'd hang naked, suspended by hooks into his skin, whether in the gallery or in a public setting. In investigating the human body, his later performances are often entwined with technology—and have seen him perform nationally and internationally amongst myriad galleries and institutions. Stelarc is incredibly interesting to speak with, and we talk about his suspension performances and some more recent technology-based performances. We also discuss what Stelarc means when he says the human body is obsolete, as well as questions of agency and death, and the ways in which Stelarc has used his body in his art for almost 60 years. His work is showing for RMIT Gallery's FutureU exhibition, which is currently closed due to lockdown restrictions. Future URMIT Gallery29 July – 23 October This series is kindly sponsored by Leonard Joel Auctioneers and Valuers, based in Melbourne and Sydney. Produced and presented by Tiarney Miekus, engineering by Patrick Telfer, and music by Mino Peric.

Performance art tests the limits of the body and the gallery space. Fiona Kelly McGregor's latest book relives its bracing ascendancy in Sydney's queer and underground scene, and the well-known and lesser-known artists who lived and breathed it. Plus, performance artists Justin Shoulder and Stelarc. And, how do art galleries preserve performance art?

Performance art tests the limits of the body and the gallery space. Fiona Kelly McGregor's latest book relives its bracing ascendancy in Sydney's queer and underground scene, and the well-known and lesser-known artists who lived and breathed it. Plus, performance artists Justin Shoulder and Stelarc. And, how do art galleries preserve performance art?

Performance art tests the limits of the body and the gallery space. Fiona Kelly McGregor's latest book relives its bracing ascendancy in Sydney's queer and underground scene, and the well-known and lesser-known artists who lived and breathed it. Plus, performance artists Justin Shoulder and Stelarc. And, how do art galleries preserve performance art?

Performance art tests the limits of the body and the gallery space. Fiona Kelly McGregor's latest book relives its bracing ascendancy in Sydney's queer and underground scene, and the well-known and lesser-known artists who lived and breathed it.Plus, performance artists Justin Shoulder and Stelarc. And, how do art galleries preserve performance art?

((ระดับความ Disturb: 0 กะโหลก)) งานศิลปะก็เป็นอีกหนึ่งพื้นที่ของความลึกลับ หลายเรื่องราวแปลกๆ ที่เกี่ยวข้องกับวงการศิลป์ หรือตัวชิ้นงานเองหลายครั้งก็เป็นเป้าของความสนใจอันเนื่องมาจากความประหลาดหลุดโลกนั้น ซึ่งก็ล้วนสะท้อนแนวคิดของศิลปินให้เราได้หยิบมาคิดกัน แม้จะไม่ใช่เพจศิลปะอย่างชาว GroundControl แต่ Untitled Case กับยชธัญ ก็ขอจัด 2 เคสที่เกี่ยวกับศิลปะมาให้ฟังกัน เคสหนึ่งคือการตามหาภาพวาดที่ถูกโจรกรรมไปของศิลปินระดับตำนานอย่าง Peter Paul Rubens อีกเคสหนึ่งคือศิลปินผู้นำเสนอแนวคิด Posthumanism อย่าง Stelarc ที่มีงานหลุดโลกมากมาย รวมถึงผลงานที่เป็นการปลูกใบหูลงไปบนแขนซ้ายของตัวเอง! #SalmonPodcast #UntitledCase #ยชธัญ

((ระดับความ Disturb: 0 กะโหลก)) งานศิลปะก็เป็นอีกหนึ่งพื้นที่ของความลึกลับ หลายเรื่องราวแปลกๆ ที่เกี่ยวข้องกับวงการศิลป์ หรือตัวชิ้นงานเองหลายครั้งก็เป็นเป้าของความสนใจอันเนื่องมาจากความประหลาดหลุดโลกนั้น ซึ่งก็ล้วนสะท้อนแนวคิดของศิลปินให้เราได้หยิบมาคิดกัน แม้จะไม่ใช่เพจศิลปะอย่างชาว GroundControl แต่ Untitled Case กับยชธัญ ก็ขอจัด 2 เคสที่เกี่ยวกับศิลปะมาให้ฟังกัน เคสหนึ่งคือการตามหาภาพวาดที่ถูกโจรกรรมไปของศิลปินระดับตำนานอย่าง Peter Paul Rubens อีกเคสหนึ่งคือศิลปินผู้นำเสนอแนวคิด Posthumanism อย่าง Stelarc ที่มีงานหลุดโลกมากมาย รวมถึงผลงานที่เป็นการปลูกใบหูลงไปบนแขนซ้ายของตัวเอง! #SalmonPodcast #UntitledCase #ยชธัญ

Stelarc is a performance artist who incorporates technology, robotics and prosthetics with his own body. He has used his body to house sculptures, suspended his body with hooks through his skin and allowed others to control his bodily movements through electrodes. He has even implanted a permanent artificial ear in his own forearm.  www.stelarc.org  

In Episode 7, Drew Pettifer speaks to artist Stelarc and Professor Peter Singer about bioethics, biotechnology and the body. Stelarc is a performance artist whose work explores and expands the concept of the body and its relationship with technology. He is renowned for his early body suspension pieces with hooks into the skin. Throughout his career he has used medical instruments, prosthetics, robotics, Virtual Reality systems, the internet and biotechnology to engineer intimate and involuntary interfaces with the body.

"The most significant planetary pressure is no longer the gravitational pull, but the information thrust. Gravity has molded the evolved body in shape and structure and contained it on the planet. Information propels the body beyond itself and its biosphere. Information fashions the form and function and the postevolutionary body." "It is no longer meaningful to see the body as a site for the psyche or the social but rather as a structure to be monitored and modified. The body not as a subject but as an object,[...] an object for designing." - Stelarc. Prosthetics, Robotics, and Remote Existence: Postevolutionary Strategies) TRACKLIST || 01. Lost In Space - Poison [Alien Records] || 02. Freq - Awaken (2017 Remix) [Iboga Records] || 03. Marco V - Rossen [In Charge] || 04. Airwave - A Simple Day (John Dopping Vipassana) [JOOF Recordings] || 05. Farhad Mahdavi & Kiran M Sajeev - Higher [Suanda Music] || 06. Feel & Alexandra Badoi - Did We Feel (Mark W Remix) [Suanda Music] || 07. Simon Pitt & Tiff Lacey - Tears In Rain (ReOrder Dub Mix) [Trance Is My Religion] || 08. Sunset pres. Symsonic & Lucid Blue - Desert Rain [Suanda Music] || 09. Alex Kunnari - 1990 [Black Hole Recordings] || 10. Winter Sun - Michael Li [Suanda Music] || 11. James Poulton - Anodyne (Amir Hussain Remix) [Monster Pure] Never miss an episode! Subscribe to the Full Spectrum podcast, find the latest releases at http://ffaze.com, or join us on facebook at http://www.facebook.com/frequenZphaZe

"The most significant planetary pressure is no longer the gravitational pull, but the information thrust. Gravity has molded the evolved body in shape and structure and contained it on the planet. Information propels the body beyond itself and its biosphere. Information fashions the form and function and the postevolutionary body." "It is no longer meaningful to see the body as a site for the psyche or the social but rather as a structure to be monitored and modified. The body not as a subject but as an object,[...] an object for designing." - Stelarc. Prosthetics, Robotics, and Remote Existence: Postevolutionary Strategies) TRACKLIST || 01. Lost In Space - Poison [Alien Records] || 02. Freq - Awaken (2017 Remix) [Iboga Records] || 03. Marco V - Rossen [In Charge] || 04. Airwave - A Simple Day (John Dopping Vipassana) [JOOF Recordings] || 05. Farhad Mahdavi & Kiran M Sajeev - Higher [Suanda Music] || 06. Feel & Alexandra Badoi - Did We Feel (Mark W Remix) [Suanda Music] || 07. Simon Pitt & Tiff Lacey - Tears In Rain (ReOrder Dub Mix) [Trance Is My Religion] || 08. Sunset pres. Symsonic & Lucid Blue - Desert Rain [Suanda Music] || 09. Alex Kunnari - 1990 [Black Hole Recordings] || 10. Winter Sun - Michael Li [Suanda Music] || 11. James Poulton - Anodyne (Amir Hussain Remix) [Monster Pure] Never miss an episode! Subscribe to the Full Spectrum podcast, find the latest releases at https://ffaze.com

Stelarc comments the various degrees of aliveness running through his work from his recent robotic choreography (Propel, 2015) which combines the automated and the improvised. In reflecting upon the NeoLife conference opening exhibition Futile Labor (I. Zurr, O. Catts, C. Salter, D. Wards) that examined shifting perceptions of life through motion and agency, Stelarc offers elements of response to the very question of what minimum vocabulary of behavior or movement is needed to generate a sense of aliveness. http://stelarc.org/video/?videoID=20300

“It’s now a reality”, Jens Hauser announced at the 2003 Biotech Art exhibition, “artists are in the labs. They are intentionally transgressing procedures of representation and metaphor, going beyond them to manipulate life itself. Biotechnology is no longer just a topic, but a tool, generally generating green fluorescent animals, wings for pigs and sculpture moulded in bioreactors or under the microscope, and using DNA itself as an artistic medium.” To challenge the validity of singular and fixed species at this “evolutionary crossroad” of genetically engineered mammals and organ transpeciation, Transgenic artists have intervened into biogenetic technology in roles first imagined by Mary Shelley's Frankenstein. Through the microinjection of DNA with cells containing green fluorescent protein into a rabbit zygote, Eduardo Kac was able to genetically engineer GFK Bunny. Using living tissues, Zurr and Catts created ‘partial life sculptures’ at SymbioticA including frog-steaks and even flying pigs. In their collaboration with Stelarc, SymbioticA has also grown a 1Ž4 scale replica of his ear made out of human cartilage cells, implanted upon Stelarc’s arm in 2010. Following the launch of The Humane Genome Project, Patricia Piccinini chose silicon, acrylic and fibreglass, rather than human and non-human tissue to produce The Mutant Genome Project (TMGP) and Lifeforms with Unevolved Mutant Properties (LUMP) – genetically mutant babies engineered to look like pink-skinned tumours or, in her words, “a cute grotesquery”. As controversies raged over organ xenotransplantation and interspecies breeding, Piccinini created a human sow suckling a litter of 'pigren'. This year she produced a controversial skywhale, part-human, part-whale, able to take flight. As Kac explains, “Transgenic Art is, a new artistic terrain and art form based on the use of genetic engineering to transfer natural or synthetic genes to an organism – to create unique living beings.” Yet this can only be done, he stresses, “with great care … and above all, with a commitment to respect, nurture and love of the life thus created.” By focusing upon the bioethics of transhumanist genetics in relation to this Transgenic Art, this lecture will examine how these artists also engage in the nurturance and reciprocity of transgenetic and transpecies creations, rarely addressed in genetic biotechnologies, to consider how they are not rejected, unlike Dr. Frankenstein's "modern prometheus" but are incorporated into our posthuman evolutionary era. Fae (Fay) Brauer is Professor of Art and Visual Culture at the University of East London Art and Digital Industries. She is also Associate Professor in Art History and Cultural Theory at The University of New South Wales College of Fine Arts. Her books are Rivals and Conspirators: The Paris Salons and the Modern Art Centre (2013), Picturing Evolution and Extinction: Degeneration and Regeneration in Modern Visual Cultures (2013), The Art of Evolution: Darwin, Darwinisms and Visual Culture (2009) and Art, Sex and Eugenics, Corpus Delecti (2008). Presently she is preparing the books, Regenerating the Body: Art and Neo-Lamarckian Biocultures in Republican France; Symbiotic Species: The Art and Science of Neo-Lamarckian Evolution in the Solidarist Republic, Feminizing Muscle: Body Trouble in Visual Cultures, and Unmasking Masculinity: Imaging Hysterical Men in Republican France. She is also editing the books, Building the Body Beautiful: Modernisms, Vitalism and the Fitness Imperative; Bloody Bodies: The Art and Execution of Dissection, and Vision and Visionaries: Psychology, Occult Science and Symbolism.

New Media artists have spent the last four decades exploring the aesthetics of modern technology and interaction and it’s effects on human behaviour, relationships, and evolution. Join Matt Nish-Lapidus, a practicing new media artist and designer, to explore the history and language of new media and interactive art, how it relates to our work today, and what we can learn from the seminal works of important artists and innovators including David Rokeby, Stelarc, and Steve Mann.

Stelarc is a world renown body installation visual artist who has pushed the boundaries with his performances for more than four decades. His art has extruded the body beyond its physical limitations and created strong reactions around the world. Though strictly speaking he doesn’t consider himself to be a transhumanist, he also doesn’t mind being labeled […]

A woman in a museum stares into your soul. A man implants a cybernetic ear on his arm. A dog starves. In this episode, Robert and Julie dive into the world of performance art, discussing the works of such notable artists as Marina Abramovi? and Stelarc. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Therese Chen reports on Faster Than Light Neutrinos, and cats that shine in nightclubs. From the Singularity Summit Australia, Ian Woolf speaks to Artifical Brain builder Colin Hales, and the amazing transhuman performance artist Stelarc. Presented and produced by Ian Woolf

This episode is the first of a three part special series about robot art with guest interviewer David St-Onge, an engineer working at the interface of visionary arts and creative science. You might remember David from a previous interview with the Robots Podcast. He now brings us into his world of robot art through in-depth conversations with 6 world renowned experts in the field. In today's show, we talk to Nicolas Reeves from the University of Quebec in Montreal, Canada and Stelarc from Brunel University in the UK. Both have worked together in the past on the floating head experiment.

In this first podcast of the NRLA's 30th Year, you can hear Stelarc on Excess and Indifference; The Cadaver, The Comotose and The Chimera, at the GFT in Glasgow. The podcast is introduced by Alison Hutcheson and was produced by Woods Noble Media