Abstract Stelarc, the performance artist, has since the middle of the twentieth century, harnessed technology to enable an ongoing challenge to the physical body. Embracing ever evolving technology, Stelarc provokes the art world with a series of works that he claims demonstrate the body as limited and obsolete. The body positioned as limited enables Stelarc to seek the transcendence of the same body through the use of the body/technology symbiosis in the form of medical instruments, prosthetics, robotics, virtual reality systems and the Internet. Acknowledging that this body/technology symbiosis has brought with it changes in embodied and disembodied experiences, this study reclaims the “obsolete” body as the lived experiential body by exploring Stelarc’s contradictions both in his rhetoric and his performance. The established contradictions substantiate the body as corporeal and embodied and as necessary to exist in and make sense of our surrounding world.

This paper presents a theoretical neoclassical growth model with two kinds of capital, and technological interdependence among regions. Technological interdependence is assumed to operate through spatial externalities caused by disembodied knowledge diffusion between technologically similar regions. The transition from theory to econometrics yields a reduced-form empirical model that in the spatial econometrics literature is known as spatial Durbin model. Technological dependence between regions is formulated by a connectivity matrix that measures closeness of regions in a technological space spanned by 120 distinct technological fields. We use a system of 158 regions across 14 European countries over the period from 1995 to 2004 to empirically test the model. The paper illustrates the importance of an impact-based model interpretation, in terms of the LeSage and Pace (2009) approach, to correctly quantify the magnitude of spillover effects that avoid incorrect inferences about the presence or absence of significant capital externalities among technologically similar regions. (author's abstract)

Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.