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André Éric Létourneau



André Éric Létourneau a rencontré Stelarc en 1995 suite àune performance produite par l'ACREQ. Cette entrevue est publiée sur le site du Navire Night avec l'aimable autorisation d'Éric Létourneau. Tous droits réservés c. Eric Létourneau 2000

Stelarc nous parle de l'une de ses performances cybernétiques où son corps est mis en interaction avec un réseau informatique destiné à stimuler le système nerveux par l'envoi de pulsations électriques à travers différents muscles. La musique est ainsi générée par l'ensemble des senseurs placés un peu partout sur le corps.

On peut rejoindre Eric Létourneau à l'adresse suivante : eric_lé




Stelarc: The performance was a combination of automatic motion, involuntary movement, the programmed robot and also some improvised actions. The robot wasn't the only thing programmed, the body was also programmed by series of stimulation, electrods to different muscles and to the arms. So, we preprogrammed the muscles stimulated. It was sending about 60 volts to each of the muscle points

Éric Létourneau: Is it painful?

Stelarc: Well, it was quite difficult at times. The body was moving up and down involuntarely, out of control. Conceptually, then the body was split in two. On the one side, there was voltage in, controlling the body. On the other side, there were pick up electrods, picking up into the signals of the body. We had voltage out controlling not only sounds but controlling the third hand as well, the movements of the third hand.

  É.L.: How exactly do you use also the sounds from your body?  
Stelarc: We use the combination of live amplified body signals, sampled sounds and also synthesyzed sounds which would trigged by the position of the arms, the head, the leg. There were censors on the head and the arms and the leg so that if you tilted your head, lifted your arms or bent your leg, these trigged sounds as well as the internal muscle signals and hearthbeat will also have brain waves, blood flow and also the sounds of the third hand motors are amplified. So, there is a combination of buzzing, beeping, woping, clicking, wushing sound, a combination of rythmic random and --- sounds but only sounds had sources that were related to the body itself.  

É.L.: So, there's two kinds of sounds inside the body. There is the sound which can be audible by the human ear like the heartbeat and also this kind of sounds like the brain waves which their frequencies that are not audible. So, how do you deal with this matter?

Stelarc: Effectively, in a lot of cases you're just picking up electrical signals from microvolts to millivolts. These preamplified using musical instrumentation and then either you go to directly to analog synthesizers or these days going from analog to digital converter and going MIDI. So there are various ways to construct the acoustical modulations.  
  É.L.: How do you chose the particular sounds from the synthesizer or the sampler. What makes you chose some sounds more than other?

Stelarc: The particular sounds . . . The important thing really is for the sounds to indicate the internal body activity. So, I'm not interested in using the body signals as kind of controled signals to trigger bells or charms or to play a violin or to make both sounds. To me this would be rather uninteresting. The sounds that are chosed are in my mind sorts of neutral sounds without any real sort of association and which indicates the internal activity of the body and of course part of the performances varying that physiological activity in various ways. So you can slightly slow up or slowly speed up the heartbeat by controling the breathing. You can relax and low the brain waves from beta to alpha. You can constrict the arthery of the wrist and go from a " rrrrhhhrhrhrhrh" wushing the blood sound to " tk … tk … tk … " as the constricted and then when you relax again, " wowowowohhh " : the blood gushes out again from the --- so this combination of physiological control and electronic modulation sounds.

É.L.: For example, what is your technique to control your brain waves ?


Stelarc: As I had indicated, by relaxing with the brain waves by controling the breathing with the heartbeat by physically constricting ...

É.L.: It look so close to meditation techniques. Did you study some specific technics?  

Stelarc : It's just that I've been using these technics now for over 25 years. I haven't done any sort of methodical and there's no one who told me how to do this but just having performed with the sounds and signals for over 25 years, you learn some control and you learn how to modulate the signals in various ways.


É.L.: I've noticed during the performance that the public was really affected by the sounds from the body. It's like a " common sense " of sounds. How do you feel this communion between your own internal sounds and how the audience gets into specific states of mind when they are listening to the sounds.

Stelarc: You have to understand that the performance isn't a kind of entertainment for other people. I mean, essentially what you are doing is you're setting up the body in a complex sort of extended Cybersystem of technology. The body experiences alternate and different possibilities with performance. The reason for doing the performance is not an entertainment for others. If others are there to witness the performance or to experience these amplified signals and see the body involved into the move and kind of experience the esthetic combination of human body and the robot motions, that's fine, but I'm not so concerned and I never have structured my performances for other people. It's only incidental . that they … On the other hand, in this performance where we had four speakers around the platform on which I was performing, I was hearing everything that the audience was hearing. I simply didn't have two monitor speakers, there were four speakers around me, and it was possible to spacialize the sound, to move the sound around. Now the sound was so strong at the end that, even inside my body, I was feeling a resonating vibrating physical shaking perhaps even more than people were out there, because the speakers were even closer to me. Because of the slightly different . . . In other words, it's my body signals that are amplified but they're feeding back and then return affecting my body again. You've got it sligjhtly, a kind of feedback effect, and it's very very difficult to cope with that. I mean it was very distressing at some points. It was both difficult physically and acoustically to do the performance.
É.L.: However, you're taking care of the presentation, of the esthetic aspect too because you conceived all these performances so I think you must have an idea how you present these elements during the performance. What makes you decide how you will present these elements? Jocelyn Robert told me that when you arrive to a place to build a performance, you only arrive with your medical apparatus and you must build and program everything there on the spot so how can you decide when you're in a specific space and place to do a specific kind of programing . . .  
Stelarc: That's right. It is structured in terms of the specific space that I'm performing and the visual acoustical virtual elements that's the only thing that we haven't think about; the virtual body. You have a situation where my involuntary body was controling or actuating a virtual body in the same space as the programmed robot. With the virtual body, there were seven separate electromagnetic sensors. The body was actually operating in a strong electromagnetic field. We got the assistance of Softimage here in Montreal. We met my arm movements to the virtual camera views looking at the virtual body. So, for example, if I lifted my left arm, up and down, the virtual body would turn on its horizontal axis. If I move my right arm backwards and forwards, the virtual body would rotate on its vertical axis. If I move backwards or forwards, the virtual body appeared or disappeared. These controls with the virtual body were another aspect of the performance and these images were displayed for the audience. These images were displayed on a large screen positioned above the robot and the body. As well as that we had projected texts, words and phrases that elicited certain conceptual and esthetic ideas about what was happening. Althoug the body was fully amplified in its movements and its internal physiology. Of course it was silent in terms of voice and I guess the text replaced the voice of the body, and the body that was involuntary, the body that was silent, verbally, is all meanted by the text projected on the screen, and the text was projected at different speeds, in different combinations. So, there was always different combinations and associations between the words and other words and the words and the images which are changing.  
É.L.: Why did you chose to make a projection of the text and not using the voice, because the voice can influence the brain waves and other elements related to biofeedback ?  
Stelarc: It will make too much sounds ! The point is that there would have been too much acoustical activities so the text was a kind of . . . The silence of the text was necessary for the sound of the preamplified body.  
É.L.: How did you program the association between all these little words or the sentences. Did you program it or is it a random process during the performance?
Stelarc: It's programmed in the sense that you've got a certain number of words that you have chosen. You have a range of combination of these words. You have planed the speed of each projection, but in setting up this program, you know that there will be some random and unexpected combination between words and images. It's the same with the performance. The body was programmed, the robot was programmed. The virtual body was actuated by the involuntary body, but within this structure, which was fairly tight, there was a lot of improvisation and the performance is about live composing of the sounds, and real time choreography of the images. That's what is interesting for me about the event, not that everything is preprogrammed but that, in a structure, you generate unpredictable and interesting new associations between these elements of motion information feedback, amplified sound, virtual images between body and machine. Those relationships come up with some interesting and alternate new esthetics.
É.L.: What was the relationship between the movements of the robots on stage that was " dancing " with you …  
Stelarc laughs….
É.L : … and all the other elements? Stelarc : Yes. We took a day to program the robot. The robot was a funik ? robot that we got from CRIC (Center for industrial research) and a program from CRIC. Sylvain Larocque assisted me to program this robot.  
É.L.: Did you plan to use this robot before you came in Montreal or you just decided here on the spot?

Stelarc: We were trying for a long time to get the robot. It took more than a day to do the programming of the robot. You have to imagine that the total structure was planed in such a way that all these elements have some kind of relationship, have some kind of a static effect. It's not wide chance that these things happen.


É.L.: About, these electric impulsions to your body, I mean the shocks which make you move with the robot,…. What is the connection between these movements of the robot and these impulsions?


Stelarc: There's no hard wide connection, but there's certainly a program connection and there's certainly an esthetic connection in that : I programmed my body, I programmed the robot. Of course, I see these movements as related and some of the movements of the robot were programmed deliberately to fit in with some of the movements of the body. Sometimes, it's been possible to have a hard wide control of the robot. For example, I could control the speed of the robot or I could interrupt the robot's program to insert a subroutine but here in Montreal, that was impossible, because of the time and because of the difficulty that we had. Sometimes there had been effect a hard wide interaction.


É.L.: There's a certain element of danger too because the robot can really hit you violently…

Stelarc: Usually, I have to sign some letter that gives up … for responsibility. Of course, there's always a possibility of an accident and especially when the robot is moving very fast, but this hasn't happened. Usually, of course, I'm very careful. Some of my movements are of course avoiding the robot !

(Eric and Stelarc laughs…)

É.L.: I heard about your work when you were working with the suspension. What was the relationship between this type of work and the work you are doing now?

Stelarc: In fact, the first suspension event occured after I began my third hand project. These performances were going simultaneously. I did 20 suspension events using insertions into the skin. I have appearing … 13 years and these were at the same time as the amplified and extended technology performed with the body. A lot of these suspension events did use technology. A lot of these suspension events had amplified body signals and sounds or use big motors or machines to spin the body and move the body in space. The relationship, then, was not so different, and all of the performances have a characteristic physical difficulty about them. I mean with the suspension events, it's more clearly obvious that it's a painful and difficult experience but people don't realize that the electrical stimulation of the body for involuntary movements …


Eric : … is painful too… Stelarc : … is difficult, and also I've done things like I have made three films in the inside of my body. I made a sculpture that was designed for the inside of my stomach. This was an electronic sculpture which open and close, extent and retract it, flashing light, beeping sound. This is actually inserted inside the body. The objects are into the body and activated and we made a good internal video tape of this sculpture. That was the most difficult thing physically and physiologically that I've done but as I said, people just see the insertions into the skin and cannot clearly understand what's difficult but if you insert something into your body, if you get two or three cables down into your body and if you're filming you have to keep it down there for a long time. It took two days and six attempts to do this. People don't really see and understand the physical difficulty.
É.L.: No anesthesia?

Stelarc: No, never. The suspension event never used any anesthesia at all and there's no special technic. I've never been to India...

(Laughs… )

Stelarc : No one showed me how to do this. It was all trial and era but mostly it was trial with success and there were few errors and probably we couldn't really have aforded too many error.

É.L.: This is really quite amazing. Jocelyn Robert was talking to me about this performance where you were suspended and there was a circle stone. Stelarc: This one was very interesting. The body's width was counterbalance by the ring of rocks. One rock for each insertion point. This performance was done with the body sitting down on the floor when all the insertions were done. The cables from the rocks which were already suspended with slip knots were connected to the body and then when everything was ready, the body quickly tighted at each of the cables, release the slip knots and as the rocks come down, the body went up until I balance. I think there was an interesting performance and, in fact, the body was gently swang from side to side sitting up ran the musculation in the rocks. So the whole installation was moving in random ways.
É.L.: I have a funny question about this. Do you believe in God? Stelarc: No !
  É.L.: Because, I've noticed some metaphysical . . . maybe I'm wrong, but like this circle of stone . . . Is there any esoteric reasons for this?

Stelarc: Absolutely not. I think certainly one can read a symbolism in these things if one wants to but then for me that's trying to comprehend the performances, categorizing them with past activities instead of evaluating them on the present conditions. Also we attend to sort of always understand things using a kind of a rear miror vision mentality always looking back and trying to kind of connect present activities with past activities. The ring of rocks for me for example was simply a mean of counterbalancing the body 's weight and because this was an easy way to distribute this counterbalance, the ring of rocks became a kind of a sort of structural and simple way of doing this. When my body moves up and down when it's involuntary I mean people might come up and say it looks like hindu indian dancing but the reason I moved this way is not to stylistically appropriate hindu, indian dance but rather the reason my arm moves that way is because I've got electrods on the deltoids, biceps and flexes and by stimulating these they produce this kind of movement. So, I think it's probably impossible to insist and it's probably naïve to insist that people don't make these associations or read symbolism into these actions but from the artist point of view, the artist has no intention and doesn't begin by associative symbolic statements but rather thinks structurally how the body moves, the relationship of the body with its machines, how the body can perform tranceducing into a virtual body. All of these are the important concepts which are structural not symbolic.



É.L.: A lot of people are thinking that the humanity have a kind of common memory and you were saying that these people were seing your actions they were making an analogy between indian dances and what you were doing. Do you think you can, in a certain point, touch this process of common memory which is maybe a corporeal memory ?


Stelarc: That's an interesting observation and I think it's reasonable that one says that but for me I don't go back into memory but rather begin my work from it, so my work is immersed in you know cultural and genetic memory rather I'm trying to come up with strategies that go beyond the begin, certainly the begin, we can't erase the cultural and genetic memory but rather than being immersed in it for all sorts of reasons for security, for spiritual, for cultural and historical reasons instead of being immersed and contained and capsulated by this memory. What I like to do is to not to deny it but to begin from that point and go beyond it and so all of these strategies are strategies to generate alternates and diverse possibilities for a body that is no longer purely a biological form with a limited genetic repertoire function but rather a body that has technological --- that is extended and transmited globaly. In other words, a body that performs beyond it's physiology and the local space that it occupies. What we really question in here is what it means to have a body whethe, it's important to remind human and what constitutes intelligence. Is intelligence and awareness simply located in the body itself in individual bodies or is awareness or intelligence extruded into the greater system of things the way operate within. What's important is not what's in here or what's in there but rather what occurs between us in the medium of language, in the social institutions at this moment in history that we are communicating. I think it's really a matter of what your frame of references and how you define the situation. If you want to simply collapse the self, collapse intelligence and awareness simply into your own biological form, I think that's a very egocentric and limited way of evaluating what awareness and intelligence is. On the other hand, we can see awareness and intelligence as that phenomena which is generated by bodies interacting through our cultural and historical languages at this particular point in history and if we define it in such a way the idea of the wind is himself is much more fluid, much more flexible and much more dispersive.

(…) So, of the the twenty-seven suspension events, probably twenty would entitle privacy either in remote locations or in private galleries. The idea wasn't that these performances became kind of spectacular actions for large crowds. The only time that this happened was the two " city suspensions " in New York and Copenhagen, and when I decided to do a performance between two buildings over a street in New York or being up 200 feet high in Copenhagen, of course there was a lot of people there, but the " raison d'être " of doing the performance wasn't to attract people, it was to perform in this complexed technological space of the city.

É.L.: What was the difference for you as a performer to perform on the street than on a gallery ? Stelarc: The big difference was in New York. I got arrested. (Laughs)
É.L. : You didn't ask for a permission to do it?


Stelarc: No. In Copenhagen, the police helped. This is the difference.

É.L.: This picture is from the New York performance. What kind of material did you use because I cannot see . . .

Stelarc: In the New York performance, the preparation was done on the fourth floor room and there was a cable stretched from inside the window to the other side and there was a kind of police structure that the body was connected to. When everything was ready, the body came out of the window and slide along the cable and stopped in the middle of the street. Unfortunately, the police arrived within five minutes. What was going to be a performance of 30 or 40 minutes became about 12 minutes by the time the police arrives. We had locked the downstairs doors of the building but by the time the police sort of forced themselves in it was about 12 minutes before I was forced to be pulled in. The funny thing was that when they pulled me in, the first thing I asked for was my ID …

Eric : And you were naked…

Stelarc : … and I was naked ! It was rather difficult under circumstances.

É.L.: This is quite amazing. What did the policeman say about this?

Stelarc: I went in court but there were some other serious crimes being judged that day I mean mine was a relatively minor one. I was charged for being a danger to the public.

É.L.: Because you were naked too? Was it a problem ?

Stelarc : No…

É.L. : Because Yoko Ono and Charlotte Moorman were charged in the sixties for that in New York city, and after that I think it was OK because she opened the doors in New York city for the nudity. Were the people who were watching the performance advised in advance of the event or they were just passing?

Stelarc: I think some people knew about it but . . . Your body feels very stiff after the performance. When you see this " suspension event " you see the hooks into the skin, you understand in a very direct way that this is painful, but when you see the body moving, you can't really understand that there are electrical chocs going to the muscles and the body jigging around involuntarely, and it is tough and if you were looking closely at my face then you might notice occasionally some grimacing. When the stimulation occurs sequencially, you can put up with it. When all of the sudden five or six points are actuated simultaneously so you get 60 volts in 60 different parts of your body occuring at the same time then it's really difficult and it's like the experience of having a cramp. Your body moves, you can't stop it moving and it moves in a certain way and you can't fight it. I felt very stiff the next day. I still feel a little bit stiff.

É.L.: Do you always feel pain in your life? Because you perform so often !… Laughs …

Stelarc: I think I was more in pain this morning than the other day. It's not so much that . . . the focus is not on the physical difficulty, it's just that if you want to do a particular action, you have to go through those physical activities and so you have to take the physical consequences of your ideas. Your ideas are in a sense authenticated by your actions, but as so we said in gymnastic or in dance or in sports . . . We don't really notice the physical difficulty unless there is a serious injury but of course these people have to train and when you see an athlete jump in the air and catch a ball, this looks very effortless and it looks stylistically very beautiful but there's a lot of physical difficulties involved and a lot of training beforehand. The first time I did the involuntary body movements was just simply with my one arm, so all my body was in control, but my left arm was out of control, so I could forget about my left arm and it was pre-programmed to do some movements and the rest of them my body was controlling my third hand and other my virtual body and other profile devices. In this case, most of the body is computed choreographed and so as I said before, it was an involuntary body actuating a virtual body trying to stay out of the waves pre-programmed robot so there was this kind of new complexity where there is a blurring between what it means to be an " organism " and a " mechanism " and I don't really like to make the distinction between what a body is and what a machine is. It's really just on the level of complexity of behavior rather than on the quality of behavior. You know why I think these movements remind you of, say, oriental dance. The movements are so basic, so " primal ". What's you're doing is you're stimulating only certain muscles very simply, so you're producing kind of very simple movements which probably were the sorts of movements involved in primitive dance or early oriental dance. Of course now with a lot of contemporary dance, movements are much more complex and there's new relationship being established but I think the movements do generate primal and primitive sorts of actions.

É.L.: That is funny . . . if you perform these computerised choreography in Java or in Japan, the people will read some codes ! I 've studying dances from Java and Bali, and you really can read some symbols and symbolic matters in the movements that the machines were making during your performance.

Stelarc: It was interesting that some people thought in movements, the movements of the machine generated a very kind of female sort of a presence, which is interesting to me because the robot is a very sort of phallic kind of a shape but when people says that it had a kind of feminine sort of personality because of the complexity of its movements, then I guess it balanced that association, but that sorts of associations are not that important for me. It's more the structural connections and interface rather than the symbolic.

É.L.: Why did you use laser eyes for this performance? Is it because this really makes a connection between the public and you on the stage?

Stelarc: Well, it did. But the " raison d'être " was not to make a connection with the audience. But the idea that you've acoustically amplified the body, so you've extended the body's internal physiology externely to fill the cuboid space of the warehouse. With the laser eyes, the body is also visually extended, and the eyes are no longer just passive receivers of light and images, but project light and by blinking and moving ahead you can sort of scribble lines in space and so the eyes generate the images rather than just simply receive the images.

É.L.: Was your head controlled by the stimulaters?

Stelarc: No, the head was under my control ! LAUGHS Something have to be under my control ! LAUGHS … I could twist my body and tilt my head, but everything else was computer controlled.

É.L.: Because, you were looking above the people.

Stelarc: It was dangerous if the lasers were directed into the crowd because it's like about 750 milliwatts per channel and if you get hit directly in the eye for a second, you could burn the whole retina. There was a little bit of danger involved with that and I also had to sign a letter taking responsability for what happens not only with the robot but with the laser as well… So that's typical.

É.L.: Were you able to see where the .where the laser beams were directed at ?

Stelarc: I could actually see the laser beams coming from the eyes and I could see where the lasers were being directed at but it's not to say that there wasn't a possibility of an accident but you don't plan for that, you don't expect that to happen.

É.L.: I'd like you to talk a little bit about the body art… Now there's kind of tradition for body artists so, for example, what do you think about Orlan works, you know this French woman doing the plastic surgery?

Stelarc: I'm very interested in Orlan's work. I mean her general idea is that she's like computer composite of mythical features and taken from culpture so from certain statues, of certain paintings, the eye, or nose or lips, you know… I think she's had 5 or 6 operations already where she's having a plastic surgery done to her face to alter her face to conform to these ideal features. Now, it's got nothing to do with beauty, it's got to do with in a sense of collapse of the historical and the personal where her visual identity becomes this composite set of mythical features and also with her land she had to take the physical consequences of these ideas so you have this wonderful idea but it's physically difficult to do and it's a long process taking many years. I think she's truly a post-modern performance artist in that she appropriates images from culpture and incorporates them in her own body in a very physical way.

É.L.: You cannot never see the whole work, it's really a process…

Stelarc: Yes it is a process. Yes and there is always been a tradition of body art being very physically difficult. .. EL : Gina Pane… Stelarc : … and Valerie Export, Chris Burden in the States, Vito Acconci, Mike Parr in Australia, Marina Abramovic and Ulay… But I think this is the difference between performance and painting performance : couples expression with experience. You don't deal with the illusion, you deal with physical action and the body has to directly experience these ideas that its generated.

É.L.: In the sixties, especially in the States, there was a big mystical aura all around the notion of biofeedback. How can you deal with this because… Because a lot of people are thinking when you are using biofeedback in your performance work you are part of this kind . . .

Stelarc: The whole biofeedback thing was kind of a fad in the late sixties, mid to late sixties, so there's really nothing that is happening now that hasn't happened since the early seventies. But for me the concept of biofeedback is very interesting and the idea that one can acoustically or visually monitor the body processes and in that while, learn to exert some control over them and this is really the only way you can learn to physiologically coordinate your body rhythms but of course traditional activities like yoga did this with minimal feedback except the general state of relaxation one felt or a general sort of fuzzy notion of enlightenment that one was supposed to attain, but for me no amount of a yogic fine tuning of the body, no amount of medical intervention with the body, no amount of shamanistic posturing and no amount of athletic conditioning … is really going to alter the fact that the body is profundly obsolete that the body has created an information and a technological --- within which it can't no longer cope and manage with its machines. We spent 2000 years having a sort of mad --- and concern of accumulating more and more information and individual body can no longer absorb and creatively process all this information. It's now created machines that are much more precise and powerful so machines often have performed the body and technology also speeds up the body. Now the body attains planetary escape for a lots of reason. The body now finds itself in extra-terrestria alien environments. It's biological and adequacies are apparent. So the question really is : how can we redesign the body so that the body can match the performance of its machines and can survive in the varying atmospheric gravitational and electromagnetic fields off the earth.

É.L.: The body has a limit … At a certain point of her life, artist like Gina Pane had to stop her activitiesand a lot of body artists had to stop to a certain point because the body has a limit. . .

Stelarc: I think the limit with a lot of performance art was simply either a lack of conviction to continue doing body art or just a change of esthetic direction. I mean physically, they could still be doing performance work if they wanted to. I think in most cases with most of the performance artists who decided to stop doing performance, it wasn't simply because they got too old or their performances got too difficult, but rather simply a change of esthetic direction, a lack of conviction for all sorts of reasons.

É.L.: You're not afraid for your own body because you're using a lot of weird experience…

Stelarc: Sure, of course, you don't do anything that you deliberately . . . You don't deliberately do dangerous things although a lot of these are physically difficult and there is always the possibility of an accident. There is always the possibility of an accident when you're driving, when you're crossing the street, when you're flying, when you're working with any sort of electrical apparatus. I'm now 48, one could say that yes maybe in ten years physiologically it might be difficult for me to continue doing certain things but I could certainly be doing others. Unless there's a change of esthetic direction, I'll continue doing performance work.

É.L.: Are you reading abou the long terms impact on the body from these experience ? When you're using electric stimulations, do you think eventually, because you're repeating this process for each performance, problems will appear because of these stimulations?

Stelarc: There might be some long term affects to some of these technics and processes the way I use some of these technologies but again I don't do things that are deliberately damaging to the body. I have a few scares and perhaps there is some internal effects to some of these experiences but one can't be in a position to evaluate them fully.

É.L.: You didn't notice any problem yet?

Stelarc: I'm just losing my hair. (Laughs…)

É.L.: Thank you very much Stelarc.

Stelarc: Thank you.

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