Artists and scientists from all over the world came together to address a theme of extreme and hostile environments, a theme that stands important in our changing world and society. The conference was organized by CIANT | International Centre for Art and New Technologies as part of the ENTER3 festival and in the framework of the 40th anniversary celebrations of Leonardo journal and ISAST – the International Society for Art, Science and Technology.

The theme of extreme and hostile environments is an interesting way to examine the mutations under way. We indeed need to replace the Gaia myth with a realization of the fragility and ever changing ecosystems of which we are a part. Human testing of the limits of their living conditions is an ever present cultural process. Migration has always been a vital way that we have survived since our origins in the African rift valleys. Such migration can be physical, social and intellectual or indeed within the construction of our own cognition and consciousness. The testing of limits and survival in extreme conditions provides other ways, less teleological and anthropocentric, to look at the work of artists and scientists today. In a sense, the idea of survival in a changing environment replaces ideas of progress or indeed aspects of and scientific realism and truth. Creativity and innovation are responses to change and evolution, but these in turn feedback into the way that life, human and non human, develops, the way we organize our societies and modify the environments in which we live. Louis Bec - Mutamorphosis...

Hudromedusa: from undersea to outer space Extreme Bodies in Extreme Spaces Session (Abstract)

In the late 20th century, the architectural drivers for art, technology and human performance in outer space were about reliable, predictable, cost-effective short-duration mission-rated transhumanism. As we propose longer space mission durations, human-related space architectures and life support systems including water, air and waste requirements, must meet the more challenging needs of crew health, and the political and economic utilities of our time. Further research to understand the effects of the space environment on human performance and develop innovative dual-use architectures and physical and psychological countermeasures is critical.

This paper considers the potential body shocks associated with future long-duration habitation of outer space from previous data in combination with predicative imagination and creative design in response to some of these challenges. I introduce ‘Hydromedusa’: a hybrid performance lab that proposes aquatic arts and biomimetic strategies in the development of innovative architecture, philosophy and choreography in weightless environment training (WET) spaces, to illustrate how innovative systems approaches could contribute to countermeasures with follow on research.

‘Hydromedusa’ employs aesthetic strategies for the design and fabrication of a prototype saline-filled hydromedusa (or sea jelly) inspired WET suit. It functions as a second skin for an artist/aquanaut in WET spaces to devise a new site-specific WET space movement repertoire. Aqueous architectures have proven usefulness in shielding humans from radiation in outer space. Prior studies have also shown water immersion as a potential countermeasure for maintaining orthostatic tolerance and exercise capacity during extended space missions.[1] Full-bodied immersion also provides a much-desired non-vibrational and omni-directional resistance on the body and, coupled with exercise, or hydrotherapy has the potential to counter muscle atrophy, bone demineralisation and cardiac arrhythmias whilst providing noted psychological benefit.

Building on STS-40 studies of hydromedusa and how they adapt to microgravity conditions, the artist-researcher will compare the vestibular function, propulsion and performance of the sea jelly with human behaviours underwater and in the WET suit. Data from embedded bend sensors/ fibre optics or variable resistance strips fitted to the joints of the WET suit itself and the artist’s body with digital real-time visual psychometric blogging strategies will track the human behavioural patters. Extenuated underwater ‘play’ will be encouraged without drill training time-tagged manoeuvres designed to ingrain utilitarian sensorimotor adaptation as is the case for astronaut suit tests. The range of motions of the hydro biotech fission body will be interpreted and relayed to audiences through performance and web mediums along with all of the biotelemetry and bio acoustic data. Imagine a new type of being and behaviour that might be born of the artistic communication, creation and technology between two axially, inversely-related spectrums: the depths of the oceans and the infinity of space; and the growth systems of the hydromedusa and the lifecycles of the humanoid. Hydromedusa seeks to ask: Is our survival as a space-faring species dependent on an in uterine-style aqueous biotech fission and subsequently facing the next frontier of sub humanism?

- Pell 2007

1.Clement, G., Pevy-Le Traon A., Centrifugation as a countermeasure during actual and simulated microgravity: a review. Eur J. Appl. Physiol 92(3): 235-48 (2004) P. 1-13