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JS: Well, as an artist I always thought that media could explore the most recent discourses around the changing idea of the body, but I also chose media because I wanted to shift the somatic and interactive role of the audience in new ways. One of my first works entitled «TAPED» (1975), not only represented the body as an icon, but engaged the viewer in the role of liberator, while other works of the same era used video surveillance to transform the movements of the audiences bodies into coded notations. («INSIDE/OUT» 1978). In the eighties I became interested in how the digital image could shift our traditional representations and metaphors of the body on the screen. At this point in my life I contracted breast cancer («CONTINENTAL DRIFT», 1989), and since then, my focus has also been on the transformations of our bodies by the molecular sciences and by our minds of utopic concepts from sociology and psychology about time and space. Therefore, you are right, in fact it was my own health problem, which started my investigation into the problems of the cyborg-concept, particularly the incorporation of technology into the body and the effects of medical visualisation on the
way we see and interpret our own body. («INTERSKIN,» 1997). For me it is still very interesting to try to re-define the body by immersing the audience inside hybrid environments, where they can in turn, interact with questions about body transformation.
YV: What links your body images and fantasies to other cultural, artistic and academic/scientific field, and what distinguishes them?
JS: Perhaps I can summarize an answer here, by saying that I have often been directly inspired by reading literature and related theoretical discourse particularly about the body and identity. I am also inspired by the popular future- imaginary bodies of science fictions senarios, particularly those dystopias inspired by the ethical potentials of bio-technology. In other areas of my work, e.g. in «FRONTIERS OF UTOPIA», one can find very archivalstyle representations inspired by documentary film and oral histories or <herstories> as I call them. These extend my interest in the collapsing of time and space, where the representation and interpretation of the female