Ian Tibbetts, 43, who first damaged his eye in an industrial accident when scrap metal ripped his cornea in six places, had his sight restored by the radical operation, chronicled in the new BBC documentary The Day I Got My Sight Back.
The surgery allowed Mr Tibbetts to see his four-year-old twin sons, Callum and Ryan, for the first time, a moment he describes as “ecstasy”.
The procedure, called osteo-odonto-keratoprothesis, or OOKP, was conducted by ophthalmic surgeon Christopher Liu at the Sussex Eye Hospital in Brighton, Sussex. Mr Tibbetts and his wife Alex agreed to the revolutionary surgery after all other options had failed, leaving Mr Tibbetts depressed and out of work.
The complex surgery is a two-part procedure. First, the tooth and part of the jaw are removed, and a lens is inserted into the tooth using a drill. The tooth and lens are then implanted under the eye socket. After a few months, once the tooth has grown tissues and developed a blood supply, comes the second step: part of the cornea is sliced open and removed and the tooth is stitched into the eye socket. Since the tooth is the patient’s own tissue, the body does not reject it.
Eidos consists of two pieces of experimental equipment that give you superhuman sight and hearing.
Eidos Vision enhances the way we see motion, while Eidos Audio lets us hear speech more selectively.
Eidos has broad application in areas where live audio and video analysis is valuable. For example, sportspeople can visualise and improve technique in real time. Eidos also has healthcare benefits where it can be used to boost or refine sensory signals weakened by ageing or disability. In the arts, Eidos can augment live performance such as ballet, fashion or music concerts. It allows us to highlight previously invisible or inaudible details, opening up new and customisable experiences.
Text and Image Via Tim Bouckley
In grassy areas along the equator lives a tiny plant, Mimosa pudica, that has the captivating property of closing its leaves in response to touch. Rest a finger on one leaf, and that leaf and its neighbor will fold abruptly toward the stem. Brush your finger along the length of the stem and every pair of leaves will collapse in turn. For everyone who has wondered at Mimosa, the suddenly snapping Venus flytrap or the way a sunflower’s head unerringly turns to follow the sun, Daniel Chamovitz has written the perfect book.
What a Plant Knows: A Field Guide to the Senses examines the parallels and differences between plant senses and human senses by first considering how we interpret sensory inputs and then exploring how plants respond to similar inputs. Each chapter covers one sense—sight, smell, touch and hearing are covered, along with “How a Plant Knows Where It Is” and “What a Plant Remembers”—and each examines a wide taxonomical range of flora and a complementary historical range of experiments. In the book’s introduction, Chamovitz is careful to clarify his intentions in using language that might be considered anthropomorphic to explore the world of plants:
When I explore what a plant sees or smells, I am not claiming that plants have eyes or noses (or a brain that colors all sensory input with emotion). But I believe this terminology will help challenge us to think in new ways about sight, smell, what a plant is, and ultimately what we are.
Excerpt from an article/review by Andrea Wills at American Scientist. Continue HERE
WHAT A PLANT KNOWS: A Field Guide to the Senses by Daniel Chamovitz.
I am a multi media Canadian artist who is interested in language and communication; how knowledge is transported and transcribed between humans and other species. I am interested in inter species communication. I have chosen to sculpt and draw collaboratively with the honeybees for the past 14 years. My research has included the bee’s use of sound, sight, scent, vibration, and dance. I am studying the bee’s use of the earth’s magnetic fields as well as their use of the pheromones (chemicals) they produce to communicate with one another, with other species and possibly with the foliage they pollinate.
My research has included residencies in The Netherlands: To research the bees and flowers of The Netherlands; The Yorkshire Sculpture Park in Britain: To sculpt in the park under the direction of 2 beekeepers and their feral bee swarms, and at Passages Centre d’art Contemporain, Troyes, France: to visit the ancient bee walls of France, to meet with Dr. Yves Le Conte, scientist in Avignon, France and to work for 3 months in a studio in Troyes, France.
The bee work can take years to complete due to a short summer bee-keeping season of 7-9 weeks a year. I spend the rest of the year researching, traveling, and preparing work for the next bee-keeping season.”
Centered around a display featuring a living beehive, Guest Workers features sculptural and 2-dimensional work based on collaboration between the artist and honeybees. Directed and shot by Millefiore Clarkes, 2011.