Encounters with the Posthuman
On the second balmy day of the year in New York, Neil Harbisson, a Catalan artist, musician, and self-professed “cyborg,” walked into a café in the Nolita district of Manhattan. The actor Gabriel Byrne was sitting at a table in the corner. Harbisson approached. “May I do a sound portrait of you? It will just take one minute. For nine years, I’ve been listening to colors,” he explained.
Byrne eyed his questioner from under raised eyebrows. On a slight frame, the 30-year-old Harbisson wore a white T-shirt, deep-pink jeans and black-and-white showman’s brogues. His face was angular, with an aquiline nose and a chin smudged with grown-out stubble. A small plastic oval floated in front of his forehead, attached to the end of a flexible stem that reached around from the back of his head and over a sandy pageboy mop, like the light on the head of an angler fish. This “eyeborg,” as Harbisson calls it, converts light into audible sound, with a pitch that varies according to the color of the light.
With a good-natured
shrug, Byrne relented. Harbisson darted down next to his quarry, intent, but
with a boyish smile that betrayed his excitement. He pointed the eyeborg first
at Byrne’s ear, then his lips, then his left eye, then the bridge of his nose,
and finally his salt-and-pepper hair, scribbling down musical notes on the back
of a cardboard coffee-holder. Byrne gave him his agent’s email. When Harbisson
got back to a computer, he would make a sound file that combined the notes from
each bit of Byrne’s anatomy, and send it back to the actor. Harbisson’s
collection already included Prince Charles, Nicole Kidman, and Al Gore.
Harbisson sees, a rare congenital condition in which his eyes’ cone cells do not pick up color. He has worn a version of his eyeborg since 2004. It transposes color into a continuous electronic beep, exploiting the fact that both and are made up of waves of various frequencies. Red, at the bottom of the visual spectrum and with the lowest frequency, sounds the lowest, and violet, at the top, sounds highest. A chip at the back of Harbisson’s head performs the necessary computations, and a pressure-pad allows color-related sound to be conducted to Harbisson’s inner ear through the vibration of his skull, leaving his outer ears free for normal noise. Harbisson, who has perfect pitch, has learned to link these notes back to the colors that produced them. Where once he had to rely on other people’s descriptions of how colors looked and what they meant, now he can create his own web of meanings and associations. He even hears sound-color in his dreams.
