Mammary Mountain

> Videos

This is a trailer for the project – Filmed and edited by Marc Coleman
This is a mini-documentary on the project – Filmed and edited by Marc Coleman

> NEoN Digital Arts Exhibition, November 23rd to December 3rd, Dundees (Premiere)

> Video of Mammary Mountain Installation set up 2023

> User Testing day in New Malden, October 13, 2024

> Timeline

May 2023- completed Dec 2023
Promotion and ongoing

> Collaborators

  • Tara Baoth Mooney – Illustrations, poetry, singing, soundscapes and music composition, workshop development and community outreach, grant writing, personal story contribution, garment design direction, chair project management.
  • Camille Baker – Concept and ideation, research grant writing, community outreach, workshop development, narrative framework, content development and story editing, staging and promotion, as well as overall project production.
  • Maf’j Alvarez – 3D Artistry, virtual reality artistry, visual design, interaction design and chair design

    Other team members:
  • Paul Hayes – Haptic design, bespoke peripheral development and electronics
  • Sophie Skach – Garment design, wearable prototyping, pattern design, embroidery and overall wearable construction
  • Leo Scarff – Chair design and construction
  • Lee Paul Heron & Centre Neptune – web design and maintence
  • Marc Coleman and Dann Emmons – Photo and video documentation and trailer editing

> Abstract

Mammary Mountain is an intimate immersive virtual reality(VR) experience that explores dis-ease within the body during breast cancer and the body’s relationship to the broader context of the land. This new immersive experience tells the stories of patients’ and survivors’ healthcare struggles, and the hidden experiences of breast cancer treatment.

It tells the lesser told stories not only of survival, but of trauma from the life changing experience of (Breast) Cancer through a haptic garment, so audience members/ visitors can feel vibration in the area of the lymph nodes where breast cancer grows.

This work is not only for breast cancer patients and survivors, but more so for family, friends and those with no experience of cancer in their own lives to have more empathy and care for those who do around them. All cancer survivors may related to it.

The piece is explored through animated illustrations, poetry, personal stories of 8 participants, and field recordings of Tara Baoth Mooney, created while going through cancer treatment herself. These recorded sounds and drawings have been further brought to life through the strong visual 3D landscape and evocative animation created by Maf’j Alvarez using VR.

Camille Baker conceived the concept, created the narrative framework and did content development, story collection and editing, grant writing, community outreach and workshop development, staging, promotion, and executive production.

The artists hope this work ignites new public engagement, ultimately resulting in a more nuanced and holistic understanding and empathy of the breast cancer treatment experience.

> Partners

> Budget / Funding

  • £40,000 / Arts Council Engalnd National Lottery Project Funding, February 2023 (Production and 1st exhibitions
  • €3,769 / Creative Ireland, May 30, 2023 (Workshop funding Ireland only)
  • €4,111.64 / Creative Leitrum (Ireland), July 10, 2023 (Workshop funding Ireland only)

> Outcomes / Impact

Outcomes and Impact remain to be seen but the first exhibition in (documented above)

Some info on the first exhibition here and

Digital Meets Culture Magazine (13 November 2023)


INTER/her: An Intimate Journey Inside the Female Body

> INTER/her website

The website for the INTER/her project designed and maintained by Centre Neptune, where you will find informaiton on the project design and motivation, the team info, dates for upcoming exhibitions, news articles and testimonials, click image below. See also recent article in Design Week Dec 2023

> Mixed Reality in Culture by Mariza Dima

A podcast series on the design of Mixed Reality experiences in cultural settings.

Podcast on the INTER/her and Mammary Mountain projects, interview on February 12, 2024

Season 4 Episode 01- on the Gender Gap in medicine with Camille Baker

> Past Exhibitions

Details online

> At The Drill, Lincoln, Lincolnshire, UK26-28th, 2023

> At The Lincoln Performing Arts Centre October 29th, 2023

> Ars Electronica 2023, Linz Austria

INTER/her with the RCA School of Communication Showcase with students and staff called Digital UnderCommons in the Campus Exhibition as part of the festival theme “Who Owns the Truth?” September 6th-10th, 2023, in Linz, Austria

Info online at

> South by South West 2023 Austin, Texas

UK House, March 8-13th

I went to the big music, film and interactive festival in Austin with the School of Communication of the Royal College of Art (since October 2022), and we brought a selection of work of staff and students. I had a short film of INTER/her on display with a headset and the garment for people to try in our area at UK House a partner venue of the SXSW Festival.

Link here

A visitor at UK House SXSW Austin March 2023 – School of Communication, Royal College of Art Showcase
Creative Computing Festival, February 2-5th, 2023

Details online

> INTER/her at Peckham Digital

Video introduction on instragram can be found here

Art in Flux – Radical Embodiment (15): Carolee Schneemann Film Series Thu 10 Nov 2022, 18:45, Barbican Cinema 3

Details online

> INTER/her Barbican Film

INTER/her Mini-Documentary

This is mini-doc about INTER/her created for a showing at the Barbican Arts Centre Cinema on November 11, 2022 as part of the Art in Flux – Radical Embodiment: Carolee Schneemann Film Series

> INTER/her was showcased as part fo the Extended Senses Symposium, in a collaboration between the University for the Creative Arts and the University of Greenwich September 8th, 9th and 10th at University of Greenwich’s Stephen Lawrence Gallery

See info here

In the TV studio at University of Greenwich

> INTER/her past exhibitions

INTER/her Project at ArtSci Salon | Camille Baker PhD
A Hub for the Arts & Science communities in Toronto and Beyond

Who Cares? Technologies and /of /with Care – speakers series and exhibitions, Exhibition Opening Thursday, April 7th until April 28th, 2022, Ivey Library, New College, 20 Willcox Street, Toronto, Canada


See also the speaker series recorded talk from 25 Mar 2022 on Youtube below

NeOn Festival, November 10th-14th, 2021, Overgate Mall, Dundee, online

> INTER/her NEon /

Video Interviews with the Dundee Courier can be found online at and

See also Scottish TV clip here

Brighton Digital Festival, November 3rd-7th, 2021, Locked In Gallery, Hove

Details online

> INTER/her Brighton Gallery

> INTER/her longlisted in August and then shortlisted in September 2021 for the Lumen Prize 2021 – 3D/Interactive category

> Gallery from exhibition in Sheffield September 15th – October 8th, 2021

> And from exhibition at the Brewery Tap Project Space Gallery, Folkestone from June 23rd-July 6th, 2021

> INTER/her website

The new website for the INTER/her project was launched on 3rd April 2021. Big thanks to Centre Neptune for the design & build. All future information regarding the project can be found there, including installation locations, dates and visiting times. Hope to see you there.

INTER/her Project | Camille Baker Ph.D

> Online Exhibition / Promotion

INTER/her is participating in a group virtual exhibition called Art in Flux: Reclaimed, celebrating some of the most radical and innovative media artists of our times. Online from March 30th to April 30th, 2021

Also see the project profile on the crowd funding site Artizen here

> Videos

Draft version of the vaginal canal with Endometriosis by collaborator Sarah Büttner (October 2020)

A talk by collaborator Maf’j Alverez (July 2020) on the prototyping of the early exploration and research phase of the project.

> Gallery

> Timeline

2019 – 2021

> Collaborators

  • Camille Baker – Artist/Artistic Director
  • Maf’j Alverez – Unity Interaction Designer & 3D Artist
  • Kat Austen – Sound Designer
  • Sarah Büttner – Tiltbrush / 3D Object Artist
  • Andy Baker – extra Unity programming advice
  • Paul Hayes – additional electronics construction & finishing for haptic corset

> Abstract

INTER/her is an intimate, immersive and VR installation that explores of the inner world of over 40’s women’s bodies and the reproductive diseases they suffer: endometriosis, fibroids, polyps, Ovarian and other cysts, cervical, ovarian, uterine and endometrial cancers and the lack of clear medical information/ support they face.

INTER/her is explored through a feminist lens, as personal exploration, public education, and community building, positioning the physical body as a site to explore psychological issues of womanhood, identity and the sense of self, exploring the body. 

> Partners

  • Arts Council England
  • UCA / University for the Creative Arts
  • Access Space Sheffield

> Budget / Funding

  • £15,000 ACE Aug 2020-May 2021
  • £2,485 / UCA, 2019/20 (Round 1) UCA
  • £2,000 / UCA, 2020/21 (Round 2) UCA

> Outcomes / Impact

  1. Prototype phase completed December 2019-Auust 2020
  2. Phase two – production and exhibition September 2020 – May 2021

INTERher has toured aroudn the UK and Canada since July 2021 to present it – all the exhibitions listed above show this.

Now I am looking for new avenues for making a kiosk version of the project to equip schools, gynaecology clinics and GP surguries to help better inform women on self care, prevention and help doctors with earlier more timely detection of reproductive illnesses and growths causing pain and disfunction.

I’m also looking for a producer for the project for future activities

Hacking The Body 2.0 / Performance

> Stutter Flutter & Feel Me / e-textiles IoT Performances

Hacking The Body 2.0: Residency To Performance

Hacking The Body / HTB 2.0 is a collaboration between Dr Kate Sicchio and myself, which evolved since 2011 until 2018 and started by examining rhetoric within the online computing community around concepts of code, hacking, networks, the quantified self, and data, as a new approach to examining inner and outer states and sensations of the human body, using sensing devices within performance. 

> Videos

> Feel Me / Garment Hack

> Flutter Stutter / Garment Design

> Rehearsals / November 2015

> Sheffield Rehearsal & Performance / February 2016

> Watermans Art Centre / February 2016

> Timeline

April 2015 – February 2016

> Collaborators

  • Dr Camille Baker / Dr Kate Sicchio – Artistic Direction, Concept, Interaction Design
  • Dr Kate Sicchio  – Choreography
  • Dr Rebecca Stewart – Electronics Design, Development, Garment Integration
  • Ms Tara Baoth-Mooney  – Garment Design, Electronics Integration; Voice & Music
  • Rick Loynes – Sound Design
  • Dr Camille Baker  – Sound Editing
  • Tara Baker / Phoebe Brown – Dance Performance
  • Peter Todd –  iPad Mobile App Design

> Abstract

Exploring the concept of hacking data to re-purpose and re-imagine biofeedback from the body. It used states of the body and hacked that data to make new artworks, such as performance and costumes. Through performance the aim was to communicate to the public new ways dancers engage with their bodies and technology, through intimacy and sensation embedded in wearables. It was as much performance investigation into body as creative material as a conceptual research endeavour data as identity and ethics of data ownership. 

From April 2015 to June 2016, this instantiation the collaboration started as a residency at UCA in April 2015, with rehearsals and testing In November 2015, culminating in three performance stagings in Sheffield and London between February 16-18, 2016 and a further performance staging in June 2016 in Brighton. The instantiations of the project helped to develop our hands-on skills in making and using DIY electronics, soft-circuits and smart textiles, as well as to unearth greater unethical data collection activities. 

Flutter Stutter was an improvisational dance piece that used soft circuit sensors to trigger sound and haptic actuators in the form of a small motor that tickles the performers. Dancers embodied the flutter of the motor and respond with their own movement that reflected this feeling. The sensors and actuators were bespoke designs by Becky Stewart and Tara Baoth Mooney that interacted, influenced and interrupted the flow of the dance, hack the body signals.

Feel Me worked with hacked commercial biosensing technology and structured improvisation dance. This piece used breath sensing technology from reworked fitness wearable tech garments and a custom-made app (made by artist Peter Todd, with permission of the fitness company OM Signal), that accessed the company’s development tools, and was used to communicate from the garment’s sensor to its actuator (a vibration motor), which buzzed when the dancers exhaled, causing them to respond within in a structured improvisation.

All the technology was developed over a several months, then integrated into the final garments and performances during an intensive three-week period running up to the performances in February. 

> Partners

  • Arts Council England
  • UCA / University for the Creative Arts
  • New Malden Studios

> Budget / Funding

  • £13,977 / Arts Council England, Feb – Oct 2016 (Creation & Performance Staging)
  • £6,750 / UCA, Apr 2015 (Artist Residency), Oct 2016 (Technical Development)

> Outcomes / Impact

October 5, 2018–February 8, 2019 Attempts, Failures, Trials and Errors exhibition of our video documentation of the live performances of Flutter /Stutter and Feel Me, curated by Hillevi Munthe and Tincuta Heinzel called OSEBNO / PERSONAL: international interdisciplinary exhibition at KIBLA PORTAL, Maribor, Slovenia. Webpage and other artists in the exhibition Also featured on Slovenian TV and in an article by the curators Tincuta Heinzel and Ioana Popescu for Zeppelin Journal in Bucharest at More details here:[tt_news]=5417&tx_ttnews[backPid]=1&cHash=aa50326f33 To see pictures from the opening

Feb 21- April 1, 2018 Attempts, Failures, Trials and Errors exhibition with video of the live performances of Flutter /Stutter and Feel Me, curated by Hillevi Munthe and Tincuta Heinzel in Bucharest at the “Salon de Proiecte”. Online at and Facebook page: images at

Nov 16-Dec 9, 2017 Attempts, Failures, Trials and Errors exhibition of video for live performances of Flutter /Stutter and Feel Me, curated by Hillevi Munthe and Tincuta Heinzel, at Piksel art gallery, Bergen, Norway. Online at and The exhibition “looks at the various stages of projects’ developments and attempts and perspectives and less mediatised wearable technologies and e-textiles projects.”

March 5th, 2017 Refest2.0 ITP NYU, New York City, a telematic performance via the Internet of Things protocol of X-OSc of Feel Me dance and wearables piece, created for February 2016 performances below, between one dancer in New York City and one in London, UK – documented briefly on our blog

June 30-July 2, 2016 International Conference on Live Interfac es, Brighton, UK, performance of our Flutter /Stutter dance and wearables piece, created for February 2016 performances below – conference proceedings and video of live performance

July–November 2015 Hacking the Body at 2015 Wear_NEXT Exhibition, Brisbane, Gallery artisan & touring Australia and Asia and online catalogue A radio review of the show: and a video made during R&D residency at UCA and Siobhan Davies or featured in the exhibition

The Life Project

> The Life Project

Robots and Emotion


Robots, Avatars, Open Source, Twitter, QR Code, Emergence, Virtual Lifeform, Craft, Design, Workshop.

> Gallery

> Timeline

Started April 2011, Public Exhibition, October 2011, Presented at the EVA Conference 2012

> Collaborators

  • Evan Raskob – Team Leader, Techical & Creative
  • Camille Baker – Artist & Creative Concepts
  • Nick Rothwell – Coder & Artist
  • Fiona French – Artist & Coder
  • with Andrew Crowe, Giorgio Demarco, Steven Fortune, Gustavo Guerrero, Lori Ho, Simon Katan, Chris Lowell, Manuel Mazzotti, David McLellan, Francesca Perona, Darren Perry, Elvia Vasconcelos and support from SPACE Studios

> Abstract

The Life Project explored issues of psychological projection into technology by diving into the convoluted relationship between practical purpose and emotional attachment, through both the creative act of designing and making robot entities with artificial emotions, and the social act of engaging with them. This process explores the concept of body representation through a multi- identity in virtual and physical blended space. In a lesser sense, it also suggests a future world of collaboration between physical and virtual forms, enabled by new forms of representation in blended worlds.

> Outcomes / Impact

The Life Project was originally conceived by Openlab Workshops as a collaborative workshop series for a diverse group of artists, designers, makers and musicians, developed as part of the Permacultures exhibitions at SP ACE Studios (SPACE 2012). The aim of the workshops was to explore the boundary between the virtual and the real by examining our complex, mutually dependent relationship with technology. This aim was to be achieved by designing and building an “ecosystem” of small digital Creatures (or robots) that would mutually interact and influence each other, and also interact with human participants who could choose to feed them and/or alter their environmental parameters in meaningful ways.

Inspiration was taken from a variety of sources including generative systems such as Conway’s Game of Life as an investigation of emergent behaviour, ecological and environmental concerns, digital pet toys such as Tamagotchi, video games and AI, as well as current research into modeling emotional intelligence systems.

The Life Project has successfully met its original aim of exploring embodiment and identity through the collaborative process of creating an “ecosystem” of little machines that live, grow, communicate and die with one another, all in the presence of humanity.

The major challenges can be summarised as follows:

(i.)  Creative Collaboration: Facilitating a large, diverse group of creative people to work and collaborate effectively together is a daunting task, since The Life Project provided a rare opportunity for designers, crafters, artists, programmers and engineers to develop ideas together on a shared brief, problem-solving and negotiating milestones from concept to finished artefact.

(ii.)  Developing an Emotional Intelligence – The Life Project explored how software and hardware could be used to represent and communicate changing emotional states. Experiments used software probability tables, animated lights, sounds, and tweets – a wide range of outputs, each with their own complexity.

(iii.)Communication and Interaction – The Life Project investigated modes of communication between software and hardware agents and people. Using Infra- red LEDs (light emitting diodes) as transmitter/receiver between Creatures and Environment; using Twitter to respond to people via Social Networks; using QR Codes to enable creature husbandry from the public – again with their unique requirements to interconnect with the rest, adding another layer of complexity (and chaos).(iv.)  Look and feel – The Life Project provided an opportunity for community involvement in the later stages of project, which required some of the complexity to be made more readily understandable and accessible for simple engagement and interactivity.

(v.)  FLOSS Integration – The FLOSS community and technology was essential to this project. Without the Arduino community, and their companion JeeNodes, the team would have had to purchase expensive proprietary systems or spend much more time developing core technology. The team reciprocated by distributing all code, diagrams, and blogging about the development process.

The team intended to maintain the project as a communal art installation, organising future workshops and inviting members of the public to contribute their own creative designs to and interact with a slice of digital ecology (but this didn’t happen). The aim was to provide future teams the opportunity to study the interaction and the effectiveness of the concepts and intended user interaction, in order to draw conclusions about our complex and interdependent relationship with technology and the “natural” world.

Internal Networks Dreampod

> Internal Networks

Telepathy Meets Technology in the Dream Pod

“…the body exists in space and time and that, through its interaction with the environment, its defines the parameters within which the cogitating mind can arrive at ‘certainties’, which not coincidentally almost never include the fundamental homologies generating the boundaries of thought…. for conscious thought becomes an epiphenomenon corresponding to the phenomenal base the body provides … embodiment creates context by forging connections between instantiated action and environmental conditions … emphaz[ing] the importance of context to human cognition” (“How We Became Post-Human”, Katherine Hayles , pg 203).

> Videos

Introduction to the project 2003

Dream pod construction 2003

> Gallery Name

> Timeline

September 2001 – April 2004

> Collaborators

  • Martin Larsen – Pod Construction

> Abstract

My Masters of Applied Science, Interactive Arts research project was a combined interactive art installation and experience design experiment, which explored methods of creating rich sensorial and consciousnesses experiences digitally. I investigated the cognitive strategies of augmentation and transformation with an emphasis on quantum physics and embodiment. I was dealing with the speculative concept of initiating a mind/body to computer meld or communication interaction, consciousness interface. I was pushing at the boundaries of scientific thought regarding human versus computer capabilities and the potential for these capabilities to work in tandem, attempting to take the revelations (of the time) in physics, psychology and neuroscience, and couple them with concepts in human computer interaction (HCI) and developments in wireless communication technologies, using interactive installation techniques, to envision experimental means of connecting humans to technology through sleep telepathy. The aim was to experiment and alter the way we communicate and interact with technology within the Dream Pod.

The interactive experience design project comprises of two elements: The first creates full body experience of altered consciousness. The second takes interactors into the womb-like space to experience audio, visual, tactile and perhaps olfactory stimulation (and lack thereof) within the space. These combine to create an experience, where the interactor engages through his/her own reactions to the sensor-audio-visual-smell stimulation and their responses are recorded.

Research Questions

Since humans can telepathically communicate or connect through natural “wireless” communication already, all we need do is encourage and train others to take advantage of this possibilities, but first we need convice the scientific community and public that this a viable way to go, and answer the following questions:
a) can technology (i.e. sensors, and responsive environments) facilitate that natural affinity?
b) can humans eventually communicate telepathically and interact with computers and technology

Sensory Stimulation / Deprivation
The theory I based my ideas upon were concepts around sensory deprivation, but also from therapists interviewed and research into various forms of meditation, visualisation and guided imagery techniques uncovered during the research. I discovered that some stimulation put the mind into relaxation, through a guided approach using dream-like imagery and experiential design. However, too much stimulation over stimulate and prevent the participant from going into the desired altered state of consciousness experience of hypnogogia or pre-post-sleep state.

Mind/Body Quieting Techniques & Research
I was incorporating techniques to induce altered states of consciousness, inner-awareness, and the physical manifestations of these, in order to prepare participants for external “wireless” communication, and to create a “meditative portal” or “non-local telephone” for “connection” for each to enter and find each other telepathically and eventually through technology.

The experimental immersive environmental design for this “portal” or “non-local phone” was to include a comfortable environment and to include a pre-experience physical preparation before individuals entered the Dream Pod environment, using light yoga, breathing and guided relaxation techniques to stimulate physical sensations of weightlessness, hyper-awareness, and openness.

In order to get a better idea of the best ways to help participants to be open up to this experience and to access this “connection” or “portal” to the telepathic dimension, I conducted mind-quieting approaches from various practices locally and from other cultures around the world.

I began by experimenting with altered states and mind quieting practices on myself, and available locally such as: Hypnotherapy, Mindfulness Meditation, Visualisation techniques, Shamanic Dance, Holotropic Breathing, lucid dreaming exploration, and Sweat Lodge techniques. I borrowed from these to develop my own techniques for the project experiences I created for the Dream Pod.


> Partners

  • Simon Fraser University, Surrey, Canada

> Budget / Funding

2001 Minerva Foundation Award for Women in Graduate Studies for the 2001-2002 school year ($1000 CDN BC Canada)

2002 TechBC Award for Academic Excellence, based upon the academic year 2001-2002 ($2000 CDN BC Canada)

2002 TechBC Award for University Service Scholarship, based upon the academic year 2001- 2002 ($1000 CDN BC Canada)

> Outcomes / Impact

Papers, conference and exhibitions:

Baker, C. (Nov 2004) “Telepathy Through Biosensor Media Stimulation”, published in Consciousness Reframed 2004: Qi and Complexity Conference Proceedings, Planetary Collegium, Beijing, China. Available for download from:

Baker, C. (Oct 2005) “Transcendence through the Artifice of Spectacle: Martin Beauregard’s ‘Fireworks’”, art review published in new brunt magazine, by the grunt gallery, Vancouver. Available for download from:

Baker, C. (Sept 2004) “Biosensor and Media Art Induced Meditation and Telepathy”, LEA Special Issue: From the Extraordinary to the Uncanny: The Persistence of a Parallel Universe, Guest Editor: Michael Punt, published in The Leonardo Electronic Almanac, MITPress – e-journals – LEONARDO Available for download from: or

Baker, C. (July 2005) “’Discovering Telepathy Through Altered States’, The Altered States: transformations of perception, place, and performance”, published in Conference Proceedings, Planetary Collegium, Plymouth, UK. Available for download from:

Baker, C. (March 24, 2004) – “Internal Networks: Telepathy Meets Technology in the Dream Pod”, SFU SIAT -Thesis Defense, Simon Fraser University, Surrey Campus, Burnaby, BC, Canada.

Baker, C. (May 2003) “Internal Networks : Telepathy Revisited”, Digital Arts Conference in Melbourne, Australia.

  • Caladan Gallery Exhibition (now closed permanently) in 200