In Keitai Girl (2003), YAMAGUCHI Noriko dons a skin-tight body suit reminiscent of metallic fish scales that is carefully crafted from cell phone keypads. Her face painted in the traditional powdery white makeup of Butoh, Yamaguchi wears large headphones and is draped from head to toe with wires seemingly ripped from a telecommunications command center, setting her adrift and alone in the ether. The suit, thanks to its digital keypads, begs to be dialed, thus showing the vulnerable position of the artist within the grasp of any number of anonymous hands that might reach out and “touch someone.” In fact, certain guests are given the telephone number of her body suit and can dial her up from their own cell phones and engage Yamaguchi in conversation during her performances. Thanks to the widespread use of cell phones, or keitai, in Japan, Yamaguchi created this suit—a full-body prosthetic that turns her into a walking and talking cellular device—to investigate the future development of the human body and its interaction with technology.