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2016
The workshop „Art, Science, and Philosophy” will bring together philosophers, artists and scientists to rethink the concept of art and the concept of nature and „human nature“ in the age of technoscience, where the biological sciences become the new technological frontier. The workshop and the Angewandte Innovation Laboratory Talk of the Mexican philosopher María Antonia González Valerio is part of the re- search collaboration “Question about the Limits: Art, Science, and Philosophy” between the Department of Media Theory, University of Applied Arts Vienna, and the Faculty of Philosophy and Literature, Na- tional Autonomous University of México, Mexico City. The collaboration project aims to initiate and develop a debate about the relationship of ontology and aesthetics in the age of technoscience from the perspectives of art, science, and philosophy: During the twentieth century science and technology acquired a dominant role in redefining the concept of life. Tech- nology-driven science and research rendered the basic physical and functional unit of heredity, the gene, accessible to human manipulation, thus turning biology into technology. The genetic code and computer code became interchangeable, opening up new possible constellations for designing the biological sphere. Simultaneously we saw big shifts in the developments of the sciences in the least two decades, when fun- damental principles and ways of doing science and research in the field of biotechnology began to erode, like the reproducibility of experimental settings. Today research processes are getting more and more out- sourced, away from the laboratories of scientific institution to new start-ups, turning the research process into a black box for the scientist involved. On the other hand we see with the growing DIY movement cutting-edge technologies getting into the hands on non-professionals, and new genome editing techno- logies like CRISPR cheap and easy to use revolutionizing the question about the ontology of life. This ground-breaking development went unnoticed in the art world: it was not until the 1990s that artists began to make increased use advanced technology to explore and create new art forms, such as digital art or bioart. Science-based art emerged, enhancing progressive encounters with science and technology and shifting the terrain of art towards cutting-edge technologies and the technosciences. With the rise of bioart, a variety of new materials, such as DNA, bacteria, cells, tissue cultures, and transgenic organisms, entered the art world as a means of artistic expression. Obviously, this also made it necessary for artists to get acquainted with new epistemologies and a new logic of producing reality within the techno-scientific re- gime. By bringing their artistic endeavour with cutting-edge technology to the public’s attention, science- based art has provoked greater reflection on the limits of manipulating and/or creating life with biotech- nology, highlighting the new genome editing technologies like CRISPR and new approaches in the field of synthetic biology. Therefore, it is high time to shed some light on the relationship of ontology and aes- thetics in the age of technoscience by focusing on the production of art that is related to techno-science; not only because of the technologies it uses — and recently also biotechnologies — but most importantly because from this relationship a model emerges which is fruitful for understanding and interpreting reality. Therefore, the question “What is art?” needs to be posed in the light of an ontology that deals with tech- noscience and the production of reality within biotechnologies. The philosopher Maria Antonia Gonzalez Valerio will frame the workshop with her introduction and investigation about the revival and reappraisal of natural philosophy in the light of biotechnology. Her approach, which she calls “the ontology of immanence” engages above all with predominant traditions that seek to answer the question as to the essence of nature and its relationality either with reference to language or to history. In the twentieth century these lines of thought have resulted in nature being subsumed under culture, and this is why it has repeatedly been deemed necessary to try to close off and dislocate parts of nature. In recent decades the remnants of nature left over from the grasp of culture have tended to be made over to philosophical anthropology, which does not offer any solution to the philosophical issues involved. A revival and renewal of natural philosophy must engage with the recent findings of the technosciences and biotechnology and relate them theoretically to the novel aesthetic ontologies that now seek to interpret the world of sensate organisms (plants and animals including humans).
Through the Scope of Life. Art and (Bio)Technologies Philosophically Revisited
Through the Scope of Life. Art and (Bio)Technologies Philosophically RevisitedThis book offers intriguing philosophical inquiries into biotechnological art and the life sciences, addressing their convergences as well as their epistemic and functional divergences. Rooted on a thorough understanding of the history of philosophy, this work builds on critical and ontological thought to interpret the concept of life that underscores first-hand dealings with matter and experimentation. The book breaks new ground on the issue of animality and delivers fresh posthumanist perspectives on the topics addressed. The authors embark on a deep ontological probe of the concept of medium as communication-bridging and life-bearing. They also take on the concept of performativity as biotechnological art. The book includes concrete, well-documented case studies and shows how certain narratives and practices directly impact ideas surrounding science and technologies. It will interest philosophers in art and technology, aesthetics, ontology, and the life sciences. It will also engage art practitioners in art and science, curators and researchers.
Bioart is a new form of art with specific characteristics and aims. In order to state this, one should provide a definition of bioart that explains the newness and to what extent it differs from traditional art forms. Bioart is the expression of the technoscience epoch; it brings about an interaction of science, technology and art that should be explained in order to understand not only bioart as a new form of art, but the way in which this technoscientific epoch finds in bioart perhaps its better way of artistic expression. The philosophy of art, which has created art definitions in the past decade, is not sufficient to analyze the ontological consequences of bioart. The framework to deal with bio art that I propose is aesthetic ontology, since from this point of view it is possibly to analyze art in a wider perspective that includes aesthetical concerns, such as art definition and aesthetical means, and ontological problems, such as the configuration of space-time, and also episte...
Abstract The notion of the sublime, which since the nineteenth century is one of the dominant aesthetic categories, is strongly connected with (the artistic representation of) overwhelming nature. In this article it is argued that in the course of the 20th century the sublime increasingly becomes entangled with the experience of technology. However, in the age of biotechnologies, such as genetic modification and synthetic biology, the sublime regains a natural dimension. Taking Eduard Kac’s Alba fluo rabbit (a ‘transgenic’ bunny, that resulted from the injection of green fluorescent protein of a Pacific jellyfish into the egg of an Albino rabbit) as an example, it will be argued that in the age of biotechnology the difference between nature, technology and art will gradually vanish, and new dimensions of the sublime will become manifest.
In the biotech century we have been facing a tremendous development of the field of biotechnology since the middle of the twentieth century. Biotechnology as the knowledge-power has been perceived as revolutionary, promising that man is soon to become the “master of the evolution”. Since the computer paradigm signifying the swing of genomics art has found its mission in reflecting and discussing the segment of reality subjected to the impact of biotechnology. Humankind has been aiming to gain the ultimate power with biotechnology, however only art projects reveal this striving and link it to another, rather modest yet utmost ambitious goal: the quest for survival. Today, in Slovenia one can find perhaps the most vivid scene of practices in the convergence of art and biotechnology in the world, transferring the technologies, knowledge, methodologies and living matter into the world of art. Yet they are not meant to be naïve, non-reflexive playing with life. The artists have developed rich conceptual challenges and technological platforms in order to discuss complex but very relevant actual issues, such as those of biopower, anthropocentrism, survival of the species, biological adaptation to extreme environmental conditions, genetically modified food products and possible cannibalism as means of survival tactics, etc. These aspects present extreme aesthetic and political confrontation of public with the levers of the need to foster the development of biotechnology.
ISEA Lux Aeterna Proceedings
ART AND BIOTECHNOLOGY: the curatorship in the light of the exercise between, technology, philosophy and politic2019 •
This article approaches the linkages between technological art and biotechnology as places of conversation between philosophy of technology, politics, and curatorship. Based on the literature reviews and experiences accumulated during the process of curating of the first digital art biennial of the digital art festival, held between 2017 and 2018 in Brazil, it was possible to produce reflections on the role of curatorship in technological art and its implications for decision-making amid an era of biotechnology where political, ethical and artistic processes are intensified under the sensitive eyes of artists and curators.
Rupkatha Journal on Interdisciplinary Studies in Humanities
The Artistic Status of Bio-art2021 •
This paper aims to define Bio-art by strengthening its artistic status through two distinct approaches. The first is based on the acceptance that the concept of Bio-art includes both the term “art” and the term “bio” that could stand for Biology, Biotechnology, and Bioethics. It is argued that despite its direct connection to scientific research, Bio-art is only partly linked to the methods of the pure science of Biology, while it stands closer to the technoscience of Biotechnology. However, while bio-artists often use scientific methods and techniques, they eventually focus on bioethical questions. To amplify the artistic status of bio-artworks, we claim that they are kinds of visual “enthymemes”, a term used by Aristotle to define incomplete rhetoric syllogisms linking all recipients to common questions. Our second approach is developed around Levinson’s intentional-historical theory, showing that Bio-art belongs to the evolutionary narrative of art and artistic intentions. We all...
In the work of Eduardo Kac, Tissue Culture & Art, Niki Sperou and Pinar Yoldas, bio art appears to participate in a philosophical framework that suggests that the critique of science can only take place outside of science, a position associated with Heidegger. Quentin Meillassoux and Ray Brassier's assertions concerning the philosophical validity of the physical and biological sciences indicate that thought and science must be recalibrated as standing on equal footing before the real. This allows for a reinterpretation of bio art as an important mode of understanding and negotiating the speculative opportunities afforded by art-science interaction.
2003 •
In the twentieth century, there was probably no more popular scientific term than «gene» and no other scientific discipline's images and visual metaphors achieved the status of all-pervasive cultural icons like those of molecular biology. The significance ascribed to genes, in anticipation of mapping and marketing them, extends far beyond their immediate role in heredity and development processes. The form of pictorial representation of the human genome in the shape of a double helix and images of the twenty-three pairs of human chromosomes are today no longer neutral descriptions of human genetic processes but rather have advanced to the status of ornaments and vehicles of a mythological and religious meaning of «life itself». Already around 1900, early representatives of the young discipline of genetics exhibited a tendency to indulge in utopian rhetoric, conjuring up visions of a «biological art of engineering» or a «technology of living organisms», which did not confine itself to the shaping of plants and animals but aspired to setting new yardsticks for human coexistence and the organisation of human society. Then, as now, the heralds of this «biological revolution» were predicting nothing less than a second creation; this time, however, it would be an artificially created bioindustrial nature, which would replace the original concept of evolution. In contemporary art, many exhibitions in recent years have taken as their theme the effects of this «bio-logical revolution» on people's self-image and on the multi-layered interrelations between art and genetics. However, in contrast to the first encounters between art and genetics, which began in the early twentieth century with art's visual and affirmative engagement with genetics, today these «scientific» images are decoded through the linking of art and the images of the life sciences and a new way of reading them results. Artists take the terminology of the sphere of art and apply it to the technically generated images of molecular biology or other life sciences, question their claim to «objec-tivity» and «truth», and render them recognisable as a space where other fields of knowledge and cultural areas are also inscribed. With the aid of an iconography of images from science, the attempt is made to decipher the cultural codes that these images transport additionally.
Philosophy and Medicine series, Volume 97, 2008, pp 275-321 ISBN 978-1-4020-6920-8 Springer Netherlands
Technogenesis: Aesthetic Dimensions of Art and Biotechnology Altering Nature.Volume One: Concepts of ‘Nature’ and ‘The Natural’ in Biotechnology Debates
Orazio Condorelli and Rafael Domingo (eds.), Law and the Christian Tradition in Italy. Routledge
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