Bioart

Culturing the Pleebland: The Idea of the Public in Genetic Art (2007)

by Lisa Lynch

OUTLIERS, INSIDERS AND PRACTICAL HARVESTS: ART AS TECHNOLOGY TRANSFER IN A RESEARCH ENVIRONMENT (2002)

by Lisa Lynch

ON CREATING LIFE AND DISCOURSES ABOUT LIFE: PESTS, MONSTERS, AND BIOTECHNOLOGY CHIMERAS

by Raquel Rennó

Discurso en el método

by Raquel Rennó

Text on Empar Buxeda´s piece Muestras 1,2,3 y 4 (Abelina)

Corpos projetados e redimensionados: arte e políticas da vida

by Marko Monteiro

Published in ALEGRAR nº08 - dez/2011 - ISSN 1808-5148 (Portuguese)

Este trabalho busca teorizar o corpo a partir de uma reflexão sobre a sua manipulabilidade atual, tornada possível por... more Este trabalho busca teorizar o corpo a partir de uma reflexão sobre a sua manipulabilidade atual, tornada possível por novas tecnologias que atuam no nível genético/molecular. A partir de uma discussão de como o corpo vem sendo teorizado enquanto categoria analítica nas ciências sociais, com destaque para teorias feministas e de gênero, o texto foca o impacto que as intervenções tecnológicas vêm tendo nessas mesmas formulações. As teorias feministas sobre gênero e sobre intervenções tecnológicas trazem para o debate importantes inovações a respeito de como conceituar a política das manipulações corporais, seja na reprodução ou em outros âmbitos. As feministas, além de questionar a objetividade científica, debatem as formas pelas quais o corpo é enquadrado por novas tecnologias, abrindo novas possibilidades analíticas para as ciências sociais. Novas tecnologias promovem formas de redimensionamento do corpo e da sua materialidade que carecem ainda de tratamento teórico aprofundado, especialmente em se tratando das possibilidades levantadas pelas biotecnologias, dado que essas manipulações estão perpassadas por relações de poder. O texto conclui com uma reflexão sobre práticas artísticas como mote para a rediscussão teórica do corpo. A arte que usa como meio o corpo e as novas biotecnologias vem oferecendo formas de experimentar com a tecnociência em contextos distintos dos laboratórios de empresas e

Mondrian, Derrida and the biotechnologies

by Luís Quintais

Metamorfose, tecno-selecção, encantamento

by Luís Quintais

Fluidez tectónica

by Luís Quintais

Cultures of light: contemporary trends in museum exhibition

by Michael Katzberg-van Bladeren

Feasibility of using red pigment producing fungi to stain wood for decorative applications

by s robinson

Sara C. Robinson, Daniela Tudor, Paul A. Cooper
Canadian Journal of Forest Research, 2011, 41:(8) 1722-1728, 10.1139/x11-072

This research investigated the use of red pigment producing fungi in controlled inoculation into woody substrates for... more This research investigated the use of red pigment producing fungi in controlled inoculation into woody substrates for decorative applications. Two Fusarium species isolated from red-stained wood and two strains of Arthrographis cuboidea capable of producing red stain in culture were inoculated onto sugar maple (Acer saccharum Marsh.), incubated for 6–14 weeks, and evaluated for their ability to produce a high-saturation, penetrating stain. Both Fusarium species failed to produce significant pigmentation either externally or internally. Both strains of A. cuboidea produced high amounts of surface and penetrating red stain within a moderate incubation period (over 80% of the wood samples stained by 10 weeks of incubation) but were capable of doing so only under sterile or semisterile conditions. Production of red stain did not differ between A. cuboidea isolates except at 6 and 8 weeks where isolate ELS-1 had significantly higher internal red stain. It was also found that an increase in incubation time for A. cuboidea past 8 weeks led to increasing amounts of blue pigment on external wood surfaces. The findings indicate that A. cuboidea is suitable for production of red pigmentation on decorative wood applications only if utilized under sterile or semisterile conditions and incubation is halted before blue pigment begins to form.

Destroying Uniformity: Using Fungi to Add a Tactile and Visual Experience to Functional Wood

by s robinson

Robinson, S.C. 2011. Destroying uniformity: Adding a tactile and visual experience to functional wood. Leonardo 44(2):144-151

Recent Western preference for functional wooden objects has promoted an ideal of clear, smooth, straight-grained... more Recent Western preference for functional wooden objects has promoted an ideal of clear, smooth, straight-grained lumber. However, wood does not need to be free of defects to be functional. This paper explores the relationship between decay and functionality in terms of parergonal aesthetics by presenting the use of fungi to alter surface texture and color on wooden bowls. In addition, the bowls' altered but functional state forces the viewer to reconsider modern views on the role of defect-free wood within a functional context.

Uma Conversa Com Marta De Menezes

by ines moreira

'Etyka nomadyczna a bioart' ['Nomadic ethics and bioart']

by Marietta Radomska

published in: Dzielo Sztuki z Perspektywy Kulturowej: Metody, Dyskursy, Narracje, ed. S. Antkowiak and A. Rubczak, Torun: Wydawnictwo Naukowe Uniwersytetu im. Mikolaja Kopernika, 2008, pp. 157-169

[in Polish]

More:http://www.kulturoznawstwo.umk.pl/publikacje/130-dzielo-sztuki-z-perspektywy-kulturowej.html

The effects of copper in large scale mono- and dual-fungus wood systems

by s robinson

Robinson, S.C., Laks, P.E. 2011. The effects of copper in large scale mono- and dual-fungus wood systems. Forest Products Journal 60(6):490-495.

A arte como reinvenção do corpo: explorando práticas reflexivas da matéria

by Marko Monteiro

História e Perspectivas, Uberlândia (35): 175-209, Jul.Dez.2006

O presente artigo busca discutir arte e tecnologia
como ferramentas úteis na exploração crítica do corpo na... more O presente artigo busca discutir arte e tecnologia
como ferramentas úteis na exploração crítica do corpo na cultura contemporânea. Mais especificamente, o texto discute
duas formas distintas da expressão artística atual, as chamadas net arte e bio arte. A net arte, nos exemplos discutidos no texto, trabalha com elementos cibernéticos na sua poética, promovendo formas de interação entre o usuário/espectador e a escultura/instalação/performance a partir da tradução do corpo e suas emoções em termos numéricos. A bio arte, por sua vez, trabalha com a remodelagem da matéria viva em si como forma poética. O texto conclui que discussões que tomam como pressuposto a desmaterialização do corpo por meio da tecnologia ignoram aspectos importantes das recentes intervenções tecnológicas nas atuais formas de incorporação, que precisam ser criticamente avaliadas em termos das interferências e resistências que a matéria viva apresenta às interfaces tecnológicas.

An Itinerant, a Messenger and an Explorer: the work of Brandon Ballengée

by Nicola Triscott

in Engage: the international journal of visual art and gallery education, ed. Karen Raney, Issue 21, Art and Climate Change, Spring 2008

Evolution, Mutation and Hybridity in Bio-Performance Practice: Wet Biology and Hybrid Arts in the Performance/ Installation BioHome—The Chromosome Knitting Project

by Dr Catherine Fargher

In this paper I explore the influence of ‘Wet Biology’ and Hybrid Arts practices on the development of my... more In this paper I explore the influence of ‘Wet Biology’ and Hybrid Arts practices on the development of my installation-based performance work BioHome: The Chromosome Knitting Project. This work has been developed as part of my recentl;y completed Doctorate of Creative Arts (DC.A) at the
University of Wollongong.

‘Wet Biology’ is the term currently used for working with live plants or cells in experimental contexts. It includes genetic modification of organisms and cell culturing. Hybrid Arts, as I define them, involve the incorporation of new technologies into the traditional creative art forms, as well as hybridising/
cross-fertilisation of art forms through creative partnerships with industry, science and other knowledge bases, such as critical theory. At the moment there is a rapid hybridisation and evolution taking place in digital technologies and biotechnologies. For example digital forms allow communication and cross-fertilisation between radio and web-based formats, computers, radio and mobile phones, while
biotech and Life Science industries are developing biological modifications and hybrids to respond to commercial markets. Artists who cross fertilise with these technologies can create
hybrids and mutations of traditional forms. To use a Darwinian metaphor, some of these digital, creative and biological products may become strong enough to survive and possibly form new varieties, or where successful, new species of program formats and performance forms.

This paper documents my experience working with contemporary Wet Biology techniques including
D.N.A. extraction, cell culturing and genetic modification of organisms during the research and development stages of the performance and how the influence of the scientific practices and notions of hybridity, evolution and mutation have influenced the form, content and processes of my work.

The key topics I investigate for the purposes of this paper include, first, that the message does respond
to the medium: new biotechnologies can inform creative processes; and, second, that the biological metaphors of evolution, hybridity and mutation are relevant to the development of hybrid performance.
works.

Evolution, Mutation and Hybridity: Audio Arts and Live Biotechnology Recordings

by Dr Catherine Fargher

In this paper, I discuss the creation of hybrid audio works that include “field” recordings of biotechnology practices... more In this paper, I discuss the creation of hybrid audio works that include “field” recordings of biotechnology practices in laboratory situations, archival radio sound and contemporary
performance texts. I will also respond to the hybridising of forms in contemporary audio arts.

As a part of my Doctorate of Creative Arts at the University of Wollongong, I have created a number of new media performance texts, including radio works, based on a series of
bioethical fables. These fables respond to the “miraculous futures” promised by contemporary biotechnologies.
These works include a radio play, The Woman Who Knitted Herself a Child, presented by ABC Radio National “Airplay” in December 2004,1 Chromosome Knitting, an installation
based performance which incorporates live biotechnology and sound, and Dr Egg and The Man with No Ear, a puppetry and animation performance which has been commissioned by
the Sydney Opera House “Kids in the House” program, for young adult audiences. Finally a more documentary style piece, Recipe for Life is in development stage with producer Jane Ulman at the ABC. All these works will include sound recordings and from a biotechnology workshop I undertook at “SymbioticA”, the science/art laboratory that is incorporated in the School of Anatomy and Human Biology at the University of Western Australia.
This took place during the Biennale of Electronic Arts Perth 2004. For the purposes of this paper I will focus on the works produced or in development for radio, as well as a brief discussion of Chromosome Knitting installation, as an “extreme mutation” of sound and live science. Some of the questions I am asking for the purposes of this paper
include:
• How can concepts of evolution, hybridity, cloning and mutation inform current
audio arts practices?
• How does the medium of radio lend itself to the areas of live microbiology
recordings? Can we hear the sound of one cell dividing?
• Does the medium need to respond to the message? And vice versa - should new
technologies inform the creative practices?
• How does “presentation” of “live” biotech science, rather than “representation”
allow audiences to grapple with the ethics of biotechnologies?
• How can concepts of evolution, hybridity, cloning and mutation inform current
audio arts practices?

"(RE)PERFORMING THE POSTHUMAN" - Conferenza sulle Arti Postumane e sul Postumanesimo

by Francesca Ferrando

Published in Bollettino di Filosofia, Universita' di Roma Tre, Settembre 2010

Il 21-22 maggio 2010 si è svolto presso l'Universitá di Sussex (Brighton, Inghilterra), un Convegno sul Postumanesimo... more Il 21-22 maggio 2010 si è svolto presso l'Universitá di Sussex (Brighton, Inghilterra), un Convegno sul Postumanesimo e sulle Arti Postumane, per riflettere sui risvolti artistici di una tematica filosofica di grande attualitá, che segue, storicamente, l'ampio dibattito sulla Teoria Cyborg degli anni Novanta.

POSTUMANESIMO TRA ARTE E FILOSOFIA - Conferenza Internazionale sul Postumanesimo

by Francesca Ferrando

Published in Bollettino di Filosofia, Universita' di Roma Tre, November 2010

Dal 23 al 27 settembre Lesbos ha ospitato la Conferenza Internazionale sul Postumanesimo: “Audiovisual Posthumanism.... more Dal 23 al 27 settembre Lesbos ha ospitato la Conferenza Internazionale sul Postumanesimo: “Audiovisual Posthumanism. Aesthetics, Cultural Theory and the Art”, organizzata dall'Universitá dell'Egeo insieme all'Eurosa (The European Society for Aesthetics). Cinque giorni di sessioni mattutine, pomeridiane e performance serali, ospitate presso il Museo Archeologico: un perfetto invito lacaniano a riflettere sul ruolo dell'umano...
Molti i nodi tematici affrontati. Innanzitutto la differenza tra Postumanesimo e Transumanesimo - che crea spesso confusione - è stata interpretata e discussa da svariati punti di vista: teorico, artistico, storico.