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Sunday, December 28
The BioArt of Eduardo Kac
by
Rich
on December 28, 2008 06:29PM (PST)
Perhaps one of the most interesting disappearances of bio-technology is when its vanishing horizon is art....
BioArt is an art practice in which the medium is living matter and the works of art are produced in laboratories and/or artists’ studios. The tool is biotechnology, which includes such technologies as genetic engineering, tissue culture and cloning. BioArt is considered by most artists to be strictly limited to “living forms,” although there is some debate as to the stages at which matter can be considered to be alive or living. The materials used by Bioartists are cells, DNA, proteins and living tissue. Creating living beings and practicing in the life sciences brings about ethical, social and aesthetic inquiry. The phrase "BioArt" was coined by Eduardo Kac in 1997 in relation to his artwork "Time Capsule". Although it originated at the end of the 20th century through the works of pioneers like Kac and Gessert, BioArt started to be more widely practiced in the beginning of the 21st Century. Thus, it may be considered the first 21st century art movement.
"Move 36" makes reference to the dramatic move made by the computer called Deep Blue against chess world champion Gary Kasparov in 1997. This competition may be characterized as a match between the greatest chess player who ever lived and the greatest chess player who never lived. The installation sheds light on the limits of the human mind and the increasing capabilities developed by computers and robots, inanimate beings whose actions often acquire a force comparable to subjective human agency.
According to Kasparov, Deep Blue's quintessential moment in game two came at Move 36. Rather than making a move expected by viewers and commentators alike--a sound move that would have afforded immediate gratification--it made a move that was subtle and conceptual and, in the long run, better. Kasparov could not believe that a machine had made such a keen move. The game, in his mind, was lost.
The installation presents a chessboard made of earth (dark squares) and white sand (light squares) in the middle of the room. There are no chess pieces on the board. Positioned exactly where Deep Blue made its Move 36 is a plant whose genome incorporates a new gene that I created specifically for this work. The gene uses ASCII (the universal computer code for representing binary numbers as Roman characters, on- and off-line) to translate Descartes's statement: "Cogito ergo sum" (I think therefore I am) into the four bases of genetics.
Through genetic modification, the leaves of the plants curl. In the wild these leaves would be flat. The "Cartesian gene" was coupled with a gene that causes this sculptural mutation in the plant, so that the public can see with the naked eye that the "Cartesian gene" is expressed precisely where the curls develop and twist....more
The "Cartesian gene" was produced according to a new code I created especially for the work. In 8-bit ASCII, the letter C, for example, is: 01000011. Thus, the gene is created by the following associations between genetic bases and binary digits:
Genesis is a transgenic artwork that explores the intricate relationship between biology, belief systems, information technology, dialogical interaction, ethics, and the Internet. The key element of the work is an "artist's gene", a synthetic gene that was created by Kac by translating a sentence from the biblical book of Genesis into Morse Code, and converting the Morse Code into DNA base pairs according to a conversion principle specially developed by the artist for this work. The sentence reads: "Let man have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moves upon the earth." It was chosen for what it implies about the dubious notion--divinely sanctioned--of humanity's supremacy over nature. Morse code was chosen because, as the first example of the use of radiotelegraphy, it represents the dawn of the information age--the genesis of global communication.
The Genesis gene was incorporated into bacteria, which were shown in the gallery. Participants on the Web could turn on an ultraviolet light in the gallery, causing real, biological mutations in the bacteria. This changed the biblical sentence in the bacteria. After the show, the DNA of the bacteria was translated back into Morse code, and then back into English. The mutation that took place in the DNA had changed the original sentence from the Bible. The mutated sentence was posted on the Genesis web site. In the context of the work, the ability to change the sentence is a symbolic gesture: it means that we do not accept its meaning in the form we inherited it, and that new meanings emerge as we seek to change it.....
more »
The BioArt of Eduardo Kac (cont)
by
Rich
on December 28, 2008 06:03PM (PST)
Clairvoyance
Odyssey
"Specimen of Secrecy about Marvelous Discoveries" is a series of works comprised of what Kac calls "biotopes", that is, living pieces that change during the exhibition in response to internal metabolism and environmental conditions. Each of Kac’s biotopes is literally a self-sustaining ecology comprised of thousands of very small living beings in a medium of earth, water, and other materials. The artist orchestrates the metabolism of these organisms in order to produce his constantly-evolving living works.
Kac's biotopes expand on ecological and evolutionary issues previously explored by the artist (for example, in his transgenic work "The Eighth Day"). At the same time, the biotopes further develop dialogical principles implemented and theorized by Kac for approximately two decades.
The biotopes are a discrete ecology because within their world the microorganisms interact with and support each other (that is, the activities of one organism enable another to grow, and vice-versa). However, they are not entirely secluded from the outside world : the aerobic organisms within the biotope absorb oxygen from outside (while the anaerobic ones comfortably migrate to regions where air cannot reach). A complex set of relationships emerge as the work unfolds, bringing together the internal dialogical interactions among the microorganisms in the biotope and the interaction of the biotope as a discrete unit with the external world. The biotope is affected by several factors, including the very presence of viewers, which can increase the temperature in the room (warm bodies) and release other microorganisms in the air (breathing, sneezing).
The biotope is what Kac calls a "nomad ecology", that is, an ecological system that interacts with its surroundings as it travels around the world. Every time a biotope migrates from one location to another, the very act of transporting it causes an unpredictable redistribution of the microorganisms inside it (due to the constant physical agitation inherent in the course of a trip). Once in place, the biotope self-regulates with internal migrations, metabolic exchanges, and material settling..... more »
Friday, December 19
The Future Body: Tissue engineering (Toward an Aurobindonian Bio-ethics?)
by
Rich
on December 19, 2008 03:06PM (PST)
when Sri Aurobindo states:
"The new type, the divine body, must continue the already developed evolutionary form; there must be a continuation from the type Nature has all along been developing, a continuity from the human to the divine body, no breaking away to something unrecognizable but a high sequel to what has already been achieved and in part perfected.”(Aurobindo 1949/72)
One way to begin ones interpretative action is by first extrapolating the possibilities that are held out before us now. Unless we wish to risk loosing ourselves in simple magical/thinking this requires not only intuition and imagination but critical reflection on the biopolitical power dynamics driving the innovation of technologies that promise to facilitate the advent of the future body. That is why I do not use the term Aurobindonian-bioethics as a mere figure of speech but as a possible discipline which can provide a critique of technological innovations that seem to stray radically from the vision he set forth.
That said of all the bio-technologies available to us currently that would seem most in accord with his vision of fashioning a future body that is continuous with “the type of Nature that has all along been developing” is tissue engineering or tissue regeneration that employs the body's own cells for construction/reconstruction of its skin, cartilage, bone, and organs.
For any one interested in the ethical/economic/biopolitical/biocolonial dimensions of the bio-tech industry an excellent book is Eugene Thacker's The Global Genome. In the following passages he considers the emerging field of tissue engineering that highlights the salient issue I have referenced visa vie Sri Aurobindo's vision of the continuity of the Future Body with that which has preceded it.
“An important point here is that at no point in these processes are mechanical or nonbiological, nonorganic artificial materials or components incorporated as part of the core process of cellular tissue regeneration. All “natural” biochemical processes are maintained in their normal functioning and (according to researchers) only the extracellular, environmental context has shifted from the body's interior to the lab and back again. The regenerated tissue thus ultimately derives from the patient-subjects own biological
resources... “ more »
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