Are artists and engineers inventing the culture of tomorrow? |
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| Institution: | 1. Department of Philosophy, Rutgers University, Newark, United States;2. Department of Philosophy, Northern Illinois University, United States;1. Department of Philosophy, University of Central Florida, Orlando, FL, United States;2. Cognitive Sciences Program, University of Central Florida, Orlando, FL, United States;3. Department of Psychology, College of the Holy Cross, Worcester, MA, United States;4. Department of Biological Sciences, University of Cincinnati, Cincinnati, OH, United States;5. Center for Cognition, Action, and Perception, Department of Psychology, University of Cincinnati, Cincinnati, OH, United States;1. Department of Radiation Oncology, Fudan University Shanghai Cancer Center, Shanghai, China;2. Department of Thoracic Surgery, Fudan University Shanghai Cancer Center, Shanghai, China;1. Department of Economics, Rochester Institute of Technology, 92 Lomb Memorial Drive, Rochester, NY 14623-5604, USA;2. Department of Economics, University of Texas at San Antonio, One UTSA Circle, San Antonio, TX 78249-0631, USA;1. Biosciences, University Rostock, Albert-Einsteinstraße 3, D-18055 Rostock, Germany;2. Fraunhofer Research Institution for Marine Biotechnology, Paul-Ehrlich Str. 1, D-23562 Lübeck, Germany;3. Instituto de Biologia Marina, Facultad de Ciencias, Universidad Austral de Chile, Casilla 567, Valdivia, Chile;4. Biological Station of Hiddensee, Ernst-Moritz-Arndt University Greifswald, Biologenweg 15, D-18565 Kloster, Germany |
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| Abstract: | The human body represents the ultimate entity through which the world is shaped and interpreted. These days, advances in the field of biotechnology redefine the borders between human beings and their environment; contemporary evolutionary patterns coincide with a technology that have developed detached from any cultural discourse. From an artistic point of view, it is unfortunate that there is little possibility to be responsibly involved in the discourse concerning biotechnology and culture. In fact, this matter concerns our society and its various agents. No longer can it remain solely the realm of engineers whose research, while largely ignoring the broader social ramifications of biotechnology, exerts increasing influence on our daily lives.Given this cultural backdrop, it is not surprising that several artists and designers have critically positioned themselves within the fields of biotechnology and genetic engineering; thus in the late 1980s, a new term, Bioart, evolved: shaped by a complex technology and its appropriation by artists, Bioart engages and examines genetic engineering and its impact on the contemporary cultural environment.This article reflects on these developments and questions the possibility of an artistic practice related to synthetic biology. It bases itself on a project realized by a group of students in the fields of media art and genetic engineering from the Bauhaus University Weimar and the University of Heidelberg called Super Cell, presented at the iGEM competition 2010 at MIT. Furthermore, it draws upon and investigates potentialities for a social and cultural involvement of practitioners on an interdisciplinary level. |
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