Lect 16 spaces of bioart

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Lect 16 spaces of bioart

  1. 1. Lecture 17: Spaces of BioartCHID 222: Biofutures, Autumn Quarter 2011Associate Professor Phillip Thurtle, CHID and History
  2. 2. Spaces of Proiphylactic Bioart
  3. 3. Catherine Chalmers 1957-
  4. 4. Rhino
  5. 5. Blind Sterile
  6. 6. Down Syndrome Mouse
  7. 7. Robotic Rat
  8. 8. Rodents, Fluorescent Mouse
  9. 9. Fluorescent Mouse
  10. 10. Fluorescent Mice
  11. 11. Normal and Obese
  12. 12. Spaces of Much Prophylacticbioart Bioart as a critical or imaginative response from one specialized sphere to another Artist as expressive agent Space as inert
  13. 13. Insect Series “Insects are a window into the unimaginable. Their biology and behaviors are routinely bizarre and enigmatic to us – they are refreshingly outside the human perspective. I think that our experience can be enhanced by an attempt to understand and give meaning to other life forms. Yet, is it possible that a human-centric viewpoint is setting the stage for an impoverished environment?”
  14. 14. Leaf Cutters: OfferingsInsect Gift Economies
  15. 15. Leaf Cutters, Offerings, YellowOffering
  16. 16. Pink and Orange Offering
  17. 17. Red and White Flower Offering
  18. 18. American Cockroach
  19. 19. Drinking
  20. 20. Dining
  21. 21. Hiding
  22. 22. Molting
  23. 23. Sex on a bed
  24. 24. Teddy Bear
  25. 25. Safari
  26. 26. Execution SeriesRethinking death and communication
  27. 27. “Death ties us to the roach in a unique way. We kill them – theysurvive. We kill ourselves – they survive. I wanted this body of work,though, to get away from the discussion of specific deaths. So myexecutions were reenacted with already-dead bugs. I have beenraising roaches for years and consequently collecting the dead foryears; their corpses animate this part of the project. The “Execution”series is not about the suffering humans have endured at the handsof humans, but what other species have endured at the hands ofhumans. I do not want, in any way, to diminish the pain and horrorthat we have experienced through the centuries with thesemethods of killing. It is the opposite perspective: not looking in butlooking out across the animal barrier that I am endeavoring toexplore through this work.”
  28. 28. Hanging
  29. 29. Burning at thestake
  30. 30. Gas Chamber
  31. 31. Floating Corpses
  32. 32. Spaces of Vitalist Bioart
  33. 33. Spaces of vitalist Bioart Needs to merge, or fold, scientific and artistic space Space now generative (no longer inert) Allows for change and transformation
  34. 34. Folding spaces Joe Davis (1953-)Pamela Ferdinandwrote, "Davis eschews the artversus scienceargument, insisting that hespeaks both languages andcould not possibly tear thetwo disciplines apart in hisown mind.", The WashingtonPost Monday, November
  35. 35. http://www.joedavisthemovie.com/filmclips.html
  36. 36. Audio Microscope“I found that slightly different acoustic signaturescorresponded to slightly different species ofmicroorganisms. Paramecium multimicronucleatum forinstance, has a slightly different audio signature thanParamecium caudatum. The signatures of a givenspecies however tend to be uniquely distinct to thatspecies. So as it turns out, the two plants of the samespecies must indeed "sing the same song", unlessperhaps the Ecuadorian brujo knows of someexceptional organism unlike those we have observed todate.”
  37. 37. David Dunn
  38. 38. http://www.acousticecology.org/index.html
  39. 39. Communication as vitality Art moves from “expression” into “experimentation” with generative spaces Folds together spaces usually kept separate  These then create new spaces New spaces as new types of connectivities Each new space promotes new forms of life and new types of death

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