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3. Le corps manipulé

Design des apparences Le corps interfacé Le corps manipulé Le corps branché. 3. Le corps manipulé. Implants Métabolisation de la différence Transgénisme Clonage Biométrie. Shift from description ---- > understanding ---- > manipulation. Genoshop : Photoshop de l’avenir ?

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3. Le corps manipulé

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  1. Design des apparences Le corps interfacé Le corps manipulé Le corps branché 3. Le corps manipulé Implants Métabolisation de la différence Transgénisme Clonage Biométrie Shift fromdescription ---- > understanding ---- > manipulation

  2. Genoshop : Photoshop de l’avenir? StahlStenslie Daniel Lee 1994 Digital C-Print O.K. Harris Works of Art, New York

  3. Joseph Vacanti « A kind of generic framework for artificial organs »

  4. Bioengineering Tissue Culture Aesthetic of the Parts Esthétique du fragment TC & A Oron Catts, Ionat Zurr & Guy Ben-Ary Extra ear Collaboration with Stelarc 2002 - 2003 http://www.tca.uwa.edu.au/extra/extra_ear.html

  5. Nanotechnologies Implant Cyborg «Here we are both the explorer and the explored» G. Stock Eduardo Kac Time Capsule 1997 Sao Paulo

  6. Nanotechnology Cyborg Human reprogramming Fusion between man and his artefacts The invisible Mutations Nancy Nisbet Chip Implants 2001 « I am expecting the merger between human and machines to proceed whether we want it to or not… » http://www.finearts.ubc.ca/faculty/artworks/nisbet/

  7. MOIST MANIFESTO Roy Ascott MOIST SPACE is where dry pixels and wet molecules converge MOIST ART is digitally dry, biologically wet, and spiritually numinous MOIST REALITY combines Virtual Reality with Vegetal Reality MOIST MEDIA comprises bits, atoms, neurons, and genes MOIST MEDIA is interactive and psychoactive MOIST LIFE embraces digital identity and biological being MOIST MIND is technoetic multiconsciousness MOISTWARE erodes the boundary between hardware and wetware MOIST MANUFACTURE is tele-biotic, neuro-constructive, and nano-robotic MOIST ENGINEERING embraces ontology. MOIST DESIGN is bottom-up, seeded and emergent MOIST COMMS are bio-telematic and psi-bernetic MOIST ART is at the edge of the Net

  8. Human conception is shifting from chance to concious design TC&A - Tissue Culture and Art Extra Ear Collaboration with Stelarc 2003

  9. F : Tissue Culture E : Continuité entre le minéral et l’animal The Tissue Culture and Art Worry Dolls Doll H An Installation of Semi Living Worry Dolls inside a bioreactor

  10. Doll A = stands for the worry from Absolute truths, and of the people who think they hold them. Doll B = represents the worry of Biotechnology, and the forces that drive it. (see doll C) Doll C = stands for Capitalism, Corporations Doll D = stands for Demagogy, and possible Destruction. Doll E = stands for Eugenics and the people who think that they are superior enough to practice it. Doll F = is the fear of Fear itself. Doll G = is not a doll as the Genes are present in all semi-living dolls. Doll H = symbolizes our fear of Hope…

  11. Aesthetic of Parts The human-animal cross, from a biomedical perspective, presents new procedures and new risks that can only be assessed in a perspective of a time scale of more than one-generation. 'Tricking' the evolutionary mechanism by surgical and chemical means to suppress the immune system in the organ recipient and introducing pathogens and viruses from another species may result in unrecognized and new virus infections and other clinical syndromes. Also, the cross infections among humans (and their offspring) is unknown. TC & A

  12. Tissue culture Identity as a metabolisation of the environment’s ressources Hubert Duprat Caddis Worm 1983 journals/Leonardo/isast/articles/duprat/duprat.html#3

  13. L’art transgénique est une nouvelle forme d’art basée sur le recours aux techniques de l’ingénierie génétique afin de transférer des gènes synthétiques aux organismes, ou de transférer du matériel génétique naturel d’une espèce à une autre, le tout dans le but de créer des être vivants inédits. L’essence de cette nouvelle forme d’art est définie non seulement par la genèse et la croissance d’une nouvelle plante ou d’un nouvel animal, mais surtout par la nature de la relation entre l’artiste, le public et l’organisme transgénique. Eduardo Kac

  14. Transgenic Art Esthétique de l’expérimentation Eduardo Kac GFP Bunny Green Fluorescent Protein 2000

  15. F : Tissue culture E: Combinaisons illimitées If pigs could fly

  16. F :Bioengénirie Tissue culture E : Contexte procure le sens Transtlantation de l’os du porc

  17. La simulation cellulaire fait la relation entre le in vitro, in vivo et le in silico. J de Rosnay Tissue Culture & Art Project Pig Wings 2002 ConVerge, Adelaide Biennale of Australian Arts Art Gallery of South Australia

  18. Analogie de formes Et de fonctions

  19. The Tissue Culture & Art Project Pig Wings Project Aves Version

  20. Reinhard Nestelbacher Green Ars Electronica 2001

  21. Reinhard Nestelbacher Green Ars Electronica 2001

  22. F : Manipulation génétique E : Altération - Manipulation des apparences Création de nouvelles formes MARTA DE MENEZES Nature ? « Par cette asymétrie, je veux souligner les similitudes et les différences entre le manipulé et le non-manipulé, entre le naturel et le naturel « innovant ». »

  23. Clone Art Environment as part of the innovation process Nathalie Jeremijenko One Tree 1998 Genetically identical microcultured paradox Vlach clones; Californian black walnut hybrid A-life trees for PC desktop; carbon dioxide data collection Yerba Buena Center for the Arts 100 tree seedlings planted in the San Francisco indigo.ie/~circa/c90/ supple/14.html

  24. Nathalie Jeremijenko One Tree

  25. Biometric Technologies Biometrics are best defined as measurable physiological and/or behavioral characteristics that can be utilized to verify the identity of an individual. They include fingerprints, retinal and iris scanning, hand geometry, voice patterns, facial recognition and other techniques.

  26. Shawn Brixey Chimera Obscura 2002 Computer model of telerobotic agent, live streaming video system and topographic thumbprint maze.

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