In what is perhaps the most controversial and hotly-debated aspects of science and art. biotechnology has become a prominent topic of issue in the late 20th and 21st centuries. As art and science continue to expand, and expansion of artistic and scientific mediums are inevitable. Drawn to the body through human fixation, the issue of life itself as a valid expressive medium has no clear answer to the questions that surround it. As a society, we are continually shocked by the astounding discoveries of science and the modern expressionism of art.
Eduardo Kac is one of the most noted forerunners of biotechnology as an expressive art form. His GFP bunny, Alba, raises a myriad of questions: how to we equalize the rabbit being both a friendly, cuddly bunny in the light, and a bizarre, glowing science experiment in the dark? How do we define art and morally classify its medium? As Kac states, there is an “ongoing dialogue between professionals of several disciplines (art, science, philosophy, law, communications, literature, social science) and the public on cultural and ethical implications of genetic engineering.” Perhaps this type of art-- the synthesis of biology, technology, and aesthetic awareness-- is the most inclusive of aspects from both sides of the two cultures. Due to the logistical and ethical implications of this type of art-science in a larger society, we are successful in creating an in-depth dialogue through art.
Alba, a GFP rabbit, has been the center of debate over the ethics of art and science.
As stated by Ellen Levy, “Many contemporary artists working in artificial life are aware of its philosophical considerations and have probed its underlying assumptions.” This idea stands true, as exemplified by Kac and other artists working with life and the body as a medium. This form of art is highly influenced by other areas of thought and research; no longer is the artwork a single isolated artifact but rather a compilation of philosophical ideas, scientific questions, and moral reactions.
Biotechnology has come to encompass ideas and issues from all aspects of life.
I was fortunate enough to take a class with Professor Kelty, and so it was a wonderful experience to read his article on outlaw biology. He writes, “Today a young biologist is confronted by a heterogeneous scramble of basic biology, commercially driven research, patent lawyers, bio-ethicists, software engineers and impresarios creating more tests than anyone can interpret, more drugs than anyone needs and more promises than anyone can fulfill.” I find my professor’s words particularly striking as a conclusion to the unit: the future is controlled by my generation’s artists and scientists alike, and each individual is presented with multiple challenges from hundreds of aspects of society. the fusion of art and biotechnology raises moral questions and challenges our understanding of the relationship between art and science, drawing in a new era of exploration and creativity.
Professor Kelty, pictured here, explores the understanding of biology and art as it harbors and uncharted future.
References:
Kac, Eduardo. “GFP Bunny.” Eduardo Kac. 2015. Web. http://www.ekac.org/gfpbunny.html
Kelty, Christopher M. “Meanings of Participation: Outlaw Biology?” Web. http://www.desminopathy.info/pdf/jcom09012010c03.pdf
Levy, Ellen. “Defining Life: Artists Challenge Conventional Classifications.” Web. http://nanobioart.artscicenter.com/hybrid/sites/default/files/Ellen_Levy_BioArt.pdf
Miranda, Carolina A. “Weird Science: Biotechnology as Art Form.” Art News. 18 March 2013. Web. http://www.artnews.com/2013/03/18/biotechnology-as-art-form/
Vensa, Victoria. “Biotechnology and Art part 1.” Youtube. Web. https://www.youtube.com/watch?v=PaThVnA1kyg
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