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Art in the biotech era /

by Pandilovski, Melentie; Experimental Art Foundation (Adelaide, S. Aust.); (23rd : Adelaide Festival of Arts 2004).
Type: materialTypeLabelBookDescription: 231 pages : color illustrations ; 21 cm.ISBN: 0949836524; 9780949836526.Subject(s): Art, Modern | Art and technology | Art and science | Biotechnology | Art, Modern -- 21st century | Fine arts (Australia)
Contents:
Unverifiable claims in genetic art / George Gessert -- Bioaesthetics as bioethics / Anna Munster -- Life-resistance and tactical media / Eugene Thacker -- The spectacle of public health under the sign of bioterror / Critical Art Ensemble -- i-BPE strategy text: sketches towards deep harmonization / Diane Ludin -- Humancraft / Gina Czarnecki -- Certain things which lie within the class of what is frightening / Michalis Pichler -- The role of the scientist and science in bio-art / Stuart Bunt -- Moistmedia art: when the jaguar lies down with the lamb / Roy Ascott -- Inspiration (inspirit-us) / Liljana Simjanovska -- Noncode code / André Brodyk -- On the work of Marta De Menezes / Miguel Amado -- Verisimilitude: biotechnology and ancient Greek narrative / Niki Sperou -- Lucky / Raewyn Turner -- By-products, accidents and collaboration in between blue skies and dirty cracks / Mike Stubbs -- AGALMA / Zoran Todorović -- Joe Davis on art, biology and the body politic / Joe Davis -- pFARM / Adam Zaretsky -- CHOOSE LIFE: R.I.G. (rest in G.L.A.C.K.) / Tanya Visosević -- Life transformation: art mutation / Eduardo Kac -- Journeys to the other side of the navel / Boo Chapple -- The art of the semi-living and partial life: extra ear, 1/4 scale / Oron Catts, Ionat Zurr -- Transient patchiness: the slippery territories of groWorld / FOAM: Maja Kuzmanovic, Nik Gaffney -- Recombinant I-Ching / Recombinant I-Ching Collective.
Summary: How do we arrive at a definition of this new art form that utilizes the merging of genetics, art and information technologies, and which has been augmented in its means and accented in its direction through this 'interdisciplinary' interaction? List(s) this item appears in: Art History & Theory 2.2
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"Adelaide Bank 2004 Festival of Arts"--T.p verso.

Unverifiable claims in genetic art / George Gessert -- Bioaesthetics as bioethics / Anna Munster -- Life-resistance and tactical media / Eugene Thacker -- The spectacle of public health under the sign of bioterror / Critical Art Ensemble -- i-BPE strategy text: sketches towards deep harmonization / Diane Ludin -- Humancraft / Gina Czarnecki -- Certain things which lie within the class of what is frightening / Michalis Pichler -- The role of the scientist and science in bio-art / Stuart Bunt -- Moistmedia art: when the jaguar lies down with the lamb / Roy Ascott -- Inspiration (inspirit-us) / Liljana Simjanovska -- Noncode code / André Brodyk -- On the work of Marta De Menezes / Miguel Amado -- Verisimilitude: biotechnology and ancient Greek narrative / Niki Sperou -- Lucky / Raewyn Turner -- By-products, accidents and collaboration in between blue skies and dirty cracks / Mike Stubbs -- AGALMA / Zoran Todorović -- Joe Davis on art, biology and the body politic / Joe Davis -- pFARM / Adam Zaretsky -- CHOOSE LIFE: R.I.G. (rest in G.L.A.C.K.) / Tanya Visosević -- Life transformation: art mutation / Eduardo Kac -- Journeys to the other side of the navel / Boo Chapple -- The art of the semi-living and partial life: extra ear, 1/4 scale / Oron Catts, Ionat Zurr -- Transient patchiness: the slippery territories of groWorld / FOAM: Maja Kuzmanovic, Nik Gaffney -- Recombinant I-Ching / Recombinant I-Ching Collective.

How do we arrive at a definition of this new art form that utilizes the merging of genetics, art and information technologies, and which has been augmented in its means and accented in its direction through this 'interdisciplinary' interaction?

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