[Synapse elist] challanges when doing bio-art works (was: Introducing Kathy High and George Gessert)
Ákos Maróy
darkeye at tyrell.hu
Mon Mar 17 23:36:14 CST 2008
Dear Vicki,
> The discussion to date has certainly raised some meaty (excuse the pun) and
> complex issues. To the non-posters amongst you, please consider entering the
> fray - remembering that short and sharp comments are just as valuable as
> lengthier posts!
Thanks for the encouragement. :)
As for the philosophical context, I pretty much find Jens Hauser's post
quite to the point. OTOH, what I see in this scene is quite similar to
media art, in the sense that the participants are predominantly coming
from an artistic instead of technological background. while it is
understandable that what is accomplished is very exciting, sometimes it
is just a repetition of results that have existed in the scientific
realm for some time.
what I'd really like to see is to apply contemporary biotechnology in a
way so as to create works of art, even applied art - that is, come up
with results that are more than just interesting for the scientifically
unaware, but are advances either in terms of aesthetics or practicality
or both.
> Whilst continuing the to and fro around vitalism, zoe, etc. I would now like
> to introduce a second strand for discussion - specifically, issues relating
> to the exhibition and distribution of bioart works.
Actually I was waiting for this part of the discussion to start. I'm
currently working on a project called bio.display, which aims to create
a dynamic display made of bacteria (for on ongoing report on the
progress and failures, see here: http://biodisplay.tyrell.hu/ )
The main challenges faced so far are about the following:
- it's difficult to get scientists involved with an art project, which
usually does not produce scientific results (publications)
- producing something really new is usually out of scope for a project
length of say 3 months. thus one is stuck with using existing results.
- sustaining any kind of living installation in a museum-like
environment is difficult
- the maintenance requirements for the installation are usually high
- the surrounding legal environment is vague, spurring FUD (Fear,
Uncertainty and Doubt)
I wonder what typical challenges other people have in this regard, and
what kind of solutions / approaches do you come up with to tackle them.
Akos
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