The blade and the claw: science, art and the creation of the lab-borne monster
The blade and the claw: science, art and the creation of the lab-borne monster
复制标题
刀刃与利爪：科学、艺术与实验室怪物的创造
DOI：
10.1080/14649360802292488
复制
发表时间：
2008
影响因子：
2.5
通讯作者：
D. Dixon
中科院分区：
文献类型：
--
作者：
D. Dixon
在这里，我概述了一些恐惧，以及一些欲望，与实验室里的怪物有关，这些怪物在批判生物艺术的新兴类型中得到了体现。我以一个最近的装置作品《Disembodied Cuisine》作为讨论的基础，首先着眼于生物技术本身的嵌合特征，以及科学与艺术密切合作的混合实践和产物。然后，我借此机会探讨了批判性生物艺术的部分生命形式——被认为是存在于实验室和展览、生与死、有机体和机器、主体和客体之间的“湿件”的物质产品——如何在多个层面上表达怪物的概念。作为设计师的生活形式，他们受到灵感的启发，同时也反思了他们“自然”构思的兄弟姐妹：他们展示了各种技术的不断增长的能力，将材料重新组合成新的组合和组合，同时他们的美学也令人烦恼和兴奋。作为代用的符号，它们是创造它们的时间和地点的产物，但也预示着即将发生的事情。而且，作为复制对象，他们注定要被实验、观察和评估，为我们提供一个“活实验室”，通过这个实验室，我们更多地了解自己的弱点和能力。最后，我对这些危险的野兽的政治意义进行了明确的思考，尽管它们未能逃脱以财产为基础的社会的束缚，但它们却表现出一种本能的审美，拒绝更多相同的东西。
Here I outline some of the fears, as well as some of the desires, associated with the lab-borne monster as manifest in the emergent genre of critical BioArt. Using a recent installation on Disembodied Cuisine to ground my discussion, I look first to the chimeric character of biotechnology per se, as well as the hybridised practices and products of this close collaboration between Science and Art. I then take the opportunity to explore how the partial life-forms of a critical BioArt—conceived of as the material products of a ‘wetware’ that exists on the borders of the laboratory and the exhibition, life and death, organism and machine, subject and object—speak to the notion of monstrosity on a number of levels. As designer life forms they are inspired by, but also reflect upon, their ‘naturally’ conceived siblings: they illustrate the increasing capacity of various technologies to re-order materials into new combinations and assemblages, while their aesthetics trouble and excite. As ersatz sybillines they are a product of the time and place within which they are created, but are also portents of what is to come. And, as replicant subjects, they are destined to be experimented upon, observed and assessed, providing us a ‘living laboratory’ through which we learn ever more about our own frailties and capabilities. I conclude with an explicit consideration of the political import of these perilous beasts which, though they fail to escape the strictures of a property-based society, yet enact a visceral aesthetic that refuses more of the same.