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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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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


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Genoshop : Photoshop de l’avenir?

StahlStenslie

Daniel Lee

1994

Digital C-Print

O.K. Harris Works of Art, New York


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Joseph Vacanti

« A kind of generic framework for artificial organs »


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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


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Nanotechnologies Implant

Cyborg

«Here we are both the explorer and the explored»

G. Stock

Eduardo Kac

Time Capsule

1997

Sao Paulo


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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/


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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


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Human conception is

shifting from chance

to concious design

TC&A - Tissue Culture and Art

Extra Ear

Collaboration with Stelarc

2003


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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


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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…


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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


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Tissue culture

Identity as a metabolisation of the

environment’s ressources

Hubert Duprat

Caddis Worm

1983

journals/Leonardo/isast/articles/duprat/duprat.html#3


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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


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Transgenic Art

Esthétique de l’expérimentation

Eduardo Kac

GFP Bunny

Green Fluorescent Protein

2000


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F : Tissue culture

E: Combinaisons illimitées

If pigs could fly


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F :Bioengénirie

Tissue culture

E : Contexte procure le sens

Transtlantation de l’os du porc


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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


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Analogie de formes

Et de fonctions


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The Tissue Culture & Art Project

Pig Wings Project

Aves Version


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Reinhard Nestelbacher

Green

Ars Electronica

2001


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Reinhard Nestelbacher

Green

Ars Electronica

2001


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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 ». »


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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


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Nathalie Jeremijenko

One Tree


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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.


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Shawn Brixey

Chimera Obscura

2002

Computer model of telerobotic agent,

live streaming video system and topographic thumbprint maze.


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