| Naslov: | (Bio)umetnost in manipuliranje z živim |
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| Avtorji: | ID Tratnik, Polona (Avtor) |
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| Datoteke: |  http://www.dlib.si/details/URN:NBN:SI:DOC-B9UZBROQ
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| Jezik: | Slovenski jezik |
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| Vrsta gradiva: | Delo ni kategorizirano |
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| Tipologija: | 1.01 - Izvirni znanstveni članek |
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| Organizacija: | UPR - Univerza na Primorskem
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| Opis: | The author argues that the modern project of disenchanting the world through genome discovery has not succeeded, but has rather raised numerous anthropological, sociological and philosophical questions related to the role of biotechnology in contemporary society. Biotechnical discourse has been introduced into the art sphere in the late eighties mostly due to V. Flusser, who suggested the artists to start manipulating living material. Today bioart is one of the key fields of contemporary art. It is defined mostly through manipulation of living material, but also through intervening discourse concerning biotechnology and the questions it raises. This corresponds to a characteristic tendency of contemporary art where an art project represents some sort of a platform for manipulation of information. Thus, art is fundamentally socially, anthropologically and philosophically engaged, it becomes an important sphere of discourse. On one hand art is linked to the experimental, which provides for a certain degree of unpredictability - in this manner it is an expression of the characteristic contemporary perception that there is no such thing as an absolute path towards truth and universal knowledge, since one is always bound to various levels of interpretation and understanding. On the other hand the questioning of existing meanings, values and convictions makes art inclined to manipulation of social or political force, which makes it essentially socially engaged, and results in the production of new meanings and points of view. The author establishes how contemporary philosophical comprehension propels the evolution of bioart. From the initial link to computer culture and genetics, after the year 2000, bioart has focused on direct manipulation of living matter. This is a distinctly interdisciplinary field of art as contemporary bioartistic projects demand the collaboration of specialists from other spheres of activity, mostly scientists. The work itself is performed in laboratory conditions and demands specific biotechnological tools and expertise. Bioart is one of the contemporary socially-representative practices of discourse, intervening current questions arising from the increasing use of biotechnology. The author examines the persistence of certain modern paradigms, the attempts to rationaliye the world, the striving towards totality and the absolute, the progress and the freedom, which are inherent in the contemporary understanding of the role of natural science in society. The tendencies, observable in the use and development of new biotechnological tools and procedures as well as biological knowledge, are demonstrated by the persistency of the purpose to accomplish the modern project of disenchanting the world, while on the other hand it is becoming clear that a project like this is substancially elusive and unfeasible |
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| Ključne besede: | sodobna umetnost, bioumetnost, biotehnologija, interdisciplinarnost, genetika, vlažna dela, moderne paradigme |
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| Založnik: | Centro di ricerche scientifiche della Repubblica di Slovenia |
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| Leto izida: | 2008 |
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| Št. strani: | str. 207-216 |
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| Številčenje: | Letn. 18, št. 1 |
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| PID: | 20.500.12556/RUP-5133  |
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| ISSN: | 1408-5348 |
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| UDK: | 7.038.531:001.89 |
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| COBISS.SI-ID: | 1481939 |
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| Datum objave v RUP: | 10.07.2015 |
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| Število ogledov: | 3719 |
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| Število prenosov: | 54 |
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| Metapodatki: |    |
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