Evolution has gotten us this far. Design may take it from here. Aimed at raising awareness about genetic engineering, biotechnologies, and their consequences through the lens of art and design, Art's Work in the Age of Biotechnology: Shaping Our Genetic Futures is an art-science exhibition curated by Hannah Star Rogers and organized by the NC State University Libraries and the Genetic Engineering and Society Center, and shown at the Gregg Museum of Art & Design, in the physical and digital display spaces of the Libraries, and on the grounds of the North Carolina Museum of Art. By combining science and art and design, artists offer new insights about genetic engineering by bringing it out of the lab and into public places to challenge viewers' understandings about the human condition, the material of our bodies, and the consequences of biotechnology. Exhibition participants include Kirsten Stolle, Paul Vanouse, Adam Zaretsky, Joe Davis, Emilia Tikka, Emeka Ikebude, Jennifer Willet, Charlotte Jarvis, Maria McKinney, Ciara Redmond, Aaron Ellison, David Buckley Borden, Joel Ong, and others.
Art, the Life Sciences, and the Humanities: In Search ofa Relationship Robert Ztuijnenberg Over the last decades there has been a distinctive effort in the arts to engage with science through participation in the actual practice of science. ' Exchange proj ects between artists and scientists, such as artist-in-lab projects, have become common and a large number oforganizations have emerged that stimulate and initiate collaboration between artists andscientists. ' Research funding organiza tions in thehumanities,such asthe British Arts and Humanities Research Coun cil (AHRC) and the Netherlands Organisation for Scientific Research (NWO), have also initiated all sorts of research programs that explore and support inter actions between art and science. ' Asa result, artists have grown more involved with scientific concerns and practices, and their increased interactions with scientists have also become a subject of study within the humanities. Why do artists openly seek to gain access to the domain of the sciences? And why do scholars in the humanities value collaboration between artists and scientists so much that theyare willing to spend research time and money on it? This interest in science, I argue in this preface for Ingeborg Reichle's bookArt in theAge of Tecbnoscience,' underscores that the arts and the humanities are searching to establish a new relationship with the natural sciences as well as with each other. Art and Science T he relationship between thearts and thesciences hasbeen subject to permanent change over the past two centuries.
Art and science work is experiencing a dramatic rise coincident with burgeoning Science and Technology Studies (STS) interest in this area. Science has played the role of muse for the arts, inspiring imaginative reconfigurations of scientific themes and exploring their cultural resonance. Conversely, the arts are often deployed in the service of science communication, illustration, and popularization. STS scholars have sought to resist the instrumentalization of the arts by the sciences, emphasizing studies of theories and practices across disciplines and the distinctive and complementary contributions of each. The manifestation of this commonality of creative and epistemic practices is the emergence of Art, Science, and Technology Studies (ASTS) as the interdisciplinary exploration of art–science. This handbook defines the modes, practices, crucial literature, and research interests of this emerging field. It explores the questions, methodologies, and theoretical implications of scholarship and practice that arise at the intersection of art and STS. Further, ASTS demonstrates how the arts are intervening in STS. Drawing on methods and concepts derived from STS and allied fields including visual studies, performance studies, design studies, science communication, and aesthetics and the knowledge of practicing artists and curators, ASTS is predicated on the capacity to see both art and science as constructions of human knowledge- making. Accordingly, it posits a new analytical vernacular, enabling new ways of seeing, understanding, and thinking critically about the world. This handbook provides scholars and practitioners already familiar with the themes and tensions of art–science with a means of connecting across disciplines. It proposes organizing principles for thinking about art–science across the sciences, social sciences, humanities, and arts. Encounters with art and science become meaningful in relation to practices and materials manifest as perceptual habits, background knowledge, and cultural norms. As the chapters in this handbook demonstrate, a variety of STS tools can be brought to bear on art–science so that systematic research can be conducted on this unique set of knowledge-making practices.
How does one make decisions today about in vitro fertilization, abortion, egg freezing, surrogacy, and other matters of reproduction? This book provides the intellectual and emotional intelligence to help individuals make informed choices amid misinformation and competing claims. Scott Gilbert and Clara Pinto-Correia speak to the couple trying to become pregnant, the woman contemplating an abortion, and the student searching for sound information about human sex and reproduction. Their book is an enlightening read for men as well as for women, describing in clear terms how babies come into existence through both natural and assisted reproductive pathways. They update “the talk” for the twenty-first century: the birds, the bees, and the Petri dishes. Fear, Wonder, and Science in the New Age of Reproductive Biotechnology first covers the most recent and well-grounded scientific conclusions about fertilization and early human embryology. It then discusses the reasons why some of the major forms of assisted reproductive technologies were invented, how they are used, and what they can and cannot accomplish. Most important, the authors explore the emotional side of using these technologies, focusing on those who have emptied their emotions and bank accounts in a valiant effort to conceive a child. This work of science and human biology is informed by a moral concern for our common humanity.
A visually striking, authoritative survey of the crossover between art and biotechnology by an expert in the field In an era of fast-paced technological progress and with the impact of humans on the environment increasing, the concept of “nature” itself seems called into question. Bio Art explores the work of “bio artists,” those who work with living organisms and life processes to address the possibilities and dangers posed by biotechnological advancement. A contextual introduction traces the roots of bio artistic practice, followed by four thematic chapters: Altering Nature, Experimental Identity and Mediums, Visualizing Scale and Scope, and Redefining Life. The chapters cover the key areas in which biotechnology has had an impact on today’s world, including ecology, biomedicine, designer genomes, and changing approaches to evolutionary theory, and include profiles of the work of sixty artists, collectives, and organizations from around the world. Interviews with eight leading bio artists and technologists provide deeper insight into the ideas and methods of this new breed of creative practitioners.
A new approach to writing culture has arrived: multispecies ethnography. Plants, animals, fungi, and microbes appear alongside humans in this singular book about natural and cultural history. Anthropologists have collaborated with artists and biological scientists to illuminate how diverse organisms are entangled in political, economic, and cultural systems. Contributions from influential writers and scholars, such as Dorion Sagan, Karen Barad, Donna Haraway, and Anna Lowenhaupt Tsing, are featured along with essays by emergent artists and cultural anthropologists. Delectable mushrooms flourishing in the aftermath of ecological disaster, microbial cultures enlivening the politics and value of food, and nascent life forms running wild in the age of biotechnology all figure in this curated collection of essays and artifacts. Recipes provide instructions on how to cook acorn mush, make cheese out of human milk, and enliven forests after they have been clear-cut. The Multispecies Salon investigates messianic dreams, environmental nightmares, and modest sites of biocultural hope. For additional materials see the companion website: www.multispecies-salon.org/ Contributors. Karen Barad, Caitlin Berrigan, Karin Bolender, Maria Brodine, Brandon Costelloe-Kuehn, David S. Edmunds, Christine Hamilton, Donna J. Haraway, Stefan Helmreich, Angela James, Lindsay Kelley, Eben Kirksey, Linda Noel, Heather Paxson, Nathan Rich, Anna Rodriguez, Dorion Sagan, Craig Schuetze, Nicholas Shapiro, Miriam Simun, Kim TallBear, Anna Lowenhaupt Tsing
In recent years much has happened to justify an examination of biological research in light of national security concerns. The destructive application of biotechnology research includes activities such as spreading common pathogens or transforming them into even more lethal forms. Policymakers and the scientific community at large must put forth a vigorous and immediate response to this challenge. This new book by the National Research Council recommends that the government expand existing regulations and rely on self-governance by scientists rather than adopt intrusive new policies. One key recommendation of the report is that the government should not attempt to regulate scientific publishing but should trust scientists and journals to screen their papers for security risks, a task some journals have already taken up. With biological information and tools widely distributed, regulating only U.S. researchers would have little effect. A new International Forum on Biosecurity should encourage the adoption of similar measures around the world. Seven types of risky studies would require approval by the Institutional Biosafety Committees that already oversee recombinant DNA research at some 400 U.S. institutions. These "experiments of concern" include making an infectious agent more lethal and rendering vaccines powerless.
A comprehensive overview of the new business context for biopharma companies, featuring numerous case studies and state-of-the-art marketing models Biotechnology has developed into a key innovation driver especially in the field of human healthcare. But as the biopharma industry continues to grow and expand its reach, development costs are colliding with aging demographics and cost-containment policies of private and public payers. Concurrently, the development and increased affordability of sophisticated digital technologies has fundamentally altered many industries including healthcare. The arrival of new information technology (infotech) companies on the healthcare scene presents both opportunities and challenges for the biopharma business model. To capitalize on new digital technologies from R&D through commercialization requires industry leaders to adopt new business models, develop new digital and data capabilities, and partner with innovators and payers worldwide. Written by two experts, both of whom have had decades of experience in the field, this book provides a comprehensive overview of the new business context and marketing models for biotech companies. Informed by extensive input by senior biotech executives and leading consultancies serving the industry, it analyzes the strategies and key success factors for the financing, development, and commercialization of novel therapeutic products, including strategies for engagement with patients, physicians and healthcare payers. Throughout case studies provide researchers, corporate marketers, senior managers, consultants, financial analysts, and other professionals involved in the biotech sector with insights, ideas, and models. JACQUALYN FOUSE, PhD, RETIRED PRESIDENT AND CHIEF OPERATING OFFICER, CELGENE “Biotech companies have long been innovators, using the latest technologies to enable cutting edge science to help patients with serious diseases. This book is essential to help biotech firms understand how they can–and must–apply the newest technologies including disruptive ones, alongside science, to innovate and bring new value to the healthcare system.” BRUCE DARROW, MD, PhD, CHIEF MEDICAL INFORMATION OFFICER, MOUNT SINAI HEALTH SYSTEM “Simon and Giovannetti have written an essential user’s manual explaining the complicated interplay of the patients who deserve cutting-edge medical care, the biotechnology companies (big and small) creating the breakthroughs, and the healthcare organizations and clinicians who bridge those worlds.” EMMANUEL BLIN, FORMER CHIEF STRATEGY OFFICER AND SENIOR VICE PRESIDENT, BRISTOL-MYERS SQUIBB “If you want to know where biopharma is going, read this book! Our industry is facing unprecedented opportunities driven by major scientific breakthroughs, while transforming itself to address accelerated landscape changes driven by digital revolutions and the emergence of value-based healthcare worldwide. In this ever-changing context, we all need to focus everything we do on the patients. They are why we exist as an industry, and this is ultimately what this insightful essay is really about.” JOHN MARAGANORE, PRESIDENT AND CHIEF EXECUTIVE OFFICER, ALNYLAM PHARMACEUTICALS “Since the mapping of the human genome was completed nearly 15 years ago, the biotechnology industry has led the rapid translation of raw science to today’s innovative medicines. However, the work does not stop in the lab. Delivering these novel medicines to patients is a complex and multifaceted process, which is elegantly described in this new book.”
"Eduardo Kac's work represents a turning point. What it questions is our current attitudes to creativity, taking that word in its most fundamental sense." -Edward Lucie-Smith, author of Visual Arts in the 20th Century "His works introduce a vital new meaning into what had been known as the creative process while at the same time investing the notion of the artist-inventor with an original social and ethical responsibility." -Frank Popper, author of Origins and Development of Kinetic Art "Kac's radical approach to the creation and presentation of the body as a wet host for artificial memory and 'site-specific' work raises a variety of important questions that range from the status of memory in digital culture to the ethical dilemmas we are facing in the age of bioengineering and tracking technology." -Christiane Paul, Whitney Museum of Art For nearly two decades Eduardo Kac has been at the cutting edge of media art, first inventing early online artworks for the web and continuously developing new art forms that involve telecommunications and robotics as a new platform for art. Interest in telepresence, also known as telerobotics, exploded in the 1990s, and remains an important development in media art. Since that time, Kac has increasingly moved into the fields of biology and biotechnology. Telepresence and Bio Art is the first book to document the evolution of bio art and the aesthetic development of Kac, the creator of the "artist's gene" as well as the controversial glow-in-the-dark, genetically engineered rabbit Alba. Kac covers a broad range of topics within media art, including telecommunications media, interactive systems and the Internet, telematics and robotics, and the contact between electronic art and biotechnology. Addressing emerging and complex topics, this book will be essential reading for anyone interested in contemporary art.
