Bioart is a form of hybrid artistico-scientific practices in contemporary art that involve the use of bio-materials (such as living cells, tissues, organisms) and scientific techniques, protocols, and tools. Bioart-works embody vulnerability (intrinsic to all beings) and depend on (bio)technologies that allow these creations to come into being, endure and flourish but also discipline them. This article focuses on ‘semi-living’ sculptures by The Tissue Culture and Art Project (TC&A). TC&A’s artworks consist of bioengineered mammal tissues grown over biopolymer scaffoldings of (...) different shapes and require sterile conditions of a bioreactor and constant care in order to survive. The article explores how bioart-works are always already intertwined with multiple (bio)technologies and techniques of care and labour, forming specific feminist technoecologies that challenge conventional bioscientific and cultural imaginaries of embodiment and the relation between physis and techné. TC&A’s sculptures expose life as the non/living: the processual enmeshment of the organic and inorganic, living and non-living, and growth and decay. The article argues that thinking with and through the feminist technoecologies of bioart mobilises philosophical inventiveness: not only does it problematise the entwinement of technology and biomatter and of culture and nature, but it also prompts us to rethink the ontology of life. (shrink)

This article examines the role of the alien as the ultimate outsider and considers the challenges it poses to feminist theory. I argue that these challenges are based on the need to continue developing an ethics of relationality in which neither love nor relationality itself is deemed to be the answer; on rethinking agency and ontology in terms of becoming and the limitations of becoming; on a critique of representationalism which limits us to figuring the alien in rather than as (...) feminist theory and thereby invokes the archetypal story in which alien and human, monster and human switch sides; and finally on reconsidering modes of communication that resonate with their theme and emphasise the performativity, conceptual risk taking and creativity that might enable feminist theory itself to become alien again. (shrink)

This article compares notes on different and new concepts of ‘the Human’, developed both within disciplinary and interdisciplinary academic scientific research and in broader social practices. The main focus is on the shifting relationship between the ‘two cultures’ of the humanities and science in the light of contemporary developments, such as the sophisticated forms of interdisciplinary research that have emerged in the fields of biotechnologies, neural sciences, environmental and climate change research and Information and Communication technologies. These rapid changes affect (...) the very definitions of the human and of human evolution. The question is how and to what extent they have an impact on both the practice of the humanities and on their self-representation. Is humanism challenged or strengthened by these developments? To what extent is anthropocentrism called to task by what is becoming known as posthuman theory? (shrink)

In the contemporary context of environmental crises and the degradation of resources, certain habitats become unliveable, leading to the death of individuals and species extinction. Whilst bioscience emphasises interdependency and relationality as crucial characteristics of life shared by all organisms, Western cultural imaginaries tend to draw a thick dividing line between humans and nonhumans, particularly evident in the context of death. On the one hand, death appears as a process common to all forms of life; on the other, as an (...) event that distinguishes human from other organisms. Against this background, this article explores how contemporary art—in particular, the series of works The Absence of Alice by Australian new-media and bioartist Svenja Kratz—challenges the normative and human-exceptionalist concept of death. By employing queerfeminist biophilosophy as a strategy that focuses on relations, processes and transformations instead of ‘essences’, the article examines the ways Kratz’s works deterritorialise the conventional concept of death. In this way, it hopes to attend to the intimacies between materialities of a human and nonhuman kind that form part of the processes of death and dying, and what follows, to reframe ethico-ontology of death as material and processual ecologies of the non/living. (shrink)

Our technological lifeworld has become an info-computational media populated by data and algorithms, an artificial environment for life and shared experiences. In this chapter, I tried to sketch three new assumptions for bioethics – it is hardly possible to substantiate ethical guidelines or an idea of normativity in an aprioristic manner; moral status is a function of data entities, not something solely human; agency is plural and thus is shared or sometimes delegated – in order to chart a proposal for (...) a posthuman bioethics. Posthuman is perhaps not the best expression available, but it covers the idea of a shift from a world centered on self-contained and exclusively human agency to a more comprehensive and relational way of thinking. The “posthuman” label should be understood as a rebuttal of biocentrism and anthropocentrism by moving closer to conceptions we encounter in population ethics or in discourse about biosocial and technical systems. Posthuman bioethics is “environmentalist” without losing the humanistic stance. The question regarding how suitable an infocentric bioethics is in practice remains to be settled. The moral principles in bioethics could be reconceived as relying on these new assumptions, in a postindividualistic manner that accepts formal primacy of causal digital artifacts in affording actions in a world of ambient algorithmic intelligence. (shrink)

Volume 31, Issue 1, December 2020, Page 13-28.

This paper develops a fourth model of public engagement with science, grounded in the principle of nurturing scientific agency through participatory bioethics. It argues that social media is an effective device through which to enable such engagement, as it has the capacity to empower users and transforms audiences into co-producers of knowledge, rather than consumers of content. Social media also fosters greater engagement with the political and legal implications of science, thus promoting the value of scientific citizenship. This argument is (...) explored by considering the case of nanoscience and nanotechnology, as an exemplar for how emerging technologies may be handled by the scientific community and science policymakers. (shrink)

Bioethics influences public policy, scientific research, and clinical practice. Thinkers in Continental traditions have increasingly contributed scholarship to this field, and their approaches allow new insights and alternative normative guidance. In this essay, examples of the following Continental approaches in bioethics are presented and considered: phenomenology and existentialism; deconstruction; Foucauldian methodologies; and biopolitical analyses. Also highlighted are Continental feminisms and the philosophy of disability. Continental approaches are importantly diverse, but those I focus upon here reveal embedded models of individualized autonomy (...) in medical discourses and encourage awareness of medicine's normalizing edges, thereby drawing attention to lacunae in traditional bioethical frameworks. (shrink)

Since 2008, we witness the emergence of the Do-It-Yourself Biology movement, a global movement spreading the use of biotechnology beyond traditional academic and industrial institutions and into the lay public. Practitioners include a broad mix of amateurs, enthusiasts, students, and trained scientists. At this moment, the movement counts nearly 50 local groups, mostly in America and Europe, but also increasingly in Asia. Do-It-Yourself Bio represents a direct translation of hacking culture and practicesfrom the realm of computers and software into the (...) realm of genes and cells. Although the movement is still in its infancy, and it is even unclear whether it will ever reach maturity, the contours of a new paradigm of knowledge production are already becoming visible. We will subsequently sketch the economic, the epistemological and the ethical profile of Do-It-Yourself Bio, and discuss its implications and also its ambivalences. (shrink)

Since 2008, we witness the emergence of the Do-It-Yourself Biology movement, a global movement spreading the use of biotechnology beyond traditional academic and industrial institutions and into the lay public. Practitioners include a broad mix of amateurs, enthusiasts, students, and trained scientists. At this moment, the movement counts nearly 50 local groups, mostly in America and Europe, but also increasingly in Asia. Do-It-Yourself Bio represents a direct translation of hacking culture and practicesfrom the realm of computers and software into the (...) realm of genes and cells. Although the movement is still in its infancy, and it is even unclear whether it will ever reach maturity, the contours of a new paradigm of knowledge production are already becoming visible. We will subsequently sketch the economic, the epistemological and the ethical profile of Do-It-Yourself Bio, and discuss its implications and also its ambivalences. (shrink)

Living artworks created with biotechnology raise a range of ethical questions, some of which are unprecedented, others well known from other contexts. These questions are often discussed within the framework of bioethics, the ethics of the life sciences. The basic concern of institutionalised bioethics is to develop and implement ethical guidelines for ethically responsible handling of living material in technological and scientific contexts. Notably, discussions of ethical issues in bioart do not refer to existing discourses on art and morality from (...) the field of aesthetics. The latter framework is primarily concerned with how the moral value of an artwork affects its artistic value. The author argues that a successful integration of these two frameworks will make possible an ethics of bioart that is adequate to its subject matter and relevant for practice. Such an integrated approach can give increased depth to understandings of ethical issues in bioart, inspire new ways of thinking about ethics in relation to art in general and give novel impulses to bioethics and technology assessment. Artworks by the Tissue Culture and Art Project and their reception serve as the empirical starting point for connecting perspectives in art with those of bioethics, developing an ethics for bioart. The author suggests that consideration of the effect of these artworks is vital in validating ethically problematical applications of biotechnology for art. It is argued that the affective, visceral qualities of living artworks may spur the audience to adjust, revise or develop their personal ethical framework. (shrink)

This paper describes and discusses overlapping interests and concerns of art and bioethics and suggests that bioethics would benefit from opening to contributions from the arts. There is a description of recent events in bioethics that have included art, and trends in art that relate to bioethics. The paper outlines art exhibits and performances within two major international bioethics congress programs alongside a discussion of the work of leading hybrid and bio artists who experiment with material (including their own bodies) (...) at the ambiguous intersections between art, bio art and bioethics. Their work seeks to engage audiences in challenging ethical precepts and assumptions about life and existence. We consider the response of art and social theorists and compare these with the responses of bioethicists to comparable cases in bioethics. We note divergent views within the arts and within bioethics in relation to some pivotal questions including questions about what limits, if any, can apply in particular cases and on what basis. This approach allows for a transfer of information and perspectives, challenges assumptions in both art and bioethics and opens up a space for future exchange and dialogue along the shifting borders between these genres. (shrink)

In recent years ‘bioart’ has been lauded in the social sciences for its creative engagements with the ontological stakes of new forms of biotechnical life in-the-making. In this paper I push further to explore the ontogenetic potentials of bioart-encounters to generate new capacities for thinking and perceiving the nonhuman agencies imbricated in the becoming of subjects. To explore this potential I stage an encounter with Gilbert Simondon’s philosophy of individuation, highlighting three implications for theorizations of the constitution and transformation of (...) subjects. First, Simondon forces us to rethink the subject in terms of its transductive emergence from pre-individual processes, and its metastable susceptibility to ongoing transformations. Second, he substitutes voluntarist conceptions of thought with an involuntarist primacy of material encounters as the conditions for novel individuations. Finally, I argue that Simondon enables a thinking of the politics of the art-encounter in terms of its ontogenetic capacity to materially produce, rather than merely represent, new subjects and worlds. (shrink)