National Centre for Biological Sciences, Bangalore March 10-14 2008
Call for Participants
Srishti School of Art, Design and Technology and the National Centre for Biological Sciences, in collaboration with the Arts Catalyst and SymbioticA, is organising an intensive 5 day workshop for artists and others interested people. It will be led by SymbioticA’s Director Oron Catts and his scientific collaborator Greg Cozens from the University of Western Australia.
This is a hands-on workshop where the tools of modern biology are demonstrated through artistic engagement, which in turn gives voice to the broader philosophical and ethical exploration into the extent of human intervention with other living things. It involves exploration of biological technologies and issues stemming from their use, and serves as a theoretical and practical introduction to the creation of biological art and is aimed at educating artists from India in issues of biotechnology and the life sciences.
The workshop will cover hands-on engagement with these technologies in order to be able to carry out and critique manipulation of living systems from an informed practical perspective. The practical components include DNA extraction and fingerprinting, genetic engineering, plant and animal tissue culture and basic tissue engineering techniques.
The workshop will present work of contemporary artists dealing with biotechnology. Scientists will be involved discussing ethical issues raised by artists’ work in this area and leading visit to NCBS laboratories. At the end of the week, the ideas explored in the workshop will be opened out with a public discussion event at a venue to be announced in Bangalore.
Attendance and Conditions:
Attendance at the workshop will be by selection through open submission or by invitation. The selection will be made by Srishti, SymbioticA, the artist in residence at NCBS, and the Arts Catalyst’s curator, currently in residence at Srishti. Artists are expected to be available and present for the entire week-long workshop, as this is an intensive process of learning and social interaction. Artists should be based in India, or nearby countries in South Asia.
There is no cost to selected participants to attend the workshop, but travel and other expenses will not be covered. Limited accommodation is available at NCBS for artists travelling from outside Bangalore. Subsidised meals will be available for participants at NCBS.
The organisers believes that the effects of the workshop will be felt in the long-term, as the artists, having learned the technology, will start working on their own biotech projects, or at least feel their work is informed by the experience.
About SymbioticA:
SymbioticA is part of The School of Anatomy and Human Biology, Faculty of Life and Physical Sciences, University of Western Australia. SymbioticA is an artistic laboratory dedicated to the research, learning and critique of life sciences. SymbioticA is the first research laboratory of its kind, in that it enables artists to engage in wet biology practices in a biological science department.
SymbioticA sets out to provide a situation where interdisciplinary research and other knowledge and concept generating activities can take place. It provides an opportunity for researchers to pursue curiosity-based explorations free of the demands and constraints associated with the current culture of scientific research while still complying with regulations. SymbioticA also offers a new means of artistic inquiry, one in which artists actively use the tools and technologies of science, not just to comment about them, but also to explore their possibilities.
Please send an expression of interest in attending as an email, including a CV and brief bio, by February 8 2008 at the latest to Meena Vari, Srishti: meena@srishti.ac.in
This workshop has made possible thorough the generous support of part of The School of Anatomy and Human Biology, and Faculty of Life and Physical Sciences, University of Western Australia, NCBS and the Sir Rattan Tata Trust.
One of the questions that’s been nagging at me is if the CEMA lab that we’ve been building is an applied testing ground for Science, Technology and Society (STS) Theory and Practice. Wikipedia describes Science and technology studies (STS) as:
the study of how social, political, and cultural values affect scientific research and technological innovation, and how these in turn affect society, politics, and culture.
My interpretation is surely unidimensional, and I’m sure there are many examples of experimental media arts and technology spaces where critical questions are being addressed. Are there programs that take a specifically empirical approach to the propositions that come from STS and its metaview of science as it is practiced? Many of CEMA’s projects look at how technology and scientific enterprise are embedded in society and politics. Because we specifically implement creative art & design practices in the process, we seek to generate multidimensional perspectives that can further stimulate the ways in which artifacts are designed, situated, and discussed in culture and society. One of these outcomes may be so-called innovation. My curiosity leads me to wonder if the structures that STS identifies can be tested.
A recent article in Design Issues looked at how products and practices are linked under actor-network theory. The authors, Jack Ingram, Elizabeth Shove, and Matthew Watson, suggest that their concepts have the potential to bridge design and social theory. Studying processes of acquisition, specialization, scripting, appropriation, assembly, normalization and practice can lead one to recognize how artifacts, processes, and principles are tightly linked. These linkages may or may not lead to what Malcolm McCullough calls ‘deskilling’ – where individuals and their environment become increasingly estranged as infrastructural bias accumulates.
I suppose this is why I am excited about one of our students’ projects. Prayas Abhinav has created Not Alone, which is more or less the Indian implementation of TXTmob. TXTmob was successfully used during the Democratic and Republican National Conventions for protesters to actively coordinate their movements and demonstrations. One of the interesting questions to come out of this is how the implementation of this very socio-political technology will fare in India. What concerns and questions need to be addressed? I think Prayas is taking an interesting tactic by formulating the distribution of Not Alone as a form of social intervention designed to aid those in need.
What’s interesting to me is how technologies and scientific structures can be compared across landscapes to reveal how large-scale ecosociopolitical trends shape the differences in how technology and science are practiced and interpreted. Shelia Jasanoff took this approach in her book, Design on Nature, when she compared different conceptions for when life “begins” in the US, UK and Germany. By showing how the differing legal and political approaches led to the formation of different definitions of life, she showed how abortion issues reproductive rights are scripted and normalized (my interpretation).
So I’m thinking about all of this because I have long been interested in male-biased infection patterns which are especially prevalent in affluent countries. I started thinking about these patterns and how they might relate to Malcolm’s description of ‘deskilling.’ Are biological relationships like those between host and parasite affected and influenced by infrastructure and artifacts degrading or biasing over time? Is this a ratcheting effect and, if so, is it at all similar to the ratchet effect experienced by asexual populations as they diminish genotypic variation each generation through selection? Do landscape effects like the differences in infrastructure in the U.S. versus India contribute to this? hmmm…
Evidence from language, history and form suggest an analogy between the cinema and the genome. The author describes some of the relationships between cinema and the genome and points to opportunities for discovering unmarked categories within the genome and new methods of representation. This is accomplished by evaluating existing metaphors presented for the understanding of genetics and revealing how current scientific understanding and social concerns suggest a cinematic alternative. The formal principles of function, difference and development mediate discussion and serve as heuristics for investigating creative opportunities.
Make sure you check out the bio catagory at we-make-money-not-art.com They do a nice set of interviews, reviews and other what-nots in the world of contemporary art and biology, particularly in Western Europe.
If Biology seeks to answer the question, “what characteristics of living things?”, then design biology tries to understand how the processes and artifacts of living systems help define design opportunities for humans and other systems.
I’ve adapted this definition based on how Elizabeth Tunstall defines what it means to be a design anthropologist. However, whereas the anthropological approach is more concerned with meaning, I think the design biologist is at least as concerned with function. The reason for this is that there has to be a certain level of integration for living systems to continue to cooperate, behave, or evolve dynamically. Therefore, if we are designing a product, understanding what the consequences of the product’s lifecycle are for humans and other living organisms is crucial if they are going to sustainable. Another tactic is used by the Biomimicry Institute and seeks to incorporate processes and heuristics that exist in nature as for design research and strategy. By asking how a grebe or a spider accomplishes a certain task, we can understand a lot about the world. However, in order to do this, we need to have tools for recognizing patterns and process. Biologists bring these to the table during the design process. The other important skill is empathy. Being able to put oneself in another’s position is so important for recognizing how that solution may or may not work. Studying a leaf provides insight into the plant and may help you identify how your project can be cooperatively integrated into the ecosystem. Wouldn’t that be better than just designing despite the rest of the world? It’s a way cooler challenge.
My friend and colleague Zack Denfeld wrote this piece about the recent announcement of new species in the rainforests of Suriname. He comes from a public policy perspective of sorts and illuminates some of the conflicts underlying these finds. In any case, A SNAIL-EATING SNAKE! Nice.
Ectopia is a laboratory hosting artists from different backgrounds interested in exploring the intersection of art and science. It fosters the development of collaborative projects involving artists and researchers.
Ectopia provides resident artists access to the research being conducted at the Instituto Gulbenkian de Ciência – a leading Portuguese biological research institute. During the residency, the artists are exposed to the research through seminars and informal discussions with the scientists, being encouraged to develop collaborative projects. In addition, the researchers are also exposed to the artists and invited to take advantage of those collaborations in their scientific projects.
The idea of making art with living systems is not new; you might even consider a garden or a goldfish pond to be biological art. What is new is the degree of control over biological systems and materials contemporary technology offers us. Topics on the organism weblog include technical, practical, aesthetic, and ethical issues related to making art with living systems. Artists, scientists, engineers, students, and anyone else with an interest in this area are invited to contribute.
A public conference: Biology and Art: Two Worlds or One? at the The New York Academy of Sciences Apr 14, 2007 – 8:00 AM – 7:00 PM
[New Location] 7 World Trade Center 250 Greenwich Street, 40th floor New York, NY 10007-2157 212.298.8600 Limited seating — Register now! For details see: click here to link to the conference website
We gratefully acknowledge our sponsor: The William A. Haseltine Foundation for Medical Sciences and the Arts
This conference will explore the nature of the science-art interface, the inspiration this interface provides to scientists and artists alike, and the impact of these interactions on art, research and other human endeavors. More specifically, the conference will focus on how biological objects whether viruses, animals, plants, cells, or organelles become an inspiration for certain artists’ work, and how scientists ever so particular about accuracy and specificity respond to such artistic representations.
