Bio-art?
Does
modernism reappear through the aestheticization of biotechnology?
Some behaviors, such as
wearing navel rings or composing symphonies, are rare or "abnormal"
(i.e., very different from the average), but not "unnatural",
for human nature is our behavioral norm of reaction, which includes
everything that people do. It makes no sense to judge a behavior as
moral or immoral, ethical or unethical, on the basis of whether or
not it is "natural". Douglas J. Futuyma [1]
Futuyma's attempted distinction
between naturality and normality of behaviour may be useful to the
introduction and further studying of a generally common tendency to
fail to differentiate art from decorative tradition- yet, what is of
importance is the concept of novelty after postmodernism and how it
is redefined.
In an effort to delineate an aesthetic theory
established on mathematical models and especially on the Second
Principle of Thermodynamics, where "novelty is an improbable
inversion of the general tendency toward ever-increasing
probability", the German critic Vilem Flusser [3] defines that
"the degree of terror may be taken as a measure of novelty: the
more terrible, the newer." This consists a critic theory based
on the parameter of how we experience art and in the future it may be
established on (the basis of) the Second Principle which, when
applied to a system, indicates the increase of its entropy. According
to this Principle, the energy of a system degenerates as it
transforms (i.e. the kinetic energy turns into heat). The work of
art, therefore, is an open thermodynamic system, which is a state of
constant flux till it comes to the state of balance (where balance is
defined as the final state of the receivers' acquaintance).
Yet,
some works cannot be consumed in an integral way and this is due to
their complexity. Nevertheless, by the moment they appear, they are
inserted into the process of their one-way transposition in time. So,
whether they accepted or over passed, they enter a stage where they
obtain the properties of a closed system. (closed systems: systems
that are able to exchange energy with their environment, i.e. an
artwork exposed in a museum, whereas the open systems can exchange
material as well.)
Modernization has not yet
been accomplished and it is exactly this contemporary transformation
from works that constitute self-enclosed, achronic formations, to
systems where biological time is being assimilated to the biological
base of the work, provides the work with the qualities of
unpredictable, perpetually transformed system where many different
outcomes are possible to arise.
For Taylor, this is point where
theory is inserted: " When artworks are regarded as precious
objects whose value is a matter of speculation, they become little
more than superfluous ornaments. Through a "speculative reversal
that is not dialectical, the struggle to avoid ornament ends by
making the art object itself ornament. "[4] "The struggle
to avoid ornament" is common to most of the revolutionary
artists. From a certain point of view, modernism was considered to be
a response to ornamentalisation. Yet in postmodernism the ornament is
at the end being transformed to a strange kind of an antibiotic
against "personal concerns: art indicates concepts connected to
the psychopathology of the artist...
There are three points to be
noted:
-Most of the relevant to the term Postmodernism activities
imply the unease of the artists to originate prototype works.
-From
a point of view, the artwork has "disappeared" through the
dematerialization caused by digital information.
-Conceptual and
body art have completed the hybrization of the body.
For Futuyma, hybrids are
individuals formed by mating between unlike forms. But there is
another term adopted from evolutionary biology that makes sense: the
hybrid zone," A region in which distinct populations come into
contact and produce at least some offspring of mixed ancestry."
By this way, not only complexity increases, but uncertainty as well;
this is of primal importance in art: a zone where there is no certain
offspring, where morphological and physiological strains are the
product of a specialised technique, a conceptual process. Even from
the times of the ancient Egypt, the sculptor uses specialised
techniques "of excellence "; for the ancient priesthood art
reflected the cosmic order and perfection, "an incarnation of
true beauty".
However, there is a critical
point when we pass from a status where information, up to now served
as an extension or empowering of the body, (mediated environments,
networks) inserts the body in order to reform it in an ontogenetic
manner (DNA manipulation).
This occurs at the time when recent
artistic proposals present a framework where DNA and art issues are
incorporated and re-disposed; consequently, aesthetics expands to
include animal breeding techniques, in vitro organisms and fabricated
landscapes [i.e. terraforming, the Mars colonization].
Vilem
Flusser: "...The world "new" means subjectively any
situation which makes us tremble, because it is unexpected. Thus a
cow with a horse's head (Russel's example) is newer than an ordinary
cow, because it makes us tremble more." In addition, Joe Davis
will refer to the lack of any ordinary cow in nature. He denies"
that there is any dualism at all between what we consider as "nature"
and "monstrosity". In this way, he mentions, all flowers
and fruits are considered to be "monstrosities" by
definition. " A common rose is in fact a monster much the same
as the fictional one Shelly described in "Frankenstein",
yet the rose is
non-fiction.
Vilem Flusser again: "Why is
it that dogs aren't yet blue with red spots, and horses don't yet
radiate phosphorescent colors over the nocturnal shadows of the
land?"
Plato speaks about the imitating of models instead of
the production of true artworks; thus the artwork resembles to the
ideal ["το ιδεατόν"]. All artworks are
resemblances of truth as far as they are resemblances of the
appearance of things. Art represents a decline of perfection. Could
we being artists produce an artwork that lies beyond our interests,
beyond our abilities that have been in a way donated attributed to
us?
Transgenic art-a term examined later- on the other hand, in a
reverse way than the platonic thought, "improves upon nature"
by the same way that a Greek sculptor used sequential reductions over
the natural model. The problem of artistic manipulations upon nature,
of course, is not so simple. For the first time, artefacts
[τεχνήματα] (prosthetic or genetically artificiated), can be
fabricated not only as a result of our social system planning (in the
scientific lab), but also as a result of an artistic imaginative
process.
Art reinvents the artwork
in an "analogue" way.
Fig.1. "GFP Bunny",
Eduardo Kac 2000. Photos Courtesy Julia Friedman Gallery, Chicago
Eduardo Kac presented in Ars
Electronica 99 the first thoughts about transgenic art, " a new
art form based on the use of genetic engineering to transfer natural
or synthetic genes to an organism, to create unique living beings. In
the festival's symposium, the analysis concerned to the production of
a GFP-K9 dog that would carry the fluorescent protein of medusa
"Aequorea
Victoria. The project was finally realised on a
laboratory albino bunny GFP Bunny that was presented in Avinion,
France. GFP Bunny" has to be considered as an animal that has
not been produced through a manipulation process based on human
values by means of usefulness -essentially we may argue that, in
every respect, is a "useless” animal.
Let's return to the
definition of novelty. If we introduce the action of the animal's
construction as an artwork in the Flusser's argument,
- at first,
the artwork is beyond the limits of any kind of habit, beyond common
familiarity.
- it waives its aesthetic quality only the moment it
enters the production and becomes commercialized.
This happens
because a technique or a specialised technology like the one that
produced the artwork is not publicly available. By the time a
transgenic animal will be inserted to a system of commercialised
distribution, its artistic "values" decrease, and it is
conceptually reshaped from a "monstrosity to an expendable,
vulnerable object. On the other hand, lab animals do not retain their
aesthetical qualities. (Fig.2) [6].
Fig.2. Advertisement for
transgenic mice on Science magazine, 7 April 2000.
By theoriticizing the
organism, we move from the images to the concept of life, realising
that transcendal dialectics lead to a transcendal space. The
artistic
material (i.e. an animal line) leads to possible,
alternative structures where reality is "stretched”; more than
the animal itself, the concept of a
fluorescent bunny is not a
second nature, but nature itself.
What is next? Perhaps if we were
at the place where the new is produced, it would never exist...
References
1. Douglas J.
Futuyma, Evolutionary Biology, third edition, Sinauer Associates,
Massachusetts, 1998, page 743.
2. Kounellis Yiannis: "The
tradition of art is not a decorative one; it has its own ethical and
ideological discussion with Francesca Pasini, page 210, Λιμναία
Oδύσσεια, editions Agra, 1990.
3. Arti magazine, volume 17,
Athens 1993.
4. Mark Taylor, "HIDING", Chicago Press,
1997, page 107.
5. Eric Alliez and Michel Feher, Reflections of a
Soul, Fragments for the history of the human body, Zone Press
6.
Does novelty in art appears out of the pop tradition; see Kounellis
Yiannis, Λιμναία Oδύσσεια, editions Agra , 1990. Also,
about the concept of 'shock' as a for the novelty of an artwork, see
Yiannis Xenakis, Texts about music and Architecture, editions
Ψυχογιός, Athens 2001,pages 166-168
Athens, August
01
Melanitis Yiannis is an artist (MA on DigitalArt) working on
interactive performances and has presented works in Europe, N.York
and Mexico City. He writes for Futura magazine and
artzine-journal.com.
URL: www.geocities.com/melanitis2001, e-mail:
melanitis@hotmail.com.