Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science as they (...) do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

Biological accounts of art typically start with evolutionary, psychological or neurobiological theories. These approaches might be able to explain many of the similarities we see in art behaviors within and across human populations, but they don't obviously explain the differences we also see. Nor do they give us guidance on how we should engage with art, or the conceptual basis for art. A more comprehensive framework, based also on the ecology of art and how art behaviors get expressed in engineered (...) niches, can help us better understand the full range of art behaviors, their normativity and conceptual basis. (shrink)

This article explores projects of art and biology as joyful acts of insurrection. It presents critical and creative perspectives to generate alternative structures of subjec-tivity. These alternative structures gain relevance when intersectional variables of privilege and discrimination as political tools are set in crisis by a postanthropocen-tric awareness. The thesis of this article is that in order to understand and develop postanthropocentric intersectional positions, the microbial posthuman joins thecartographies of the posthuman as a material possibility from microscopic biologicalmatter and (...) philosophical and artistic thought. This microbial posthuman also allows for a reframing in the light of microbiopolitics, a redistribution of pain, life and deathwithin a broader notion of life. (shrink)

In this beautiful meditation on the history of art and the problem of style, Henri Focillon describes how art forms change over time. Although he argues that the development of art is reducible to external political, social, or economic determinants, one of his great achievements was to lodge a concept of autonomous and organic artistic creation within the shifting domain of materials and techniques. Focillon emphasizes the universal presence of contradictory tendencies that give all styles manifold, stratified character.The Life of (...) Forms remains one of the most brilliant and important applications of biological metaphors to the study of art. It has been superbly translated by Yale art historian George Kubler, whose book The Shape of Time was strongly influenced by Focillon. (shrink)

As the title of this article suggests, the concept of the interface needs to be revisited in the context of biological media in order to infer some implications for the post-biological culture. A direct comparison of our media culture to the environmental notion of the media and the natural partitioning of the media by biological membranes becomes possible if we expand on the notions of media and interfaces in our technologically conditioned realities. The question of periphery and permeability of a (...) biological membrane will be addressed in the context of the theory of aesthetics. Although at first glance we are dealing only with subtle changes in the degree of permeability of an interface, suddenly selectiveness in permeability arises, and though an interface is considered simply peripheral, at a slight touch with an opposing media its role swiftly becomes central. Taking into account the functioning of a biological membrane, a remarkably resourceful technology, associations stem from the culture on the cellular level to the culture of human society, where the human being should not be limited to the concept of self, but operatively diffused into collective awareness. The technologies that we develop, and the media we employ and inhabit always meet at an interface. But there is more to the face-to-face meeting of media than a mere inert surface. Such a surface as a membrane is not abstractly thin but more like ‘infrathin’ – the term invented by the artist Marcel Duchamp. What happens at such confrontation of media of different kinds, of incomparable qualities, will be further discussed in the article. The dynamics of permeability at the periphery adjust the tension between heterogeneous qualities of the media to allow for coexistence, even for the emergence of new meanings. This heterogeneity can be experienced only within the interface, and therefore an inner view is proposed instead of a view from above, an inner view that prevents reduction of processes to commensurable, quantifiable objects. Since interface occurs at every interaction with the world, as explained in the theory of endophysics by biochemist Otto E. Rössler, we have to be aware of the problematics of this phenomenon, and we must rethink its potential. The interface is at the same time an opportunity, the interval we are given, where our drive to act is suppressed and our will to speculate prevails. By contemplating intricate biological solutions, this article hopes to further encourage the turn towards post-biological evolution of our awareness. (shrink)

A psychoanalytic psychology and art of unconscious emotion -- An inward turn : Vienna 1900 -- Exploring the truths hidden beneath the surface : origins of a scientific medicine -- Viennese artists, writers, and scientists meet in the Zuckerkandl Salon -- Exploring the brain beneath the skull : origins of a scientific psychiatry -- Exploring mind together with the brain : the development of a brain-based psychology -- Exploring mind apart from the brain : origins of a dynamic psychology -- (...) Searching for inner meaning in literature -- The depiction of modern women's sexuality in art -- The depiction of the psyche in art -- The fusion of eroticism, aggression, and anxiety in art -- A cognitive psychology of visual perception and emotional response to art -- Discovering the beholder's share -- Observation is also invention : the brain as a creativity machine -- The emergence of twentieth-century painting -- A biological science of the beholder's visual response to art -- The brain's processing of visual images -- Deconstruction of the visual image: the building blocks of form perception -- Reconstruction of the world we see : vision is information processing -- High-level vision and the brain's perception of face, hands, and body -- Top-down processing of information : using memory to find meaning -- The deconstruction of emotion : the search for emotional primitives -- The artistic depiction of emotion through the face, hands, body, and color -- Unconscious emotions, conscious feelings, and their bodily expression -- A biological science of the beholder's emotional response to art -- Top-down control of cognitive emotional information -- The biological response to beauty and ugliness in art -- The beholder's share : entering the private theater of another's mind -- The biology of the beholder's share : modeling other people's minds -- How the brain regulates emotion and empathy -- An evolving dialogue between visual art and science -- Artistic universals and the austrian expressionists -- The creative brain -- The cognitive unconscious and the creative brain -- Brain circuits for creativity -- Talent, creativity, and brain development -- Knowing ourselves : the new dialogue between art and science. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the twentieth century, the (...) issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of... (shrink)

This article is about the power of critical thinking through embryos and embryology in bioart. In this instance, critical thinking does not promise revolution or a takedown of bioengineering, but basic empowerment through scientific knowledge. I argue that the use of embryos in Jill Scott’s Somabook (2011) and Adam Zaretsky’s DIY Embryology (2015) constitutes an instance of what Philip Galanter identifies as complexism. In turn, the complexism of embryology reveals two modes of critical thinking. First, embryology distils the awe and (...) wonder that come with basic scientific literacy. In turn, scientific literacy provides agency for individuals through a trifecta of feeling, belief and pragmatism: based on the frisson of curiosity and wonder that comes with recognizing biological complexity, it frees individuals from the bounds of superstition and metaphysics while building a path to fact-based problem solving. Second, as works of art bearing embryos they are part of the politics and history of embryology that emerged in contrast to genetics almost a century ago. Distinct from the coding of genetics as nucleus-centric, separate, homogeneous, a matter of being, and male, embryology was coded as cytoplasmic, interactive, heterogeneous, a matter of becoming, and feminist. (shrink)

Originally published in 1961. The essays in this volume focus on the awareness of science and art, evolution and Freudian psychology. Besides the chapter on Darwin and Freud, the author discusses criticism, the fantasy element in drama and popular literature, the history of the novel, the motivation of science and the function of erotic art.

The aim of our study is to highlight the obvious similarities that exist between the organizational structures of the biological world, particularly in terms of the number and distribution of the petals on flower and the geometric configurations used by the great masters of European painting, both in the East but also in the West, in order to elaborate the compositional framework of paintings and icons. Taking into consideration the symbolic connotations concerning the field of biology, we chose as (...) a case study the Russian icon from the 14th century entitled “The Triumphal Entry of Jesus into Jerusalem”, exhibited and venerated across the orthodox world on Palm Sunday. Starting with the circle of the aureole of Jesus, we have marked the harmonic series of concentric circles that are distributed across the nodal points of some regular polygons with seven and nine sides, which make reference to the ergonomic formulas of distribution of the petals on a flower and highlight the fact that the beauty of the natural world was and still is the main source of inspiration in the world of arts. (shrink)

This article presents the problem of a person skilled in the field of synthetic biology. The person skilled in the art is one of the notions which have to be revisited due to the multidisciplinary nature of synthetic biology which involves numerous fields. The article studies this problem from the perspectives of Iraqi and Malaysian patent laws. First, it conceptualizes synthetic biology and person skilled in the art. The Iraqi and Malaysian attitudes regarding person skilled in the (...) art are then addressed. Afterwards, the paper points out the multidisciplinary nature of synthetic biology. In its last part, it discusses the person skilled in synthetic biology and how patent offices and courts deal with this point. Finally, the authors submit that the use of a team of skilled persons to substitute for a single technician would render the obviousness test a subjective assessment dependent on the inventor. The level of non-obviousness would differ in similar cases simply because of the number of inventors. Consequently, the suggestion of having a hypothetical team instead of one person is irrelevant because skills that are attributed to the skilled notional person are not real skills. Thus, replacing him is easy, but the replacement would be fruitless because the skills attributed to a person or a team will be similar. (shrink)

This open access book assesses the prospects of (re)adopting organization as a pivotal concept in biology. It shows how organization can nourish biological thinking and practice, by reconnecting with the idea of biology as the science of organized systems. The book provides a comprehensive state-of-the-art picture of the characterizations and uses of the concept of organization in both biological science and philosophy of biology. It also deals with a variety of themes – including evolution, organogenesis, heredity, cognition (...) and ecology – with respect to which the concept of organization can guide the elaboration of original models and new experimental protocols. It will be of interest to biologists and scholars working in philosophy of science alike. (shrink)

Creativity is commonly thought of as a positive advance for society that transcends the status quo knowledge. Humans display an inordinate capacity for it in a broad range of activities, with art being only one. Most work on creativity’s neural substrates measures general creativity, and that is done with laboratory tasks, whereas specific creativity in art is gleaned from acquired brain damage, largely in observing established visual artists, and some in visual de novo artists (became artists after the damage). The (...) verb “to create” has been erroneously equated with creativity; creativity, in the classic sense, does not appear to be enhanced following brain damage, regardless of etiology. The turning to communication through art in lieu of language deficits reflects a biological survival strategy. Creativity in art, and in other domains, is most likely dependent on intact and healthy knowledge and semantic conceptual systems, which are represented in several pathways in the cortex. It is adversely affected when these systems are dysfunctional, for congenital reasons (savant autism) or because of acquired brain damage (stroke, dementia, Parkinson’s), whereas inherent artistic talent and skill appear less affected. Clues to the neural substrates of general creativity and specific art creativity can be gleaned from considering that art is produced spontaneously mainly by humans, that there are unique neuroanatomical and neurofunctional organizations in the human brain, and that there are biological antecedents of innovation in animals. (shrink)

Here I examine the potential for art-science collaborations to be the basis for deliberative discussions on research agendas and direction. Responsible Research and Innovation has become a science policy goal in synthetic biology and several other high-profile areas of scientific research. While art-science collaborations offer the potential to engage both publics and scientists and thus possess the potential to facilitate the desired “mutual responsiveness” between researchers, institutional actors, publics and various stakeholders, there are potential challenges in effectively implementing collaborations (...) as well as dangers in potentially instrumentalizing artistic work for science policy or innovation agendas when power differentials in collaborations remain unacknowledged. Art-science collaborations can be thought of as processes of exchange which require acknowledgement of and attention to artistic agendas as well as identification of and attention to aesthetic dimensions of scientific research. I suggest the advantage of specifically identifying public engagement/science communication as a distinct aspect of such projects so that aesthetic, scientific or social science/philosophical research agendas are not subsumed to the assumption that the primary or only value of art-science collaborations is as a form of public engagement or science communication to mediate biological research community public relations. Likewise, there may be potential benefits of acknowledging an art-science-RRI triangle as stepping stone to a more reflexive research agenda within the STS/science communication/science policy community. Using BrisSynBio, an EPSRC/BBSRC-funded research centre in synthetic biology, I will discuss the framing for art-science collaborations and practical implementation and make remarks on what happened there. The empirical evidence reviewed here supports the model I propose but additionally, points to the need to broaden the conception of and possible purposes, or motivations for art, for example, in the case of cross-sectoral collaboration with community engaged art. (shrink)

The Swiss psychologist Jean Piaget devoted his life to following, step by step and lovingly, the development in children of the art of reasoning. In the course of the successive stages of this development, the child's view of the world changes in nature. Similarly, from its earliest infancy, medicine has viewed living things in successively different manners. For medicine, it is true, the stages overlap; one may still be using an ancient discourse from which another has daringly freed itself. Nevertheless, (...) for the sake of clarity in this analysis, I will try to define successive epistemological attitudes as if they had represented a regular progression of medical thinking. (shrink)

Drawing on an extensive yet concise review of the history of cross-cultural aesthetics, the volume presents the scientists and artists working in the new world of transformative arts.

In this paper, I review arguments that have been offered in favor of the view that humans' art and/or aesthetic behaviors are (in part) a product of our biologically evolved human nature, either as adaptations in their own right or as incidental byproducts of adaptations with non-art and non-aesthetic functions. I present an overview of the main positions and options, critically evaluate their strengths and weaknesses, and outline their presuppositions.

In recent years, the research field of the evolution of art has witnessed contributions from a wide range of disciplines across the "three cultures". In this thesis, I make both a critical review of existing explanations, and try to do elucidate the evolution of art by employing insights, methods and concepts from different disciplines. First, I critically evaluate the evidentiary criteria from standard evolutionary psychology some accounts employ to demonstrate that art qualifies as a human biological adaptation. I argue that (...) these criteria do not suffice to make that claim. Furthermore, I make the case for a cultural evolutionary approach to the arts. One commonly used evidentiary criterion for art as adaptation is the “tight fit” between artnbsp;human cognition, which is interpreted as suggesting that cognition has undergone selection to produce and appreciate art. However, disentangling cultural and genetic evolution allows formulating thenbsp;hypothesis that art has evolved culturally to match human cognition. Second, I observe that in ancient and modern hunter gatherer societies, artistic activities are virtually alwaysnbsp;with ritual. I discuss what this implies for the adaptive significance of art. Specifically, if the arts have culturally evolved in function of ritualistic purposes, their adaptive value has depended on the adaptiveness of ritual. Third, because architecture is characterized by the combination of utilitarian and aesthetic aspects, it is particularly interesting from an evolutionary perspective and therefore I devote special attention to it. Employing the cross-species comparative approach, I investigate two main purposes human architecture has in common with nonhuman animal constructions: protection andnbsp;Based on the phylogenetic approach I establish that protection may have been the primary function of building aptitudes in humannbsp;and that building was later co-opted for signaling purposes. Subsequently, I comparatively evaluate thenbsp;of signaling models in the cultural evolution of architectural aesthetics. Furthermore I combine insights from environmental psychology, niche construction and cultural evolution theory to develop the hypothesis that a function of religious monumental architecture may have been to support nbsp;or even to galvanize nbsp;social learning. Finally, I connect the account I developed to the cognitive science of religion. I complement the frequently held view that religious monumental architecture is a costly signal with the mechanism of sensory exploitation. I attempt to demonstrate that by exploiting thenbsp;response of awe in religious followers, religious monumental architecture promotes and regulates prosocial behavior and creates in them an openness to adopt supernatural beliefs. Fourth, I dealnbsp;the evolution of visual art, paying again special attention to cultural evolution andnbsp;explanatory value of sensory exploitation. I assert that the relatively late appearance of figurative art in the course of human evolution may be attributed to an increase in the number of social learning opportunities within and between human populations at that time. I support this assertion with archaeological data that indicate overall population growth and increased population densities at that time. These demographic changes, I argue, have allowed the retention and accumulation of innovations required for figurative art making. Contrary to previous accounts, I furthermore aim to show that this process doesnbsp;require figurative art to have served adaptive purposes. Employing sensory exploitation, I establish that figurative art could have evolved by exploiting pre-existing biases of evolved psychology. The dominant themes of upper Paleolithic and late stone age figurative art, animals and humans, seem to support this contention. Fifth, I present a number of experimental studies I conducted to verify whether contemporary art experts would have socially learned to resist exploitation of evolved psychology. One aspect ofrsquo;s exploitative power may be that it elicits aesthetic pleasure by pushing “pleasure buttons” that evolved for other purposes. Consequently, spectators may trade-off rewards from indulging in art and biological activities, resulting in less effort being allocated to reproduction. I contend that, while the generalnbsp; may indeed be exploited, experts, who are typically being exposed to high doses of art, may have socially learned to resist exploitation by selectively preferring art from prestigious art contexts. The latter would be in line with the claim that prestige bias may trump content biases of evolved psychology. The results of three experimental studies supportnbsp;contention. I find that laypeople's art appreciation is positively affected by a content bias for attractive faces, mediated by aesthetic pleasure, whereas experts' appreciation is positively affected by prestige and mediated by admiration for the artist. Moreover, experts confer lower appreciation to attractive compared to moderately attractive content, which is consistentnbsp;the contention that expertise and the use of prestige are associatednbsp;resistance against beautiful content that exploits evolved preferences. This research thus suggests that expertise moderates content and context biases, which may be of relevance to an ongoing debate about their relative importance as drivers of cultural evolution. In addition, this study provides a tentative but novel explanation for the fact, famously established by philosopher Arthur Danto, that beauty lost its central position in Western art during the 20th century. However my findings cannot exclude alternative explanations for the fact that art expert appreciation deviates from evolved aesthetic preferences. Further research may experimentally assess the role of prestige bias and resistance as drivers of this deviation versus other, previously suggested, potential processes. For example, preferences of experts may deviate on account of the fact that art serves as a badge of elite group membership and thus expert art appreciation as a means to distinguish oneself from the masses. Alternatively, art experts may seek intellectual challenges instead of pushing pleasure buttons. Future research may experimentally verify the respective roles of these different hypothesized mechanisms. In addition, it may be investigated how insights from sexual selection research may help elucidating the different processes at play in cultural evolution and particularly in the cultural evolution of art appreciation, given the commonalities between sexual selection and cultural selection models. (shrink)

The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and (...) choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker. This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world. (shrink)

The hospital gown is a particularly charged article of clothing. For the chronically ill and disabled, the ritual of donning the gown signals a change of identity from “person” to “patient.” This essay chronicles the metamorphosis of a standard hospital gown into a work of wearable art that showcases the glittering pregnant body. Rather than thinly shrouding nakedness, this gown reveals the nude, gravid, and disabled figure as not only worthy of artistic concentration, but full of wonder and enchantment. This (...) work emerges from the author’s decade-long collaborative practice with her sister, Devan Stahl, as her experiences living under the medical gaze are compounded in the pursuit of motherhood. The _Imaging Gown_ takes up past and present visual cultures of medicine and re-presents them with sublime sensibilities that affirm the patient perspective. (shrink)

It is a well-known feature of Aristotle’s biology that he resorts to the analogy with human art to explain the concept of final causality operative in living things. In this Aristotle’s theory of biology is explicitly anti-Empedoclean: whereas for Empedocles a randomly generated animal part is preserved if it happens to suit an expedient function, for Aristotle the formal nature produces an animal part with a useful function in view. In this article, by contrast, I focus on those (...) cases in Aristotle’s biology in which nature adapts an apparently purposeless part to some useful function. I argue that such cases not only indicate a partial return of Empedocles’ logic of generation but are also thought by Aristotle by analogy with human prudence. To consider Aristotle’s account of nature as prudent is not only to disclose a hitherto underappreciated aspect of his biology but also to gain a more comprehensive understanding of prudence in his ethics. (shrink)

The senses convey impressions, perceptions and ultimately feelings, from which meaning emerges, revealing a platform where perception and thinking are actually very closely involved. From this perspective, the distance between descriptive, mental (cognitive) meaning and emotive, affective (non-cognitive) meaning shrinks, creating a platform to investigate how meaning is generated by posing the question ‘how does meaning actually make sense?’. This project investigates meaning as derived from the physical nature of our brains, our bodies and our physical experiences. We construct a (...) collaborative dialogue between art and the field of logic, specifically studies of embodied mathematics and computational theory as related to the construction of meaning. Here ideas from modern symbolic logic, such as abstract model theory (i.e. theory of institutions), can provide a suitable framework to explore a theory of meaning. (shrink)

George Kubler was one of the most important art historians of the twentieth century who is especially relevant today mainly for shifting the emphasis from high art to what is now known as ‘visual culture’ and for being the first genuinely global art historian. But what he has been most widely known for is the rejection of the biological metaphor of art—the general idea that artistic styles and movements grow, flower and then wither away. I argue that Kubler did not (...) in fact reject the biological metaphor of art but rather replaced a pre-Darwinian biological metaphor with a post-Darwinian one which bears remarkable similarities to Ernst Mayr’s concept of population thinking, developed at the same time that Kubler wrote The Shape of Time. Importantly, taking Kubler’s post-Darwinian biological metaphor seriously can help us to understand his distinctive art-historical explanatory scheme. (shrink)

The historical context of body and tissue donation is deeply problematic, with patriarchal and colonial narratives. The contemporary context of molecular and genetic biology further complicates issues of bodily donation through narratives of abstraction and extraction. As practitioners working outside the conventional boundaries of scientific study learn the tools and techniques to extract and use bodily materials, they are also learning and challenging the procedures and processes. This article approaches questions of bodily donation through the edited transcript of a (...) conversation between artists who regularly use body fluids and cellular bodily materials in their practice, moderated by Louise Mackenzie and Ilke Turkmendag as part of the Taboo–Transgression–Transcendence in Art & Science Conference held online with the support of the University of Applied Arts, Vienna, 2020. The panel challenged the ethical and conceptual assumptions made in biotechnological research and reconsidered where the boundaries of the body lie, what ‘authority’ research carries and what choices researchers make when using the bodies of others. The transcribed conversation addresses taboos of the female body, specifically menstruation, the commodification of tissue from female human bodies, human milk politics and questions biopolitical treatment of the female body. The full, unedited panel conversation, including questions from the audience, and an accompanying video of edited interviews with panellists, is available online at https://www.loumackenzie.com/offering-the-body. (shrink)

Throughout art history, numerous artists have explored connections to science. In the society of today, the relationship between art and biology has been acquiring special visibility. Moreover, the current importance given to science and technology by today’s public opinion directly drives an increased awareness about the relationship between art and science. The public has been eagerly following breakthroughs in scientific research, albeit with mixed feelings: simultaneously awe, hope and fear for its potential misuse. Such awareness about biological sciences and (...) biotechnology has been having an increasing influence over artists, where the artist is no longer a mere observer of the scientific research and not quite a science researcher, but rather an art researcher. This particular position has led to the development of strategies to promote the exploration of possibilities deriving from a cross-talk between artists and scientists. This is a new art practice, based on a ‘risk-based’ situation; a timeless research strategy to develop new methods of practice, new media and new ways to manipulate materials for artistic expression. This is art research. During the twentieth century, the key scientific advances – such as the discovery of the DNA structure, in vitro fertilization, transgenesis or the sequencing of the human genome (in the twenty-first century) – were perceived by society in diverse ways. The progressive incorporation of those concepts by society itself led to a point where biology and the medical sciences became the most promising areas of science. It is therefore not surprising that those same scientific disciplines have marked the development of the artistic discourse in a tremendous fashion, as well as also influencing all other areas of the contemporary society. Furthermore, these artworks explore new media, described as ‘moist’ in that they integrate dry in silico computer components with wet living biological systems. (shrink)

Answering a call for a 2013 exhibition at Ars Electronica bridging art and synthetic biology, a group of artists and designers offer ‘Blueprints for the Unknown’. Their fictional scenarios offer possible futures already embedded in and ready to become our present. By imagining potential events and soon-to-be organisms and bodies, these blueprints perform the untenable relationship between predictable bioengineered living forms and the unpredictable contexts within which such life subsists over time. While synthetic biology focuses on the particularities (...) of each micro-manipulation within a specific timeframe, art practices can speculate on the wider reverberations of modified life, making visible the vulnerable encounters and uneven exchanges across variable living forms and scales, from molecule to human, synthetic to organic. This paper explores the indeterminacies that arise as living forms become synthetically modified, reorganized and redirected at will. (shrink)

This paper addresses theoretical challenges, still relevant today, that arose in the first decades of the twentieth century related to the concept of the organism. During this period, new insights into the plasticity and robustness of organisms as well as their complex interactions fueled calls, especially in the UK and in the German-speaking world, for grounding biological theory on the concept of the organism. This new organism-centered biology understood organisms as the most important explanatory and methodological unit in biological (...) investigations. At least three theoretical strands can be distinguished in this movement: Organicism, dialectical materialism, and holistic biology. This paper shows that a major challenge of OCB was to describe the individual organism as a causally autonomous and discrete unit with consistent boundaries and, at the same time, as inextricably interwoven with its environment. In other words, OCB had to conciliate individualistic with anti-individualistic perspectives. This challenge was addressed by developing a concept of life that included functionalist and metabolic elements, as well as biochemical and physical ones. It allowed for specifying organisms as life forms that actively delimit themselves from the environment. Finally, this paper shows that the recent return to the concept of the organism, especially in the so-called “Extended Evolutionary Synthesis,” is challenged by similar anti-individualistic tendencies. However, in contrast to its early-twentieth-century forerunner, today’s organism-centered approaches have not yet offered a solution to this problem. (shrink)

The Evolution of Designs tells the history of the many analogies that have been made, since the end of the eighteenth century, between the evolution of organisms and the human production of artefacts – especially buildings.

I taught for 8 years at a moderate evangelical liberal arts college. At one faculty meeting the topic turned to the challenge of dealing with controversial topics in the classroom, a pressing question given that many of our students came from extremely conservative backgrounds. One faculty member commented that he and his colleagues in the sciences avoided problems by never using the word “evolution” in the classroom. A number of us from the humanities immediately expressed shock and dismay. In response, (...) our colleague reassured us that science faculty were indeed teaching evolution, but they had learned they could be spared student resistance and parental phone calls by replacing the word “evolution” with “development.”I was reminded of this while reading Adam Shapiro’s fine book, Trying Biology: The Scopes Trial, Textbooks, and the Antievolution Movement in American Schools. Central to Trying Biology is the argument that the Scopes Trial was not the inevitable result of an eternal con .. (shrink)

In previous work, I have looked in detail at the capacity and the limits of the linguistics model as applied to gene expression. The recent use of a primitive applied linguistic model in Apple's SIRI system allows further analysis. In particular, the failings of this system resemble those of the HGP; the model used also helps point out the shortcomings of the concept of the "gene". This is particularly urgent as we are entering an era of applied biology in (...) the absence of theory, and indeed an era with a near-epidemic of retracted papers. There are a few workarounds proposed. One is to add to the nascent field of biosemiotics a more explicit concern with syntax. At the time of writing, Apple is being sued for false advertising of its iphone 4s, with the associated claim that apple had solved many of the problems of natural language processing by computer . The system was bought by Apple from a company called SIRI, and in turn was based on the notion, trumpeted by the prior art in a company called Dejima, that nlpbc could be done by keywords alone. Yet the hype resembles nothing so much as the misrepresentation of the Human Genome Project fed to the media in the glory days at the beginning of this millennium, and it says a lot for the status of scientists in society that they have avoided Apple's fate. In this paper, a short review of several current themes in theoretical and applied biology is first proposed. Then the tensions implicit in the notion that the "gene" is simultaneously to be identified as a unit of inheritance and spatially located over spatially well-defined nucleotides is explored and the notion is found to be incoherent. An expanded notion of inheritance is proposed in the context of a focus on inheritance as necessarily involving species, population and organism over time. While it is premature to talk about a paradigm shift, it is certainly arguable that biology urgently needs a sophisticated theory of how symbols work substantially more sophisticated than that implicit in the HGP; Biosemiotics affords a framework in which this might be tried. Indeed, as this paper concludes, there may yet be room for a "Bionoetics", a perspective in which biological explanation can be extended to include cognition in all its forms. Finally, a working sketch of a modeling environment written in LISP, one that shows promise in reflecting the complexities discussed in the paper, is included. Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}. (shrink)

This article analyses 2001 in terms of what I term paleofuturism. Fusing deep future and deep past, this cyclical figure reconciles rational machinic intelligence with diverse repressed temporal layers: archaic cultures, the embryonic state of individuals, and bygone biological and geological eras. In 2001, paleofuturism is nourished by Nietzsche’s Übermensch of the future, reborn as a child, and by Jungian ideas of individuation, the reconciliation with the shadow of the collective unconscious that leads to the black cosmos itself. Further paleofuturist (...) contexts for 2001 are explored in the so-called “ancient astronaut thesis” of science fiction, speculative science, and pseudo-science. Finally, in minimalism and earth art of the late 1960s we meet a structural parallel to 2001’s bypassing of the organic human body, one that bridges the inorganic entropic realities of deep future and deep past. (shrink)

Darwin's art collection : the prints, drawings, and photographs Darwin collected in the 1860s and 70s -- Illustrations and illusion : strategies Darwin used in illustrating his books -- Art, experience, and observation : Darwin's knowledge of art history and use of illustration in his books -- Darwin and the passions : how passion manuals informed Darwin's research -- Photography and evolution meet : connections between photography and biology in the 1860s -- Method to their madness : how photography (...) in mental hospitals influenced Darwin -- Laughing and crying : Darwin's quest for pictures of expressive babies -- Darwin's eyes and ears : the artists who guided Darwin's search for pictures -- Darwin's art photographer : Oscar Rejlander, Darwin's favorite photographer -- Rejlander's performances : posing for Darwin's pictures -- Alice, eugenics, and the spirit world : the aftermath of Darwin's experiments. (shrink)

Abstract.Stuart Kauffman's proposal in Investigations to ground a “general biology” in the laws of self‐organization governing systems of autonomous agents runs up against the methodological problem of how to integrate formal mathematical with semantic and semiotic approaches to the study of evolutionary development. Gilles Deleuze's concept of the virtual and C. S. Peirce's system of existential graphs provide a theoretical framework and practical art for answering this problem of method by modeling the creative event of collective self‐organization as both (...) represented and practiced in the scientific community. (shrink)

At the beginning of this special issue of Acta Biotheoretica carrying the above title, we present a brief overview on currently important topics that have been brought up during the last “European Conference on Mathematical and Theoretical Biology” in Edinburgh. After emphasizing the need for a “synthetic biology” also from the side of theory, model building and analysis, we survey most plenary talks of this Conference and a selected series of eigth review articles, which are mainly related to (...) corresponding minisymposia, reflecting the current state of the art and the lively discussion within this interdisciplinary field. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 53-66 [Access article in PDF] Art Selection, or the Preservation of Artworks in the Struggle for Art Christopher Perricone The argument of George C. Williams's book Adaptation and Natural Selection is against what biologists call the group selectionist view — that individuals will act on behalf of their species, or at least on behalf of the group to which they belong.1 Williams (...) showed, and now most biologists agree, "no creature could ever evolve the ability to help its species at the expense of itself. Only when the two interests coincided would it act selflessly."2 According to Matt Ridley, Williams is one of the towering figures in contemporary biology. Williams helps us to understand better what natural selection is and consequently helps us to understand better our place in the world. Williams claims that when we are dealing with life, "we are forced to invoke natural selection to achieve a complete explanation of an observed system."3 Physics and chemistry alone are not sufficient to explain life. Williams gives the example of a falling apple. If one has to explain the trajectory of the apple, the principles of mechanics are sufficient for providing an adequate explanation of the phenomenon. If, however, we were asked how the apple acquired its various properties, and why it has these properties instead of others, we would need the theory of natural selection, at least by implication. Only thus could we explain why the apple has a waterproof wax on the outside...why it contains dormant embryos....We would find that an impressive list of structural details and processes of the apple can be understood as elements of a design for an efficient role in the propagation of the tree from which it came."4Of course, a little over a hundred years before Williams published his book, Charles Darwin published Origin of Species, in which natural selection is the linchpin of his theory of evolution. Natural selection for Darwin not only helped to explain the competitive climate of the living world but its luscious fecundity as well. Natural selection works like this: Let's say you [End Page 53] have a population of large beaked and small beaked birds. The environment in which the birds live provides them with an abundant and nutritious supply of both large and small seeds. Typically the small beaked birds eat the small seeds. The large beaked birds are capable of eating both small and large seeds. However, a blight occurs killing off all the small seed producing trees causing the food supply of the small beaked birds to diminish to virtually nil. Given that the small beaked birds are unable to feed on the continued supply of large seeds, they are selected out or eliminated from that environment: either they must seek out another environment, or they die. The large beaked birds, however, are in this case more adaptable to the environment because they can eat large seeds, survive, and pass on their largebeaked traits to the next generation. Darwin characterizes this process as "the struggle for life." He says: Owing to this struggle, variations, however slight and from what ever cause proceeding, if they be in any way profitable to the individuals of a species, in their infinitely complex relation to other organic beings and to their physical conditions of life, will tend to the preservation of such individuals, and will generally be inherited by the offspring. The offspring, also, will thus have a better chance of surviving, for, of the many individuals of any species which are periodically born, but a small number can survive. I have called this principle, by which each slight variation, if useful, is preserved, by the term Natural Selection, in order to mark its relation to man's power of selection. But the expression often used by Mr. Herbert Spencer of the Survival of the Fittest is more accurate, and is sometimes equally convenient.5Darwin sums up his discussion of natural selection by saying that the idea explains... (shrink)

This article discusses the concept of Biomimicry, which has been applying in many fields, from nanotechnology to robotics. It is appearing in smart materials and machinic intelligence, for diverse purposes, being inspired by natural processes and organisms. The main application of Biomimicry has been to produce artifacts and ideas from what we can know about what nature has already done. While the mimesis has been removed from the vocabulary of Art, the works of some artists are still full of possibilities (...) to discuss under the concept of Biomimetics. Many artists have dedicated themselves to the development of works using the poiesis of hybridization and mimicry. How close they approach of Biomimetics? As examples, are brought Walmor Corrêa, Patrícia Piccinini, Liu Xue, Berlinde De Bruyckere, Alessandro Boezio, Joan Fontcoberta and Pere Formiguera. This discussion is the starting point for introduce my project “VIRIDIUM”, in which I´m developing some semiautonomous and translucent robots, printed in 3D. The poetic basis is the possibility that nature has in hybridizing and evolving, spontaneously, as well as being hybridized by genetic manipulation. I propose the development of objects / beings that do not exist in the nature but refer and simulate behaviors of those who inhabit the world, in different kingdoms of Nature. I describe the first stage of the project, which focuses the Plantae kingdom. Afterwards of the Biomimicry and darwinian evolution concepts I bring the concept of Artification, as a possible model of understanding the poetic process, both in “VIRIDIUM” and in the works of the artists chosen. (shrink)

[opening paragraph]: Ramachandran and Hirstein claim that ‘peak shift', or exaggeration of salient features, ‘explains not only caricatures but all art.’ I would like to test the peak shift hypothesis in a case that at first glance seems to support it. Edmond Rostand's play Cyrano de Bergerac is the tragicomic tale of a grand poetic wit of Paris in the 17th. century, a noble fighter and master of fencing who loves with all his heart, but feels he is unlovable for (...) one very prominent reason: his wondrously prognathous nose. When a challenger pokes fun at Cyrano's most notable facial feature, the latter contemptuously provides a lesson in satiric exaggeration. (shrink)

Interdisciplinary dialogue acts as a symbiosis for all the areas that participate and imply enormous projections for both art and science. This paper explores the potential of an interdisciplinary dialogue between Biology and Performance using as a case study the Performance Analfabeta created by the artist Paulina Bronfman. The work was shaped in the context of The Third Conference of the Nucleus of Artistic Research (NIA) of In/Inter/Disciplinary Laboratories hosted by the Faculty of Art of The Pontificia University of (...) Chile (LAB IID). The Lab was led by Chilean biologist Alejandra Zuñiga- Feest and the Brazilian artist Adriana Parente La Selva. This work aims to explore the questions: what does it mean, from the point of view of the arts and sciences, to develop an interdisciplinary laboratory? How is this done? This paper problematizes the creative process of collaboration between sciences and performance as well as the potential impact and link with society that this multidisciplinary dialogue can have. (shrink)

This Part II of a two‐part article illustrates how research in evolutionary biology, anthropology, archeology, and psychology illuminates questions arising in philosophy—specifically questions about René Girard's theory of aggression. Part I looked at: (i) how old the systemic practice of severe aggression is; (ii) how much of it results from humanity's mimetic/social and competitive nature and how much from ecological, resource, and cultural conditions; and (iii) if ecological, resource, and cultural conditions are important, might we adapt this information toward (...) greater cooperativity today? Part II investigates Girard's theory of ritual sacrifice—especially human sacrifice—as a societal steam valve for the systemic aggression explored in Part I. It draws on theories of play, theater, and art to examine the role and function of such ritual sacrifice. (shrink)

Leading biologists and philosophers of biology discuss the basic theories and concepts of biology and their connections with ethics, economics, and psychology, providing a remarkably unified report on the “state of the art” in the philosophy of biology.

Significant progress in the molecular investigation of endogenous bioelectric signals during pattern formation in growing tissues has been enabled by recently developed techniques. Ion flows and voltage gradients produced by ion channels and pumps are key regulators of cell proliferation, migration, and differentiation. Now, instructive roles for bioelectrical gradients in embryogenesis, regeneration, and neoplasm are being revealed through the use of fluorescent voltage reporters and functional experiments using well‐characterized channel mutants. Transmembrane voltage gradients (Vmem) determine anatomical polarity and function as (...) master regulators during appendage regeneration and embryonic left‐right patterning. A state‐of‐the‐art recent study reveals that they can also serve as prepatterns for gene expression domains during craniofacial patterning. Continued development of novel tools and better ways to think about physical controls of cell‐cell interactions will lead to mastery of the morphogenetic information stored in physiological networks. This will enable fundamental advances in basic understanding of growth and form, as well as transformative biomedical applications in regenerative medicine. (shrink)

Bio-art epitomizes a coalescence of art and sciences. It is an emerging contemporary artistic practice that uses a wide range of traditional artistic media interwoven with new artistic media that are biological in nature. This includes molecules, genes, cells, tissues, organs, living organisms, ecological niches, landscapes and ecosystems. In addition, bio-art expands into conceptual art using biological processes such as growth, cell division, photosynthesis and concepts of the origin of life and evolution, explaining them as new artistic media. In this (...) time of global challenges, bio-art communicates thoughts and feelings that involve relationships between the artist, science, public and the biological organism or biological concept. This article reviews the major challenges and driving forces that contributed to emerging biology-centered art and design. (shrink)

Please note that this article belongs to the Special Issue on “New Styles of Thought and Practices: Biology in the Interwar Period,” guest editors Jan Baedke and Christina Brandt, but was included in volume 52, issue 2, Summer 2019 by mistake. It should be regarded as part of this special issue collection of articles.

Resumen En este artículo se argumenta a favor de la relevancia moral de los lazos biológicos en la parentalidad. En primer lugar, se realiza un estado del arte en base a dos cuestiones: 1) la importancia de hecho que poseen los lazos biológicos en la caracterización de la relación parental; 2) la relevancia moral de estos lazos. Se argumenta que los lazos biológicos son importantes para establecer el paradigma de la parentalidad, que este es condición de posibilidad de la moralidad (...) de la parentalidad, pero que esto no implica superioridad del modelo bionormativo respecto de otros modelos.In this article, we argue in favor of biological ties' moral relevance in the parental relationship. In the first place, we review the state-of-art literature in two respects: 1) the factual importance that biological ties have in the characterization of the parental relationship; 2) the moral relevance of these ties. We argue that biological ties are essential to establish the parenting paradigm. This paradigm is a condition of possibility for parenting morality, but that this does not imply the superiority of the bionormative model over other models. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Wittgensteinian Approach to Discerning the Meaning of Works of Art in the Practice of Critical and Contextual Studies in Secondary Art EducationLeslie Cunliffe (bio)In order to get clear about aesthetic words you have to describe ways of living.Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief1Language is a labyrinth of paths. You approach from one side and know your way about; you approach the same place from (...) another side and no longer know your way about.Wittgenstein, Philosophical Investigations2IntroductionThis article explores a Wittgensteinian approach for dealing with the meaning of works of art in the practice of critical and contextual studies in art education. The article is aimed at developing a methodology for eleven to nineteen year olds, known in the UK as the secondary phase of education, but the approach could be generalized to other educational phases.Henry Finch3 interprets four references to meaning found in Ludwig Wittgenstein's philosophy of language as a quadrant that combines the horizontal axis of meaning as physiognomies (the experiential and visual) and meaning as constructions (concepts, uses, science, and mathematics), with a vertical axis of meaning as imperatives (rule following, obligations, and law) and meaning as custom (ceremonies, myths, and ritual).4 The quadrant represents Finch's understanding of Wittgenstein's views about how language serves a different but complementary role in the way human beings engage [End Page 65] with meaning in the world and their place in it.5 Such meanings are embedded in social practices, including first-person responses to a physiognomy, although these start off as biologically primed reactions.Michael Luntley argues that Wittgenstein's philosophy of language and the related remarks on perception should be understood as setting conditions for the possibilities of judgment in "seeing the world aright, in taking the right attitude to the world"6 rather than simply mapping the possibilities of meaning, as the former underscores the role of will7 in the way meaning is actively witnessed and ethically processed by an agent. Having the right view is still only a view, but for Wittgenstein this amounted to an immense ethical and philosophical project to see things accurately and in correct relationship to each other. Such perspectival stances result from an agent's capacity to selectively engage with meaning, with a more unitary understanding resulting from criss-crossing the same territory from different points of view. Wittgenstein's four references to meaning can be thought of as forming four different points on a compass that direct the "self-as-will engaged with that which is independent of will "8 in a quest to see things aright. By extension, such an approach could be used in art education to enable students to develop the dispositions to see works of art aright.Marcia Eaton describes the tension between epistemic and interpretative approaches to the meaning of works of art in this way: "In which direction should one go? In other words, how can judgments which seem so personal (relative, subjective, etc.) also play a role in interpersonal (absolute, objective, etc.) language games?"9 Michael Podro gives a similar description of the apparent tension between a context-bound analysis of works of art and their irreducible and autonomous qualities as like "constantly treading a tightrope."10 Ralph Smith highlights the difference "between having knowledge about art and personally experiencing its presence and power."11Ben Tilghman12 advocates a Wittgensteinian way of going beyond these twofold approaches for understanding and interpreting art by focusing on the role that ponderable and imponderable evidence play in achieving the right stance when attempting to condense the meaning of works of art. Following Wittgenstein, Tilghman argues that a judgment based on imponderable evidence can often be supported by ponderable evidence, a process that is always linked to the relative experience, knowledge, and wisdom of the person making the judgment. Wittgenstein's four references to meaning could be thought of as points on a compass for directing the will in fittingness when endeavoring to understand the role and relationship of ponderable and imponderable evidence in any attempt to see works of art aright. But before these ideas can be... (shrink)

Leading biologists and philosophers of biology discuss the basic theories and concepts of biology and their connections with ethics, economics, and psychology, providing a remarkably unified report on the “state of the art” in the philosophy of biology.