Genetic Art and the Aesthetics of Biology

Leonardo ◽  
2002 ◽  
Vol 35 (2) ◽  
pp. 137-144 ◽  
Author(s):  
Steve Tomasula
Keyword(s):  
Biological Materials ◽  
Genetically Engineered ◽  
Aesthetic Judgment ◽  
Art And Science ◽  
Work Of Art ◽  
Traditional Art ◽  
Biological Form ◽  
The Creation ◽  
The Rich ◽  
Traditional Artists

The creation of Alba, the first mammal genetically engineered to be a work of art, accents the increasing number of artists who take as their medium plants, cells, genes and other biological materials. Like traditional artists, these bioartists raise traditional art issues; but since their work collapses the gap between art and science, representation and biological form, they also marry the rich tradition of manipulating nature for aesthetic reasons, the ethical complexities created by today's biotech revolution and the historical ramifications of applying aesthetic judgment to humans.

scholarly journals The Art Creation in the Traditional Art Area

Panggung ◽  
2017 ◽  
Vol 27 (3) ◽  
Author(s):  
Esthi Nimita ◽  
Mustika Yundari
Keyword(s):  
Modern Art ◽  
Modern World ◽  
Work Of Art ◽  
Process Flow ◽  
Creation Process ◽  
Traditional Art ◽  
The Creation ◽  
The Difference ◽  
Traditional Arts

ABSTRACTThis article discusses the concept of creating a work of art within a traditional framework. Therefore we need to understand how a work of art was created in the context of tradition, and the difference with the creation of art in the modern world. This article also a discourse on what is actually called a traditional art, and the distiction between traditional art and modern art. In this case, the example is a tradisional dance of Java. The choice is in the hand of the artist, or an art connoisseur nevertheless, through a deeper understanding of the traditional arts and how it was created, so a person may have perspective about life, and the conjunction with God.Keywords:Art, Traditional Art, Modern Art, Creation Process, Flow, TaksuABSTRAKArtikel ini membahas konsep penciptaan suatu karya seni, dalam lingkup seni tradisional. Persoalan yang diangkat mengenai perlunya kita memahami bagaimana sebuah karya seni itu diciptakan dalam konteks tradisi, dan apa bedanya dengan penciptaan karya seni pada konteks modern, dengan pembahasan apa itu seni tradisional dan apa itu seni modern.Dalam hal ini, kebetulan yang dicontohkan adalah seni tari tari tradisi Jawa. Pilihan memang ada ditangan seniman atau penikmat seni,namun dengan memahami secara lebihdalam apa itu seni tradisional dan bagaimana karya seni tradisional itu diciptakan, maka seseorang dapat memiliki perspektif yang lebih baik mengenai hidup, kehidupan, dan hubungannya dengan Sang Pencipta.Kata Kunci:Seni, Seni Tradisional, Seni Modern, Proses Penciptaan, Flow, Taksu. 

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

Creation of Cultures Containing Mutations Linked with Cardiovascular Diseases using Transfection and Genome Editing

2019 ◽  
Vol 25 (6) ◽  
pp. 693-699 ◽  
Author(s):  
Margarita A. Sazonova ◽  
Anastasia I. Ryzhkova ◽  
Vasily V. Sinyov ◽  
Marina D. Sazonova ◽  
Zukhra B. Khasanova ◽  
...  
Keyword(s):  
Cardiovascular Diseases ◽  
Human Genome ◽  
Genetically Engineered ◽  
Metal Particles ◽  
Gene Gun ◽  
Ethical Problems ◽  
Dna Mutations ◽  
Human Dna ◽  
Transfection Method ◽  
The Creation

Objective: In this review article, we analyzed the literature on the creation of cultures containing mutations associated with cardiovascular diseases (CVD) using transfection, transduction and editing of the human genome. Methods: We described different methods of transfection, transduction and editing of the human genome, used in the literature. Results: We reviewed the researches in which the creation of сell cultures containing mutations was described. According to the literature, system CRISPR/Cas9 proved to be the most preferred method for editing the genome. We found rather promising and interesting a practically undeveloped direction of mitochondria transfection using a gene gun. Such a gun can direct a genetically-engineered construct containing human DNA mutations to the mitochondria using heavy metal particles. However, in human molecular genetics, the transfection method using a gene gun is unfairly forgotten and is almost never used. : Ethical problems arising from editing the human genome were also discussed in our review. We came to a conclusion that it is impossible to stop scientific and technical progress. It is important that the editing of the genome takes place under the strict control of society and does not bear dangerous consequences for humanity. To achieve this, the constant interaction of science with society, culture and business is necessary. Conclusion: he most promising methods for the creation of cell cultures containing mutations linked with cardiovascular diseases, were system CRISPR/Cas9 and the gene gun.

scholarly journals Breyten Breytenbach en die Simbolisme - ’n voorlopige verkenning

Literator ◽  
1992 ◽  
Vol 13 (1) ◽  
pp. 15-28 ◽  
Author(s):  
H. Viljoen
Keyword(s):  
Cape Town ◽  
Strong Duality ◽  
Great Emphasis ◽  
Rich Source ◽  
The Creation ◽  
Breyten Breytenbach ◽  
The Rich ◽  
The Difference ◽  
Present World

This article is an attempt to outline the difference between Breytenbach's poetic method and that of the Symbolists. Although it touches on aspects of the symbolist poetic method like the rich suggestiveness, the creation o f a meaningful alternative world (and the effort of doing this), it focuses mainly on Breytenbach’s use of metaphor to create an impossible alternative world in a poem, only to relativize and destroy it again in the end. This process is illustrated in an analysis of poem 8.1 from Lotus. This analysis also shows up five well-known cardinal traits of Breytenbach’s poetry, viz. its carnality, the universal analogy between body, cosmos and poetry and the great emphasis on journeys, discoveries and transformations by means of language. It is also claimed that the Zen-Buddhisi Void plays an analogous role in Breytenbach's poetry to the theory of correspondances in the Symbolists: it is a rich source of metaphor. Breytenbach's poetry shows a strong duality between the present world and a meaningful alternative sphere. Being in and of this alternative sphere only aggravates the poet’s isolation (a typically symbolist trait), making him literally and figuratively an exile, as exile poems like "tot siens, kaapstad" (see you again, cape town) and "Walvis in die berg" (Whale on the mountain) and, of course, his prison poetry, clearly show.

scholarly journals Authenticity/Genuineness/Truth (Zhen 真 ) in Chinese Traditional Art Theories and Aesthetics

2020 ◽  
Vol 16 (1) ◽  
pp. 145-158
Author(s):  
Loreta Poškaitė
Keyword(s):  
Ming Dynasty ◽  
Historical Perspective ◽  
Historical Analysis ◽  
Work Of Art ◽  
Artistic Creativity ◽  
Traditional Art ◽  
Chinese Aesthetics ◽  
Dao 道 ◽  
The Ming Dynasty

SummaryThe uniqueness of Chinese traditional art and aesthetics is often presented by the popular Chinese saying “art is manifestation of Dao”, which could mean manifestation of truth or authenticity, since Dao 道 in Classical Daoism was understood as authentic being and a source of authenticity. However, the meaning of authenticity/truth (zhen 真 ) in Chinese aesthetics and theories of art seems less discussed, and far more complicated, than the term Dao. This article argues that zhen is no less important for understanding the nature of artistic creativity and expression in Chinese arts and their theories in the historical perspective, and the issue of likeness in art in particular. It demonstrates how this term is related to the evaluation of the work of art, the artist’s expression and self-expression, and his/her relation to the “object” represented in art; in other words, with representation, imagination and morality, which is evident in such compounds as “drawing truthfulness” (xie zhen 写真), and “to create the truth” (chuang zhen 創真). The article deals with the conceptual and historical analysis of the term zhen, aiming to survey the differences and changes of its meaning in theories of painting, literature and “aesthetics of things” (antiquarianism), and to reveal the relations between its philosophical and aesthetic interpretations, especially evident in the Ming dynasty.

scholarly journals Kunst og naturvidenskab under samme tag

1970 ◽  
pp. 115
Author(s):  
Mette Kia Krabbe Meyer ◽  
Hanne Teglhus
Keyword(s):  
Aesthetic Experience ◽  
17Th Century ◽  
Art And Science ◽  
Work Of Art ◽  
Full Size ◽  
Disciplinary Boundaries ◽  
American Artist ◽  
Size Model ◽  
The Relationship

Kollokvium om at udstille kunst og naturvidenskab. Steno Museet, Danmarks Videnskabshistoriske Museum, Århus, 25. september 2006. In the fall of 2006, the Steno Museum (Aarhus, Denmark) exhibited the installation Room One created by the American artist Rosamond Purcell. This installation consists of a full-size model of Museum Wormianum, the Danish physician Ole Worm’s curiosity cabinet, dating from the 17th century. This is a work of art – yet it depicts a naturalist’s laboratory. When one adds that it has also been called the first museum in Denmark, it seemed an obvious step to make the artwork the occasion of a symposium on the relationship between art, science and museums. At this symposium, the artist, along with a number of science historians and museum curators, discussed the definitions of art and science then and now, and spoke about the attempts to transcend the disciplinary boundaries that take place within the museums. Different ways of exhibiting were brought into focus, and Purcell’s installation formed the basis for many interesting discussions about the museum as a place of learning and of aesthetic experience.

scholarly journals WAGNER - MITO E IMAGINAÇÃO NA ARTE TOTAL

2020 ◽  
Vol 13 (1) ◽  
pp. 101
Author(s):  
Paulo Alexandre Castro
Keyword(s):  
Essential Elements ◽  
Total Work ◽  
Work Of Art ◽  
The Creation

The purpose of this brief essay is to outline what can be considered the combination of two essential elements in the realization of Wagner's works: the strength of the myth's plot and the imaginative process in the creation of the artwork. However, it is not a simple presentation of these elements, but how Wagner, when wishing to create the total work of art, is guided by a phenomenological thought.

scholarly journals Poetry and reason: means and meanings of the moving image

2021 ◽  
Author(s):  
Iona Pelovska
Keyword(s):  
Sensory Experience ◽  
Human Condition ◽  
The Body ◽  
Industrial Technology ◽  
Poetic Language ◽  
Art And Science ◽  
Technological Environment ◽  
Moving Image ◽  
Traditional Art ◽  
Relationship Of

Poetry and Reason departs from the question of cinema as industrial technology and as artistic language. The prosthetic relationship of industrial technologies to the body, unlike the contingency of traditional art technologies on the body, problematizes the question of cinema as art. Cinema's capacity to render thought-like environments allows its trans-mediumatic abstraction. This extends its questioning beyond the technologically cinematic, into the pre-technological moving image that animates perception, thought and dream. In scanning the field that makes cinema possible, this work questions the possibilities cinema opens as a way of knowing and assembling realities. The interpolation of language, thought and embodiment reveals a view of language as mediumatic, and of cinema as a linguistic medium that can simulate a cognitively faithful dream (the original disembodied moving image) as sensory experience. Thus cinema re-enacts a pre-technological environment while advancing the language of technology embedded in the cinematic machine. The libidinal ways solar and chthonic energies, the symbolic and the physical, interpolate in mytho-poetic thought, art and science culminate in the ways these energies unfold in the experience of cinema and illuminate human hybridization, from ancient anthropo-bestiality to the techno-human condition. Poetry and reason, as the two ways of language, outline an epistemology that foregrounds the primacy of poetry in symbolic being. This work aims to resolve tensions between the symbolic and the material both theoretically and methodologically, proposing an integration of rational and poetic (artistic) techniques. The methodological intervention brings divergent approaches into tensional dynamic that sculpts a mobile structure, necessarily open-ended and imperfect. Theoretically, it delves into the movements of poetry and reason as ways to meaning, investigating their destination in cinema. The vocabulary of reason prompts cinema to advance a technological intent to colonize reality while poetic language destabilizes that movement. Reason and poetry as the two ways of language are thus actualized in the ways cinematic language interpolates mental and sensory experience.

Landart plein air “Between Sand and Foam” – Between the Everyday and the Ephemera

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Bissera Valeva ◽  
Keyword(s):  
Financial Support ◽  
High Tide ◽  
Research Fund ◽  
Work Of Art ◽  
Art Form ◽  
The Everyday ◽  
Traditional Artists

The text focuses on the realization of the plein air as a part of a larger project (ARTguments) implemented with the financial support of the Research Fund of Sofia University. The art form “landart” was chosen not by chance. It is characteristic for artists to “argue”, to transform their ephemeral visual sensations into art installations – materialized in nature, digitally stored emotional provocations, which also rely on the “co-authorship” of the elements. The pictorial focus is on “unnecessary”, discarded, marginalized objects, without utilitarian application, but discovered and recognized as necessary in the process of creating a work of art. This is the so called by Juri Lotman process of renaming “external” to the artistic installation elements in which they “invade” from the outside world implanting themselves in the imaginary space of the visual work. The art event aims to unite different artists as a way of expression, to gather and impose diverse, even dissimilar concepts.The forum realizes conceptual works by traditional artists, materializes the artistic reaction viewed from different angles, meets a random audience with non-randomly created installations, and last but not least, embodies different works as different visual emotion. The concept of the plein air is subordinated to the philosophy of Khalil Gibran and in particular to his sentences from the eponymous edition „Sand and Foam“:“I am forever walking upon these shores, Between the sand and the foam, The high tide will erase my foot prints,And the wind will blow away the foam...”

Sign in / Sign up

Export Citation Format

Share Document