Unit 6: BioTech + Art

The fusion of biotechnology and art is a burgeoning field, but also a controversial one due to its subject matter – life itself. Biotechnological techniques are applied to manipulate living beings, transforming them into the artistic medium and calling into question what the essence of life truly is.

Alba, the "GFP Bunny"

A prominent example of this approach is Eduardo Kac’s “GFP Bunny,” a pioneer of the new art form he terms “transgenic art” (Kac). As someone who utilizes transgenic techniques for scientific research, I am conflicted over the idea of transgenic art. I also work with GFP, primarily as a visualization method, so the concept of engineering this gene into an animal for purely creative purposes seemed a bit senseless. Genetic engineering is a controversial topic, perceived as tinkering with what nature intended and manipulating the existences of living beings. When applied towards artistic aspirations rather than practical applications, the implications can quickly veer into dangerous territory. How much tinkering is too much, and are we “playing God” with lives? However, Kac stresses that his artwork goes beyond its genetic makeup, exploring its social and cultural implications (Vesna). In this way, the purpose of his work is similar to those deemed more conventional – to challenge the way we perceive and understand the world, in this case our “accepted classifications of life” (Levy 2).

Painting depicting fears about genetic engineering

Kathy High with one of her rats

In utilizing biotechnology to create art, some pieces seem to blur the lines between science and art. Kathy High’s “Rat Laughter” reminded me of a research paper that also analyzed ultrasonic sounds from rats (Hsiao). In a way, High’s piece could also be viewed as a scientific study examining the associations between rat vocalization and emotion. However, High also challenges scientific conventions through her piece “Embracing Animal” (High). I was surprised by the way she interacted with her subjects, treating lab rats as more than mere tools of science. By empathizing and even identifying with the rats, High brings a new perspective to our perception of and relationship with lab animals.

As contentious and dubious biotechnological art can be, it can also be extremely valuable for its capacity to change our perceptions. As Chris Kelty implies, “creativity breeds creativity.” and such “outlaw biology” can inspire greater public understanding of and participation in science (Kelty). As long as we ensure that precautionary restrictions and guidelines are in place, this potent pairing has the power to expand our artistic and scientific horizons.

References

High, Kathy. “Embracing Animal.” Kathy High, http://kathyhigh.com/video-embracing-animal.html. Accessed 13 May 2018.

High, Kathy. “Rat Love Manifesto.” Embracing Animal, http://www.embracinganimal.com/ratlove.html. Accessed 13 May 2018.

Hsiao, Elaine Y., et al. “Microbiota Modulate Behavioral and Physiological Abnormalities Associated with Neurodevelopmental Disorders.” Cell, vol. 155, no. 7, 2013, pp. 1451-1463.

Jameson, Errol. “Genetic Engineering.” FineArtAmerica, https://fineartamerica.com/featured/genetic-engineering-errol-jameson.html. Accessed 13 May 2018.

Kac, Eduardo. “GFP Bunny.” Kac Web, 2000, http://www.ekac.org/gfpbunny.html#gfpbunnyanchor. Accessed 13 May 2018.

Kac, Eduardo. “Alba, the fluorescent bunny.” Kac Web, 2000, http://www.ekac.org/albagreen.jpeg. Accessed 13 May 2018.

Kelty, Chris. “Meanings of Participation: Outlaw Biology?” Jcom, vol. 9, no. 1, 2010, pp. 1-8. 

Levy, Ellen K. “Defining Life: Artists Challenge Conventional Classifications.” Chicago, IL, Intellect, 2011.

Vesna, Victoria. “Biotechnology and Art.” YouTube, uploaded by uconlineprogram, 18 Sept 2013, https://www.youtube.com/watch?v=PaThVnA1kyg.