Transgenic Art
Article Sidebar
Google Scholar citations
Main Article Content
We have become accustomed to technology having a say in the make-up of our aesthetic values, as plastic surgery and the medium of television demonstrate, but genetic engineering opens the way for the new concept of transgenic art, located under the skin and providing for unimagined possibilities. However, apart from the creations that biological art will produce for us via the implantation of artificial genes in the genome of a given species, what will really count will be the relationship between the artist, their work and the end receiver of the new being. GFP K-9 is a good example of transgenic art: a completely normal dog, except that his hair is fluorescent green, thanks to a protein borrowed from a jellyfish. However innovative transgenic art may seem, it should not be forgotten that Man has had a hand in the appearance of new species of dogs, and in all probability in the creation of the dog as a domestic animal, since time immemorial. Another example of the creation of new species are hybrid organisms, whether plants or animals, for practical or merely decorative purposes. There are also the pipe dreams that have formed part of the collective imagination for thousands of years and are now here with us, thanks to biotechnology. In addition, genetic engineering allows the genome to be designed artificially, without any need to start from the genetic material of a particular species. An ethical, responsible perspective should always be behind such creations, a perspective far removed from all-powerful financial criteria, given the profound social repercussions that they can lead to. In any case, transgenesis will be an integral part of our lives-with applications in food processing, aesthetics and medicine-and will even call into question our concepts of species and what is human.
Article Details
Copyright
For all articles published in Artnodes that are subject to a Creative Commons Attribution 4.0 International licence, copyright is retained by the author(s). The complete text the license can be consulted at http://creativecommons.org/licenses/by/4.0/. You may copy, distribute, transmit and adapt the work, provided you attribute it (authorship, journal name, publisher) in the manner specified by the author(s) or licensor(s).
Authors are responsible for obtaining the necessary licences for the images that are subject to copyright.
Assignment of intellectual property rights
The author non exclusively transfers the rights to use (reproduce, distribute, publicly broadcast or transform) and market the work, in full or part, to the journal’s editors in all present and future formats and modalities, in all languages, for the lifetime of the work and worldwide.
I hereby declare that I am the original author of the work. The editors shall thus not be held responsible for any obligation or legal action that may derive from the work submitted in terms of violation of third parties’ rights, whether intellectual property, trade secret or any other right.
Similar Articles
- Joshua Korenblat, Laia Solé Coromina, Undesigned World: what educating through walking means in the Anthropocene , Artnodes: No. 32: (July 2023). NODE 32. Possibles III (Editors: Pau Alsina & Andrés Burbano)
- Patricia Ferreira-Lopes, The transformation of the research process in history of architecture through the use of digital technologies , Artnodes: No. 22: (November 2018). NODE 22. Digital Humanities: societies, policies, knowledge (Editor: Nuria Rodríguez-Ortega)
- Michele Emmer, Visible perfection: maths and art , Artnodes: No. 4: (July 2005). NODE 4. Calculability (Editor: Pau Alsina)
- Caterina Antonopoulou, Transformations of more-than-human networks and the impact of material objects on tactical media artworks , Artnodes: No. 31: (January 2023). NODE 31. Possibles II (Editors: Pau Alsina & Andrés Burbano)
- Andreas Broeckmann, Is software art a genuine artistic material? , Artnodes: No. 2 (2003): NODE 2. Art and New Media
- Rama Carl Hoetzlein, Knowledge Cultures in New Media Art , Artnodes: No. 31: (January 2023). NODE 31. Possibles II (Editors: Pau Alsina & Andrés Burbano)
- Umberto Luigi Roncoroni Osio, Criticisms of digital art: foundations and theoretical limits , Artnodes: No. 28: (July 2021). NODE 28. In the limits of what is possible: art, science and technology (Guest Editors: Paloma Díaz, Andrea García)
- Boris Groys, On the New , Artnodes: No. 2 (2003): NODE 2. Art and New Media
- Josephine Berry, Bare Code: Net Art and the Free Software Movement , Artnodes: No. 3 (2004): NODE 3. Heterotipies
- Diego Díaz, Clara Boj, A critical approach to Machine Learning forecast capabilities: creating a predictive biography in the age of the Internet of Behaviour (IoB) , Artnodes: No. 31: (January 2023). NODE 31. Possibles II (Editors: Pau Alsina & Andrés Burbano)
<< < 2 3 4 5 6 7 8 9 10 11 > >>
You may also start an advanced similarity search for this article.