New techno-natures: the future of human reproduction in sci-art

IF 2.5 3区哲学 Q1 CULTURAL STUDIES

Science As Culture Pub Date : 2022-11-04 DOI:10.1080/09505431.2022.2141106

Merete Lie

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引用次数: 0

Abstract

ABSTRACT In the fields of sci-art, bioart and speculative design, contemporary artists are creating experiential visions of the future based on trends within science. Two artworks with futuristic figurations of human reproduction, Pinar Yoldas’ Designer Babies and Ai Hasegawa’s I Wanna Deliver a Dolphin/I Wanna Deliver a Shark, serve as the point of departure for revisiting the eternal nature-culture debate. Hasegawa’s work explores relations to other species in the radical figuration of humans giving birth to sharks and dolphins. Yoldas plays with the notion of bioscientists as playing God, giving genetically modified progeny god-like features, while critically showcasing the potential of genetic engineering. Contemporary sci-art stages experiments and encounters of technoscience and human biology, thus experiments with the very ‘facts of life’. These sci-art works involve critical perspectives on the technoscience of assisted reproduction including surrogacy and genetic engineering. Still, they configure nature not as threatened but as dynamic, responsive, and continually undergoing change. By expanding the perspective on human reproduction through surprising and mind-expanding figurations, they address emerging technologies as a shift to new techno-natures, entailing the ongoing merging of natural biological processes with emerging biotechnologies.

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新技术性质:科学艺术中人类繁殖的未来

摘要在科学艺术、生物艺术和思辨设计领域，当代艺术家正在根据科学趋势创造对未来的体验愿景。皮纳尔·尤尔达斯（Pinar Yoldas）的《设计婴儿》（Designer Babies）和长谷川爱（Ai Hasegawa。长谷川的作品探索了人类生下鲨鱼和海豚的激进形象中与其他物种的关系。尤尔达斯将生物科学家视为上帝，赋予转基因后代类似上帝的特征，同时批判性地展示了基因工程的潜力。当代科学艺术上演技术科学和人类生物学的实验和遭遇，从而对“生活事实”进行实验。这些sci艺术作品涉及对辅助生殖技术科学的批判性观点，包括代孕和基因工程。尽管如此，它们将自然配置为动态、响应和不断变化，而不是威胁。他们通过令人惊讶和令人惊讶的形象扩展了对人类生殖的看法，将新兴技术视为向新技术性质的转变，这意味着自然生物过程与新兴生物技术的不断融合。

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来源期刊

Science As Culture Multiple-

CiteScore

5.20

自引率

3.80%

发文量

期刊介绍： Our culture is a scientific one, defining what is natural and what is rational. Its values can be seen in what are sought out as facts and made as artefacts, what are designed as processes and products, and what are forged as weapons and filmed as wonders. In our daily experience, power is exercised through expertise, e.g. in science, technology and medicine. Science as Culture explores how all these shape the values which contend for influence over the wider society. Science mediates our cultural experience. It increasingly defines what it is to be a person, through genetics, medicine and information technology. Its values get embodied and naturalized in concepts, techniques, research priorities, gadgets and advertising. Many films, artworks and novels express popular concerns about these developments. In a society where icons of progress are drawn from science, technology and medicine, they are either celebrated or demonised. Often their progress is feared as ’unnatural’, while their critics are labelled ’irrational’. Public concerns are rebuffed by ostensibly value-neutral experts and positivist polemics. Yet the culture of science is open to study like any other culture. Cultural studies analyses the role of expertise throughout society. Many journals address the history, philosophy and social studies of science, its popularisation, and the public understanding of society.