{"title":"解开活力、绿色和自然性的纠缠","authors":"Hauser Jens","doi":"10.15593/perm.kipf/2019.4.05","DOIUrl":null,"url":null,"abstract":"In their technical nature, humans tend to culturally hyper-compensate for what they feel they have lost. This media archaeological talk discusses two case studies. The first concerns contemporary art forms that employ biotechnologies in actual practice. Paradoxically, they emphasize both their ‘aliveness’ and authenticity on the one hand, and their explicit technicity and artificiality on the other. This article aims at performing a parallel deconstruction of two positively connoted tropes in cultural history and in the arts: aliveness and greenness, terms both putatively non-technological, and often uncritically associated with the idea of naturalness. The first concept, aliveness, can be analyzed against the background of the trans-historical pattern of ‘enlivenment’ in artistic practice. With the advent of software, hardware and wetware in the late 20 th century, artistic practices have demonstrated that the concepts of ‘life’ and ‘nature’ need to be uncoupled. First, art employing soft and hardware has dealt with the animation of the technological ; later, art that is employing wetware implies the technologization of that which is already animate. Both trends together imply that ‘alive- ness’ cannot stand in for ‘naturalness’ any more. We encounter a similar problem with the culturally pervasive greenness trope: Aliveness and greenness are linked through ‘biofacticity’, the idea of biological artifacts that at the same time grow and indeed are technically constructed from the beginning – the concepts ‘green’ and ‘nature’ need to be uncoupled as well. ‘Green’, symbolically often associated with the ‘natural’, will be addressed as the most anthropocentric of all colours, crucial in human self-understanding beyond colour, as percept, medium, material biological agency, semantic construct and ideology.","PeriodicalId":216595,"journal":{"name":"Bulletin of PNRPU. Culture. History. Philosophy. Law.","volume":"20 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Disentangling Aliveness, Greennes and Naturalness\",\"authors\":\"Hauser Jens\",\"doi\":\"10.15593/perm.kipf/2019.4.05\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In their technical nature, humans tend to culturally hyper-compensate for what they feel they have lost. This media archaeological talk discusses two case studies. The first concerns contemporary art forms that employ biotechnologies in actual practice. Paradoxically, they emphasize both their ‘aliveness’ and authenticity on the one hand, and their explicit technicity and artificiality on the other. This article aims at performing a parallel deconstruction of two positively connoted tropes in cultural history and in the arts: aliveness and greenness, terms both putatively non-technological, and often uncritically associated with the idea of naturalness. The first concept, aliveness, can be analyzed against the background of the trans-historical pattern of ‘enlivenment’ in artistic practice. With the advent of software, hardware and wetware in the late 20 th century, artistic practices have demonstrated that the concepts of ‘life’ and ‘nature’ need to be uncoupled. First, art employing soft and hardware has dealt with the animation of the technological ; later, art that is employing wetware implies the technologization of that which is already animate. Both trends together imply that ‘alive- ness’ cannot stand in for ‘naturalness’ any more. We encounter a similar problem with the culturally pervasive greenness trope: Aliveness and greenness are linked through ‘biofacticity’, the idea of biological artifacts that at the same time grow and indeed are technically constructed from the beginning – the concepts ‘green’ and ‘nature’ need to be uncoupled as well. ‘Green’, symbolically often associated with the ‘natural’, will be addressed as the most anthropocentric of all colours, crucial in human self-understanding beyond colour, as percept, medium, material biological agency, semantic construct and ideology.\",\"PeriodicalId\":216595,\"journal\":{\"name\":\"Bulletin of PNRPU. Culture. History. Philosophy. 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In their technical nature, humans tend to culturally hyper-compensate for what they feel they have lost. This media archaeological talk discusses two case studies. The first concerns contemporary art forms that employ biotechnologies in actual practice. Paradoxically, they emphasize both their ‘aliveness’ and authenticity on the one hand, and their explicit technicity and artificiality on the other. This article aims at performing a parallel deconstruction of two positively connoted tropes in cultural history and in the arts: aliveness and greenness, terms both putatively non-technological, and often uncritically associated with the idea of naturalness. The first concept, aliveness, can be analyzed against the background of the trans-historical pattern of ‘enlivenment’ in artistic practice. With the advent of software, hardware and wetware in the late 20 th century, artistic practices have demonstrated that the concepts of ‘life’ and ‘nature’ need to be uncoupled. First, art employing soft and hardware has dealt with the animation of the technological ; later, art that is employing wetware implies the technologization of that which is already animate. Both trends together imply that ‘alive- ness’ cannot stand in for ‘naturalness’ any more. We encounter a similar problem with the culturally pervasive greenness trope: Aliveness and greenness are linked through ‘biofacticity’, the idea of biological artifacts that at the same time grow and indeed are technically constructed from the beginning – the concepts ‘green’ and ‘nature’ need to be uncoupled as well. ‘Green’, symbolically often associated with the ‘natural’, will be addressed as the most anthropocentric of all colours, crucial in human self-understanding beyond colour, as percept, medium, material biological agency, semantic construct and ideology.