Detailansicht
Art in the Age of Technoscience
Genetic Engineering, Robotics, and Artificial Life in Contemporary Art
ISBN/EAN: 9783990431870
Umbreit-Nr.: 1959808
Sprache:
Englisch
Umfang: XXIX, 422 S., 456 farbige Illustr., 456 Farbfotos
Format in cm: 2.5 x 24.4 x 16.6
Einband:
kartoniertes Buch
Erschienen am 21.08.2009
Auflage: 1/2009
- Zusatztext
- InhaltsangabeFOREWORD INTRODUCTION I Art at the Edge of Science TechnoScienceArt Technological and Aesthetic (Trans)Formations of Art and Science II Art (History) and Genetics Early Intersections of Art and Biology Gene Culture: Molecular Visions in Contemporary Art The Art of DNA III Transgenic Art - Art in the Age of Biotechnology Eduardo Kac and the Emergence of Transgenic Art The Art of Cloning: Genesis Living pictures: GFP-K9 and Bunny 2000 Sources: Holopoetry, Telepresence Art and Telerobotic Art Joe Davis and the Making of Transgenic Art Art Emerging from the Laboratory Living Art: Microvenus and the Milky Way DNA The Delbrückparadox: Riddle of Life Semiliving Art: SymbioticA IV The Grammar of Genetics More than a Metaphor: The Emergence of Biofacts Genetic Disorder: Bioaesthetics BioArt: Where Art and Science Meet? V Art in the Age of Cybernetics and Synthetic Biology Art and Artificial Life The Logic of Life Learning about Life - Learning about Self-Orgnisation Algorithms of the Living World VI Artificial Life and Robotics Living Sculptures The Robot in the Garden The Coevolution of organic and technological cultures Art and Robotics VII Artificial Life Art Christa Sommerer and Laurent Mignonneau: Art and the Digital Evolution Beyond Digital Naturalism: A-Volve Art as a Living System: GENMA and Life Spacies Silicon Second Nature: The Game of Life VIII Art and Artificial Worlds Jane Prophet: Communication and Digital Evolution Virtual Bodies in the Digital Age: TechnoSphere and SWARM Cyberspace: Deleting the Body Art and Artificial Nature CONCLUSION: Is science the new art? Notes Bibliography Credits Index
- Kurztext
- InhaltsangabeFOREWORD INTRODUCTION I Art at the Edge of Science TechnoScienceArt Technological and Aesthetic (Trans)Formations of Art and Science II Art (History) and Genetics Early Intersections of Art and Biology Gene Culture: Molecular Visions in Contemporary Art The Art of DNA III Transgenic Art - Art in the Age of Biotechnology Eduardo Kac and the Emergence of Transgenic Art The Art of Cloning: Genesis Living pictures: GFP-K9 and Bunny 2000 Sources: Holopoetry, Telepresence Art and Telerobotic Art Joe Davis and the Making of Transgenic Art Art Emerging from the Laboratory Living Art: Microvenus and the Milky Way DNA The Delbrückparadox: Riddle of Life Semiliving Art: SymbioticA IV The Grammar of Genetics More than a Metaphor: The Emergence of Biofacts Genetic Disorder: Bioaesthetics BioArt: Where Art and Science Meet? V Art in the Age of Cybernetics and Synthetic Biology Art and Artificial Life The Logic of Life Learning about Life - Learning about Self-Orgnisation Algorithms of the Living World VI Artificial Life and Robotics Living Sculptures The Robot in the Garden The Coevolution of organic and technological cultures Art and Robotics VII Artificial Life Art Christa Sommerer and Laurent Mignonneau: Art and the Digital Evolution Beyond Digital Naturalism: A-Volve Art as a Living System: GENMA and Life Spacies Silicon Second Nature: The Game of Life VIII Art and Artificial Worlds Jane Prophet: Communication and Digital Evolution Virtual Bodies in the Digital Age: TechnoSphere and SWARM Cyberspace: Deleting the Body Art and Artificial Nature CONCLUSION: Is science the new art? Notes Bibliography Credits Index
- Autorenportrait
- Ingeborg Reichle (1970) studied art history, archaeology, sociology, and philosophy in Freiburg i. Br., London, and Hamburg. She holds an MA in Art History from the University of Hamburg and received her PhD from the Humboldt University in Berlin in spring 2004. From 1998 till 2003, she was active as research fellow in the Art History Department at the Humboldt University in Berlin, and taught courses in new media art as well as courses about the interplay between art and science. While at Humboldt University she was also involved in the practical application of electronics through the use of computers and new media in art historical work, such as distant-learning projects, developing relevant Internet resources, web constructions, and image data bases (Prometheus). Her doctoral dissertation, which explored art, artificial life, and biotechnology in the age of technoscience, was published in 2005 by Springer: "Kunst aus dem Labor. Zum Verhältnis von Kunst und Wissenschaft im Zeitalter der Technoscience" Vienna/New York 2005. Since 2005 she lectures at the Hermann von Helmholtz Zentrum für Kulturtechnik at the Humboldt University in Berlin, and is currently research fellow at the Berlin-Brandenburg Academy of Sciences and Humanities in Berlin in the interdisciplinary research group "The World as Image".