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Erschienen in: NanoEthics 2/2022

05.04.2022 | Art-Science Interaction

Manufacturing Life Through Science and Art Interaction: Güneş-Helen Isitan’s Hybridities: Almost Other

verfasst von: Emre Sünter

Erschienen in: NanoEthics | Ausgabe 2/2022

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Abstract

With the findings of microbiome studies, many artists have begun to focus on environments where microbe-human interactions take place. Beyond the sharp boundaries that separate human and microbe as distinct entities, they give an artistic expression to the complex symbiotic modes between them. Güneş-Helen Isitan’s work Hybridities: Almost Other creates images of human-microbe symbiosis by mobilizing certain scientific tools and discourses and the possibilities of photographic medium. A “microbe-image” emerges as a result of multi-species interaction and is produced by traversing multi-sites. Its apparatus contains its own production process as a problematic knot to be posed. This requires approaching the work with a certain ethnographic sensibility. As a result, manufacturing life through microbe-images becomes inseparable from technical, scientific, social, methodological, and philosophical issues that are weaved in Hybridities: Almost Other’s “biophotographic” apparatus.

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Fußnoten
1
Giving a name to this kind of artistic practice is more problematic than it seems. Semi-living art (Oron Catts and Ionat Zurr), genetic art (Joe Davis), and transgenic art (Eduardo Kac), are only a few examples of the suggestions that have been made. Discussions about these terms can be found in: [68]. Robert Mitchell’s distinction between “prophylactic art” that uses traditional media and “vitalist bioart” that uses biological media is helpful, but not sufficient in capturing the extensive variety of works produced in this field, see [9]. In the same book, Mitchell proposes the use of the problematic as a concept to categorize biological artworks, which I find more useful than other propositions.
 
2
For a user’s experience with UBiome, see [22].
 
3
The gesture of taking the human face into focus and moving it beyond given codes of human culture through various operations of deformation can also be seen in Alberto Giacometti’s sculptures. In Giacometti, the head and the face are inseparable, and the contractions, dilatations, or subtractions the body is subjected to load the intensity of the expression on the face. Human faciality has a paradoxical character; on the one hand, all faces are more or less alike; on the other, the slightest detail can throw you into unknown waters. Leo Costello [24], in his article Portraiture and the Ethics of Alterity: Giacometti vis-à-vis Levinas, links the question of ethics in Giacometti’s sculptures to themes of faciality in Gilles Deleuze and Félix Guattari’s A Thousand Plateaus [25] and surveillance in Michel Foucault’s works, and develops this question essentially with respect to Emmanuel Levinas’ concept of otherness [24].
 
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Metadaten
Titel
Manufacturing Life Through Science and Art Interaction: Güneş-Helen Isitan’s Hybridities: Almost Other
verfasst von
Emre Sünter
Publikationsdatum
05.04.2022
Verlag
Springer Netherlands
Erschienen in
NanoEthics / Ausgabe 2/2022
Print ISSN: 1871-4757
Elektronische ISSN: 1871-4765
DOI
https://doi.org/10.1007/s11569-022-00412-3

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