BOOKS

The argumental arc I have tried to defend is the shift from the transformation of art through research —in order to confront the complexity characteristic of our situation— to the creation of concepts that I believe are precise for analyzing the way in which these artistic practices deal with the fluidification of entities and circumstances. The point of support is the analysis of art with technology, especially that devoted to the investigation of life and biotechnology. If I took so-called bioart as an exemplary case, it is because I still believe that it holds keys to understanding the way in which the complexity of research in art unfolds.

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This book offers intriguing philosophical inquiries into biotechnological art and the life sciences, addressing their convergences as well as their epistemic and functional divergences. Rooted on a thorough understanding of the history of philosophy, this work builds on critical and ontological thought to interpret the concept of life that underscores first-hand dealings with matter and experimentation. The book breaks new ground on the issue of animality and delivers fresh posthumanist perspectives on the topics addressed.

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Only through a dubious analysis exercise can we think of humanity naked, stripped of all the technical mediations that have become confused with its skin. The technical is not an addition to the human but one of the means by which we open ourselves to alteration; it places and arranges us in different places to link us with the familiar, the unseen and that which cannot be understood without its mediation. In this volume, we discuss basic ontology concepts and traditional distinctions between art and artefact and analyse concrete artistic works.

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What is nature? is an inescapable question for philosophy, for in its answer what we are and our place in the world is in play. How to produce the right concepts to think the world we face today? How to philosophise the natural without losing the specificity of the humanities and without submitting to the techno-scientific domain, but also without pretending to know more than the sciences in the field of material explanation?

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The texts gathered here attempt to present a starting point in the question about the relationship between art, science and philosophy. You have to start with the obvious questions: Why think about this relationship again? Why create new points of intersection and overlapping? What is the “new” here?

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Without origin/Seedless was the first exhibition of transgenic and biotechnological art in Mexico. It took place between 2012 and 2013 in the MUCA Roma and MuAC museums of the UNAM. This book brings together the texts that accompanied the pieces, as a complement, supplement or even excess in front of the plastic, visual and sound proposals. It also includes critical texts by Jens Hauser, Deborah Dorotinsky and Rosaura Martínez.

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There are two main themes addressed by this text by the Slovenian bioartist and philosopher Polona Tratnik: one is life, the other media and representation. This book deals with life and its mediations. It is not gratuitous or strange that in the era of technoscience there is much thinking around these subjects trying to elucidate what is and how it has come to be. Life appears transformed and modified from biotechnology.

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