Week 6 – Biotech + Art

Biotechnology in art generates more ethical questions than a single one of the other art-science topics covered in the regularity thus far.

One question that is raised in the debate on biotechnology and art is whether or not those who take for identical as “artists” should have the same exemption from restraint. to research and advance biotechnology being of the cl~s who scientists do. In my opinion, the reply is yes. As controversial as its projects are, SymbioticA is a agreeable model for how artists should be respected as scientists. According to SymbioticA’s website, the establishing “encourages better understanding and distinct utterance of cultural ideas around scientific erudition and informed critique of the moral and cultural issues of life manipulation.”  If artists are well practised as scientists, like they are in Symbiotica, at that time they have a right to involve out experimentation in the name of employment, as long as it is held to the same ethical and social standards as science is.  However, genetics and biotech are “governed ~ dint of. the Hippocratic principle that interventions be necessitated to be for the benefit of the individual someone concerned,” (Polkinghorne, 2000) and numerous company believe that art does not service individuals like straight health care does.


SymbioticA pushes the limits of biotechnology and subtlety


As is hinted at in the SymbioticA charge statement, visual artists can provide a well qualified way for people to visualize, join with, and openly discuss the ideas surrounding biological manipulation. In some interview with Wired Magazine, Jenny Paton (the arts counsellor to the Wellcome Trust) stated that “usually the scientists argue that collaborating with an artist helped to give their practice to a wider common in a way they hadn’t rendered. before.” Having the technologies presented viewed like art may allow the public to suppose to mean and begin a discussion on biotechnology that would not be publicized if left in a guilelessly scientific setting.  Eduardo Kac’s GFP bunny, instead of example, popularized the EGFP gene insertion technology that existed in the van of Alba. The use of the technology in the manner that an artistic venture is what in truth. captured the public’s imagination.

EGFP genes bring forth been inserted into many organisms, including Alba.

As by all technologies relating to medicine and freedom from disease, artists and scientists alike should remember the Hippocratic Injunction to pristine “do no harm”, and should sojourn aware that the ethical ramifications of a single one advances in biotechnology and art be under the necessity of be considered heavily.

Much study and discussion has been generated around the ethical issues of biotechnology.


“Biomedical Ethics.” 9780073407456. Web. 11 May 2015. <http://www.alibris.com/search/books/isbn/9780073407456>

“GFP: Lighting up Life.” GFP: Lighting up Life. Web. 11 May 2015. <http://www.pnas.org/peace/106/25/10073/F10.expansion.html>

Kac, Eduardo. “GFP BUNNY.” GFP BUNNY. Web. 11 May 2015.

Smith, Cedric M. “Origin and Uses of Primum Non Nocere – Above All, Do No Harm!” The Journal of Clinical Pharmacology 45 (2005): 371-77. Wiley. Web. 10 May 2015.

Polkinghorne, John C. “Ethical Issues in Biotechnology.” Trends in Biotechnology 18 (2000): 8-10. Elsevier Science Ltd. Web. 11 May 2015.

Solon, Olivia. “Bioart: The Ethics and Aesthetics of Using Living Tissue considered in the state of a Medium.” Wired 28 July 2011. Print.

“SymbioticA.” The University of Western Australia. Web. 11 May 2015.

“SymbioticA.” WANDERLUST. 17 June 2012. Web. 11 May 2015. <http://wanderlustmind.com/2012/06/17/symbiotica/>

“19th International Symposium adhering Electronic Art.” ISEA2013. Web. 11 May 2015. <http://www.isea2013.org/events/semipermeable-in addition/>

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