This article explores and challenges notions and methodologies of conservation, including the use of blockchain technologies as a means of establishing provenance of a physical BioArtwork, of the artist’s documentation encapsulating their intentions and of the conservator’s records required for the artwork’s ongoing care. The exploration is done through a case study of an art project called ‘Unruly Objects and Biological Conservation’ created by Anna Dumitriu with support from Alex May. The artwork consists of three items containing RFID tags sealed (...) in resin – which point to the location of the artist’s documentation. Therefore, the works physically include instructions for maintaining their inherent concepts and materiality for the benefit of the conservators. Such instructions can often be difficult to track down, or become disassociated from the artwork while the digital preservation of this storage method also poses its own set of questions. The works also include biological material including mud from a bacterial ecosystem known as a Winogradsky Column, living plant material and SARS-CoV-2 (coronavirus) RNA from a plasmid construct. (shrink)

Artists have always been known for pushing boundaries, or even refusing to accept that those boundaries exist in the first place. Contemporary academic structures and disciplinary boundaries evolved out of enlightenment thinking but were born as much from university administration systems, finance departments and evaluation systems that have no place in genuine knowledge creation or in our understanding of the world. Biology has inspired artists for centuries, but it is only in the last few decades that a new bioart movement (...) has emerged and artists have actively begun to collaborate with scientists to create works that use human and animal tissues, bacteria and living organisms as materials. In order to progress this important emerging field, we need to develop new frameworks that can help artists, cultural institutions, scientists and science institutions engage with and understand the various issues at play when making and exhibiting such work. The aim is to ultimately open up new avenues for participation and engagement from all elements of society. (shrink)

Cybernetic Bacteria is an ongoing transdisciplinary investigation that brings together art, philosophy, microbiology and digital technology to examine the relationship of the emerging science of bacterial communication to our own digital communications networks, looking in particular at ‘packet data’ and bacterial quorum sensing. The project seeks to compare philosophical notions of the sublime with a kind of bacterial sublime, demonstrating the greater complexity of the interactions taking place at a microscopic level, when compared to human communication technologies such as the (...) World Wide Web (with particular focus on scale-free networks). The first artwork in the series employed a clear plastic tube of liquid agar jelly planted into earth to allow the soil bacteria beneath to grow upwards and become visible. A total of 100 µL of Homoserine Lactone, a hormone used by bacteria for quorum sensing (a form of bacterial communication), was then added by the artist as part of a performance lecture, with her in effect saying: ‘I’m here’ to the bacteria below. The microbes that have been communicated to then pass the signal on to their neighbours and so on. In theory this enables the signal to travel around the planet. However, the main issue with this work is one of Hermeneutics; the bacteria, which receive the communication, will not identify the artist as human – simply as another (albeit very large) bacterium. The project has subsequently evolved into a multiple screen digital artwork showing network traffic taking place in real time (web traffic, RFID and Bluetooth), a film of bacterial communication in progress (using two strains of genetically modified bacteria) and an interactive conceptualisation of the data from both sources generated using artificial life. The project continues. (shrink)

Știință și cunoaștere -- Alétheia -- Cartea întîlnirilor admirabile.

This paper has a three-Fold aim: (1) to show that wittgenstein gave a logical solution to the logico-Mathematical paradoxes, Which has not been taken into consideration only because of its brevity; (2) to prove that this solution does not reject the theory of types but interprets it in the simplest way; (3) to show that wittgenstein's solution is the solution given to the paradoxes called 'insolubilia', By the famous scholastic logician, Petreisde alligaco.