The placenta’s role as a mediating passage between bodies has been a conceptual resource for feminist theorists and philosophers interested in developing more nuanced explanations of the maternal–fetal relation, a relation that has tended to be identified with maternal and fetal bodies rather than with the placenta between them. I draw on efforts by philosopher Luce Irigaray and her readers to theorise placental relations as a model for the negotiation of differences. In her more recent work, Irigaray figures the placenta (...) as an enveloping space of metaphorical enclosure. The placental relation in Irigaray’s work thus offers insights into the temporal structure of her theory of becoming and can inform a more ‘materialist’ account of pregnancy. I then consider how placental relations are conceptual resources for re-imagining relations of self–other in pregnancy, and for addressing emergent ethical concerns over the transformation of the placenta into a scientific object. (shrink)

[Przekład] Pogląd głoszący, że układ odpornościowy rozróżnia to, co swoje, od tego, co obce, był jednym z centralnych założeń immunologii w drugiej połowie XX wieku. Pogląd ten miał wpływ na projekty eksperymentalne i interpretowanie danych. Jednakże w obliczu nowych dowodów empirycznych konieczny jest w immunologii nowy aparat konceptualny.

Uncontainable Life: A Biophilosophy of Bioart investigates the ways in which thinking through the contemporary hybrid artistico-scientific practices of bioart is a biophilosophical practice, one that contributes to a more nuanced understanding of life than we encounter in mainstream academic discourse. When examined from a Deleuzian feminist perspective and in dialogue with contemporary bioscience, bioartistic projects reveal the inadequacy of asking about life’s essence. They expose the enmeshment between the living and non-living, organic and inorganic, and, ultimately, life and death. (...) Instead of examining the defining criteria of life, bioartistic practices explore and enact life as processual, differential, and always already uncontainable, thus transcending preconceived material and conceptual boundaries. In this way, this doctoral thesis concentrates on the ontology of life as it emerges through the selected bioartworks: “semi-living” sculptures created by The Tissue Culture and Art Project and the performance May the Horse Live in Me by L’Art Orienté Objet. The hope is that such an ontology can enable future conceptualisations of an ethico-politics that avoids the anthropocentric logic dominant in the humanities and social sciences. (shrink)