In 1997, I introduced the concept and the phrase “bio art”, originally in relation to my artwork “Time Capsule”. This work approached the problem of wet interfaces and human hosting of digital memory through the implantation of a microchip. The work consisted of a microchip implant, seven sepia-toned photographs, a live television broadcast, a webcast, interactive telerobotic webscanning of the implant, a remote database intervention, and additional display elements, including an X-ray of the implant. While “bio art” is applicable to (...) a large gamut of in vivo works that employ biological media, made by myself and others, in 1998, I started to employ the more focused term “transgenic art”. Republished in Ars Electronica ‘99—Life Science, ed. Gerfried Stocker and Christine Schopf, 289–296.) to describe a new art form based on the use of genetic engineering to create unique living beings. Art that manipulates or creates life must be pursued with great care, with acknowledgment of the complex issues it raises and, above all, with a commitment to respect, nurture, and love the life created. I have been creating and exhibiting a series of transgenic artworks since 1999. I have also been creating bio art that is not transgenic. The implications of this ongoing body of work have particular esthetic and social ramifications, crossing several disciplines and providing material for further reflection and dialog. What follows is an overview of theses works, the issues they evoke, and the debates they have elicited. (shrink)

Since the 1980s poetry has effectively moved away from the printed page. From the early days of the minitel to the personal computer as a writing and reading environment, we have witnessed the development of new poetic languages. Video, holography, programming and the Web have further expanded the possibilities and the reach of this new poetry. Now, in a world of clones, chimeras, and transgenic creatures, it is time to consider new directions for poetry in vivo. Below I propose the (...) use of biotechnology and living organisms as a new realm of verbal creation. (shrink)

“Time Capsule” is a work-experience that lies somewhere between a local eventinstallation, a site-specific work in which the site itself is both my body and a remote database, a simulcast on TV and the Web, and interactive webscanning of my body. The live component of the piece was realised on November 11, 1997, in the context of the exhibition “Arte Suporte Computador”, at the cultural centre Casa da Rosas, in Sao Paulo, Brazil. “Time Capsule” was carried live on the evening (...) newscast of the TV station Canal 21 and on tape by two other TV stations (TV Manchete and TV Cultura). The webscast was transmitted by Casa das Rosas.The object that gives the piece its title is a microchip that contains a programmed identification number and that is integrated with a coil and a capacitor, all hermetically sealed in biocompatible glass. The temporal scale of the work is stretched between the ephemeral and the permanent; i.e., between the few minutes necessary for the completion of the basic procedure, the microchip implantation, and the permanent character of the implant. As with other underground time capsules, it is under the skin that this digital time capsule projects itself into the future. (shrink)