The fragment below is part of a longer piece by Simone Osthoff
entitled "From Stable Object to Participating Subject: content,
meaning, and social context at ISEA97", originally published in
New Art Examiner, February 1998, pp. 18-23.
Art at the Frontier of Biology and Robotics
- It is interesting to notice that the chair of Ascott's panel "Artificial
Consciousness and the Self" was Eduardo Kac, whose own work suggests
a rather different direction in the development of electronic
art. Contrasting with Ascott's disembodied communication, Kac
and Ed Bennett's A-Positive, which premiered at ISEA97, promoted
an intravenous exchange of body fluids between a human and a robot.
This most-talked-about work at the symposium provoked debate on
new directions for electronic art that emphasize the body and
biological processes. The image created by a human wired to a
robot in a "symbiotic" exchange was difficult for some and fascinating
to many. The sight of blood and electronics mixed on the gallery
floor contrasted sharply with the coldness and cleanliness of
most of the other works exhibited. In A-Positive, the human body
donates blood to the robot, which extracts from it enough oxygen
to support a small flame, an archetypal symbol of life. In exchange,
the robot (a biobot) donates dextrose to the human body, which
accepts it intravenously. Kac observes:
"We are no more masters of our machines than we are at their mercy.
We are as intrigued as we are perhaps fascinated and terrified
by the notion that we are embodying technology. We are intrigued
because of our innate and insatiable curiosity about our own limits;
we are fascinated because of the new possibilities of an expanded
body contemplating the notion of eternal life; and we are terrified
because these technologies, originally developed to aid ill or
physically impaired persons, are in fact not desirable for a fully
healthy body and therefore renew our fear of confronting our own
mortality."
A-Positive brings concerns from the fields of biology and robotics
into the discussion of the fine arts. Whether working with telepresence
on the Internet, exchanging body fluids with a biobot, or inserting
a memory chip in his body as he did in Time Capsule, broadcast
live in São Paulo, Brazil, Kac's work promotes exchange in which
meaning is negotiated in new ecologies where people, animals,
machines, and plants interact.
Ever since Conceptual art questioned a Modernist aesthetic, art
has been caught in the slippery domain of Postmodern contingency.
The simple substitution of a universal formalism for the politics
of representation seems to be in need of redress. From a transcendental
consciousness to blood exchanges with the machine; from globalization
to social inequity; from celebration of individual freedom to
the fear of losing control; from decentered notions of the self
to synthetic others; the problem of content and meaning in electronic
art has shifted emphasis from the stable object to the participating
subject. Laurie Anderson's attention to scale and personal process,
Sherry Turkle's metaphor of cycling through windows creating decentered
identities, Nolan Bowie's concern with the social function of
art, Guillermo Goméz-Peña's explorations of how context creates
content, Roy Ascott's telematic embrace, and Eduardo Kac's dialogical
exchange between body and machine all offer powerful visions of
an emergent art.
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