This chapter makes explicit the association of certain art forms and art works to trans- and posthumanist ideas, which have become constitutive of the political, cultural and philosophical differences and similarities that exist between these concepts. It discusses a range of art practices with a view to identifying themes within trans- and posthumanist art, while also articulating some of the foundational contributions in this field. It begins by advancing a definition of bioart to capture the common ground between transhumanist and posthumanist art. It then considers interpretations of such works and rejection of their collective definition, by drawing attention to their socio-political and bioethical context. Finally, I consider...
In the Western cultural imaginaries the monstrous is defined – following Aristotelian categorisation...
UID/FIL/00183/2019The aim of this introductory paper is twofold. First, we seek to illustrate which ...
UID/FIL/00183/2019The aim of this introductory paper is twofold. First, we seek to illustrate which ...
<p>For over a century, science fiction has gripped the attention of audiences world-wide, with some ...
For over a century, science fiction has gripped the attention of audiences world-wide, with some of ...
The author argues that the modern project of disenchanting the world through genome discovery has no...
A fusion of «bioethics» and «art» changes the means and ways of broadcasting art in the field of new...
Since the mid-twentieth century, there has been a discussion in the academy about “two cultures”: hu...
Bio art is a contemporary art practice that works with living organisms (except humans) or is create...
The field of biological arts deals with modern biological knowledge, its applications and outcomes a...
Is biotechnology an appropriate and ethical medium for contemporary art? In the past decade, the lin...
In the last decades the field of artistic creation has been a privileged space for reflection, cultu...
In the Western cultural imaginaries the monstrous is defined – following Aristotelian categorisation...
In the Western cultural imaginaries the monstrous is defined – following Aristotelian categorisation...
This research examines how the manifestation of the nonhuman animal in contemporary visual art is of...
In the Western cultural imaginaries the monstrous is defined – following Aristotelian categorisation...
UID/FIL/00183/2019The aim of this introductory paper is twofold. First, we seek to illustrate which ...
UID/FIL/00183/2019The aim of this introductory paper is twofold. First, we seek to illustrate which ...
<p>For over a century, science fiction has gripped the attention of audiences world-wide, with some ...
For over a century, science fiction has gripped the attention of audiences world-wide, with some of ...
The author argues that the modern project of disenchanting the world through genome discovery has no...
A fusion of «bioethics» and «art» changes the means and ways of broadcasting art in the field of new...
Since the mid-twentieth century, there has been a discussion in the academy about “two cultures”: hu...
Bio art is a contemporary art practice that works with living organisms (except humans) or is create...
The field of biological arts deals with modern biological knowledge, its applications and outcomes a...
Is biotechnology an appropriate and ethical medium for contemporary art? In the past decade, the lin...
In the last decades the field of artistic creation has been a privileged space for reflection, cultu...
In the Western cultural imaginaries the monstrous is defined – following Aristotelian categorisation...
In the Western cultural imaginaries the monstrous is defined – following Aristotelian categorisation...
This research examines how the manifestation of the nonhuman animal in contemporary visual art is of...
In the Western cultural imaginaries the monstrous is defined – following Aristotelian categorisation...
UID/FIL/00183/2019The aim of this introductory paper is twofold. First, we seek to illustrate which ...
UID/FIL/00183/2019The aim of this introductory paper is twofold. First, we seek to illustrate which ...