From Monsters to Astroculture. Reflections from the Plenary Session’s chair (Part II)
Article Sidebar
Main Article Content
Abstract
This article takes a brief theoretical and reflective look at Rogério Ribeiro plenary session at the What If'23 Conference. The theme of the speaker's session about the potential of speculative biology and from that we began to explore the implications of it in the artistic field. Thus, this article assumes itself as a theoretical-reflective incursion, built from the artistic works of Patricia Piccinini and Suzanne Anker, through which we intend to develop themes such as the Anthropocene, the grotesque and posthumanism
Downloads
Article Details
This work is licensed under a Creative Commons Attribution 4.0 International License.
This is an open-access journal under the CC-BY license
References
[1] Biscaia M S P 2019 Loving Monsters: The Curious Case of Patricia Piccinini’s Posthuman Offspring Nordlit 42 p 27-46.
[2] Atasoy E & Horan T 2021 Dystopia: mapping literary legacies and hellish futures. Available at: https://acikerisim.kapadokya.edu.tr/xmlui/handle/20.500.12695/1181
[3] Cavalcanti L D F S 1999 Articulating the elsewhere: utopia in contemporary feminist dystopias Doctoral dissertation University of Strathclyde.
[4] Mohr D M 2015 Eco-Dystopia and Biotechnology: Margaret Atwood, Oryx and Crake (2003), The Year of the Flood (2009), and MaddAddam (2013). Dystopia, science fiction, post-apocalypse: Classics, new tendencies and model interpretations p 283-302
[5] Schmeink L 2009 Dystopia, alternate history and the posthuman in bioshock Current Objectives of Postgraduate American Studies p 10
[6] Gruenwald O 2013 The Dystopian Imagination: The challenge of techno-utopia. Journal of Interdisciplinary Studies, 25 1/2 p 1.
[7] Borbely C & Petrar P P 2014 ‘Natural-Born Cyborgs’: Becoming Posthuman in Bio-and Cybertech Ustopias Ekphrasis 2 p 142-158.
[8] Guo Z 2021 The art of Patricia Piccinini Frontiers in Art Research 3 2 p 65-69.
[9] Heffernan T Ed 2019 Cyborg futures: cross-disciplinary perspectives on artificial intelligence and robotics Springer Nature.
[10] Laughlin C D 1997 The evolution of cyborg consciousness Anthropology of Consciousness 8 4 p 144-159.
[11] Haraway D 2000 Manifesto ciborgue. Antropologia do ciborgue Autêntica
[12] Kuhse H & Singer P 2009 What is bioethics? A historical introduction. In H Kuhse & P Singer Eds A companion to bioethics pp 11-13 Wiley.
[13] Rosa Y P & Piccinini P 2021 Do grotesco ao sensível: entrevista com a artista Patricia Piccinini. PORTO ARTE: Revista de Artes Visuais 26 46 p 1-15.
[14] De Blois A 2014 Un renversement grotesque: les sculptures mi-humaines, mi-animales de Jane Alexander, de Patricia Piccinini et de David Altmejd Doctoral Thesis McGill University
[15] Bakhtin M 2020 The grotesque image of the body and its sources In M Fraser & M Greco Eds The Body Routledge p 92-95.
[16] Rogers H S Eusebio D Kirchner E Kwon G Rusk R Sieh-Takata, S & Zaretsky A 2022 Art’s work in the age of biotechnology: Shaping our genetic futures Leonardo 55 1 p 5-17.
[17] Haraway D J 2007 When Species Meet University of Minnesota
[18] Anker S 2014 The beginnings and the ends of bio art Artlink 34 3 p 16-17
[19] Braidotti R 2016 Posthuman critical theory Critical posthumanism and planetary futures p 13-32.
[20] Anker S 2021 Correction to: Epistemic practices in Bio Art AI & SOCIETY 36 4 p 1397-1397.
[21] Anker S Lindee S Shanken E A & Nelkin D 2008 5 Technogenesis: Aesthetic Dimensions of Art and Biotechnology Philosophy and Medicine 97 p 275.
[22] Anker S 2015 NATURALLY HYPERNATURAL: VISIONS OF NATURE Antennae: The Journal of Nature in Visual Culture 33 p 6
[23] Yetisen A K Davis J Coskun A F Church G M & Yun S H 2015 Bioart Trends in biotechnology 33 12 p 724-734.