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Gantschacher</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="7829031" href="https://independent.academia.edu/ArbosHerbertGantschacher"><img alt="Profile image of Arbos M U S I K Theater" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/7829031/4679906/5402451/s65_arbos.gesellschaft.jpg_oh_87ba55ccf91d86d8b96f931201c7c934_oe_54cd9102___gda___1418319734_953da177163ef3d1d91ddf02310387f4" />Arbos M U S I K Theater</a><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="295993376" href="https://independent.academia.edu/D%C5%BEevadKarahasan"><img alt="Profile image of Dževad Karahasan" class="ds-work-card--author-avatar" src="//a.academia-assets.com/images/s65_no_pic.png" />Dževad Karahasan</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">1999, "Forms of Life" 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Surreal story of emergence of "in vivo" art. In Guy Van Belle, Lenka Dolanová. On a different soil/Growth in art, society and culture. Belgium: Polyprint Letterpress Belgium, 2011. s. 1.2.2.2.a. ISBN 978-90-818985-0-8.</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="21022192" href="https://independent.academia.edu/MartinaIvicic">Martina Ivicic</a></div><p class="ds-related-work--abstract ds2-5-body-sm">“It is a challenge to work with a medium before anyone defines it as a medium.” /Steve Wilson/ This article doesn't deal with the theoretical definitions of bioart, but focuses on those events from human history, which (un)consciously pointed to the emergence of art handling the living material. Where living material, such as cells, tissue and genes, are the medium. That is, what bioart deals with. There are many approaches how to trace the research of this problematics. It seems, that probably the word most frequently used in bioart is synthesis. Art had always involved a synthesis. Synthesis unites disparate elements, putting them into a new collage to create new works, metaphors, sensory experience or new aesthetic genres. For better understanding and reflection of projects dealing with living cells we need to look back and trace the history of synthetic biology.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"IVIČIČOVÁ, Martina. Surreal story of emergence of \"in vivo\" art. In Guy Van Belle, Lenka Dolanová. On a different soil/Growth in art, society and culture. Belgium: Polyprint Letterpress Belgium, 2011. s. 1.2.2.2.a. 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It brings out a new approach to the role of the body in art, not as a speculative object or symbolic material but as the living source of the imaginary. It contains theoretical contributions and case studies taken from various artistic practices (visual art, theatre, literature and music), Western and Eastern, the latter concerning China, India and Japan. These contributions allow us to nourish the debate on embodied cognition and aesthetics, using theoryphilosophy, art history, neuroscience-and the authors' personal experience as artists or spectators. According to the Husserlian method of "reduction" and pragmatist introspection, they postulate that listening to bodily sensations-cramps, heartbeats, impulsive movements, eye orientation-can unravel the thread of subconscious experience, both active and affective, that emerge in the encounter between a subject and an artwork, an encounter which, following John Dewey, we deem to be a case study for life in general. Ce livre analyse la relation dynamique entre l'art et la conscience subjective, selon une approche phénoménologique, pragmatiste et enactive. Il vise à faire émerger une nouvelle approche du rôle du corps dans l'art, non pas comme objet spéculatif ou matériau symbolique, mais comme source vivante de l'imaginaire. Les contributions théoriques et les études de cas sont prises à diverses pratiques artistiques (arts visuels, théâtre, littérature et musique), occidentales et orientales, ces dernières concernant la Chine, l'Inde et le Japon. Selon la méthode husserlienne de « réduction », en écho à l'introspection pragmatiste, les textes témoignent que l'écoute des sensations corporelles-crampes, battements de coeur, mouvements pulsionnels, orientation des yeux-mises en jeu par l'oeuvre, permet de dénouer le fil de l'expérience inconsciente, à la fois kinesthésique et affective, qui émerge dans la rencontre entre un sujet et une oeuvre d'art, une rencontre comprise, à la manière de Dewey, comme un cas d'école de la vie en général. Christine Vial Kayser (PhD, HDR) is an art historian and museum curator (emeritus). She is an Associate researcher with Héritages (CYU) and a member of the Doctoral School 628-AHSS. Her research relates to the capacity of art to transform representations within an individual and in the collective mind, through embodied, mnemonic, and affective processes, in a global, comparative (East/west context). She works at the crossroads of art theory, anthropology, and neuroaesthetics. Christine Vial Kayser (PhD, HDR) est historienne de l'art et conservatrice de musée (émérite). Elle est chercheur associé à Héritages (CYU) et membre de l'ED 628-AHSS. Ses recherches portent sur la capacité de l'art à transformer les représentations au sein d'un individu et dans le cadre collectif, à travers des processus incarnés, mémoriels et affectifs, dans un contexte global et comparatif (Est/Ouest). Elle travaille au croisement de la théorie de l'art, de l'anthropologie et de la neuroesthétique.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Art as experience of the living body, Introduction","attachmentId":108471799,"attachmentType":"pdf","work_url":"https://www.academia.edu/110751691/Art_as_experience_of_the_living_body_Introduction","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/110751691/Art_as_experience_of_the_living_body_Introduction"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="1296142" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/1296142/Toward_Alive_Art">Toward Alive Art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="212422" href="https://gnulinuxcentar.academia.edu/VedranVucic">Vedran Vucic</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1156307" href="https://abamc.academia.edu/LuigiPagliarini">Luigi Pagliarini</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Virtual Worlds, 2000</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Toward Alive Art","attachmentId":51039249,"attachmentType":"pdf","work_url":"https://www.academia.edu/1296142/Toward_Alive_Art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/1296142/Toward_Alive_Art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="19359456" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/19359456/The_Living_in_Art_since_the_1960s_A_Deep_Link_to_Politics_2015_">The "Living" in Art since the 1960s: A Deep Link to Politics (2015)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="20235570" href="https://univ-tlse2.academia.edu/CamillePrunet">Camille Prunet</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2015</p><p class="ds-related-work--abstract ds2-5-body-sm">The use of the living beings and organisms as a medium in art increased after the Second World War. During the 1960s, some artworks were related to an ecological consciousness, or to the beginnings of computer science, which was associated with biology at this early stage. Both of these two modes of using the living are now finally together, in what is called biotechnological art. Defining the living beings is a deeply political issue, as we may see, for instance, in the problematic of animal rights, defended by the environmentalist movement. When does life begin? What is specific to human life? What is the value of life? As Hans Cova has written, “instead of changing the world at all costs, it would be better to ensure that it doesn’t disappear right before our (in)credulous eyes”. The huge changes effected by the evolution of knowledge in biotechnology and science confirm the human temptation to control life. This type of questions haunt works using living elements. In such works, artists use a problematic type of material and have to deal with its political aspects. Through works by Fujiko Nakaya, Piotr Kowalski, Tissue Culture and Art, and Art Orienté objet, I examine the work of artists engaged in this political discussion on our future life (of plants, animals, and humans).</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The \"Living\" in Art since the 1960s: A Deep Link to Politics (2015)","attachmentId":40576914,"attachmentType":"pdf","work_url":"https://www.academia.edu/19359456/The_Living_in_Art_since_the_1960s_A_Deep_Link_to_Politics_2015_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/19359456/The_Living_in_Art_since_the_1960s_A_Deep_Link_to_Politics_2015_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="35798636" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/35798636/Notes_on_Art_and_its_Science_from_Speculative_Aesthetics_2014">Notes on Art and its "Science" from Speculative Aesthetics, 2014</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="46092479" href="https://independent.academia.edu/BeechAmanda">Amanda Beech</a></div><p class="ds-related-work--abstract ds2-5-body-sm">The non-instrumentalised artwork has often been discussed as configuring a non-relational self-producing space, unbound from the constraints of a regime of causality, reference and dogma. In this sense, Art has won its place as an ethical and avant-gardist practice that is defined by its essential freedom in the first instance and then in its potential for achieving political freedom because of this. This second political potential for freedom is then won through art’s nature. However, as we know, this figuration of the infinite as the primary definition of art succeeds in arranging terms that softly cushion a heartfelt liberal parlance. Art, as a general term, has thus come to symbolize an image of freedom from law; a pre- political state of infinite and dynamic uncertainty, openness and flux. Instability, temporality or dynamism as markers of our faith are there to remind us that art remains tied to and also forges particular axioms and paradigms of meaning that constrain it towards an “ideal functionalism”. And in its function, which can be construed more or less equally as the politicization and economization of art as concept-value, we can locate further modes of expression that constrain Art ever further to specific normative modalities of form/idea.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Notes on Art and its \"Science\" from Speculative Aesthetics, 2014","attachmentId":55675165,"attachmentType":"pdf","work_url":"https://www.academia.edu/35798636/Notes_on_Art_and_its_Science_from_Speculative_Aesthetics_2014","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/35798636/Notes_on_Art_and_its_Science_from_Speculative_Aesthetics_2014"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="86118644" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/86118644/The_Artistic_Life_The_Art_Alive">The Artistic Life, The Art Alive</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="56899671" href="https://independent.academia.edu/MariolaSu%C5%82kowskaJanowska">Mariola Sułkowska-Janowska</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Art Inspiring Transmutations of Life, 2010</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The Artistic Life, The Art Alive","attachmentId":90644254,"attachmentType":"pdf","work_url":"https://www.academia.edu/86118644/The_Artistic_Life_The_Art_Alive","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/86118644/The_Artistic_Life_The_Art_Alive"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="35732018" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/35732018/_Art_in_Posthuman_Glossary_eds_Rosi_Braidotti_and_Maria_Hlavajova_London_et_al_Bloomsbury_2018">"Art", in Posthuman Glossary, eds. Rosi Braidotti and Maria Hlavajova, London et al.: Bloomsbury 2018</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1328747" href="https://independent.academia.edu/TomHolert">Tom Holert</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"\"Art\", in Posthuman Glossary, eds. Rosi Braidotti and Maria Hlavajova, London et al.: Bloomsbury 2018","attachmentId":55606432,"attachmentType":"pdf","work_url":"https://www.academia.edu/35732018/_Art_in_Posthuman_Glossary_eds_Rosi_Braidotti_and_Maria_Hlavajova_London_et_al_Bloomsbury_2018","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/35732018/_Art_in_Posthuman_Glossary_eds_Rosi_Braidotti_and_Maria_Hlavajova_London_et_al_Bloomsbury_2018"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":108151115,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":108151115,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_108151115" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. You can download the paper by clicking the button above.</p></div></div></div></div><div class="ds-sidebar--container js-work-sidebar"><div class="ds-related-content--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="0" data-entity-id="42826923" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/42826923/Art_as_We_Dont_Know_It">Art as We Dont Know It</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="13326181" href="https://aalto-fi.academia.edu/HelenaSederholm">Helena Sederholm</a><span>, </span><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="230404" href="https://independent.academia.edu/KiraOReilly">Kira O'Reilly</a></div><p 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data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/36063237/Art_as_a_philosophy_of_contemporaneity_Poetics_of_complexity_Third_Life_locality_and_universality">Art as a philosophy of contemporaneity. Poetics of complexity, Third Life, locality and universality</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="4474405" href="https://independent.academia.edu/PierLuigiCapucci">Pier Luigi Capucci</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Pier Luigi Capucci, Giorgio Cipolletta (eds.), The New and History - art*science 2017/Leonardo 50 Conference Proceedings, Ravenna, Noema, 2018</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Art as a philosophy of contemporaneity. 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href="https://www.academia.edu/36322086/Art_That_Lives">Art That Lives</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="37019145" href="https://independent.academia.edu/LoganPatrick4">Logan Patrick</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Art That Lives","attachmentId":56229321,"attachmentType":"docx","work_url":"https://www.academia.edu/36322086/Art_That_Lives","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/36322086/Art_That_Lives"><span class="ds2-5-text-link__content">View 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Smith</a></div><p class="ds-related-work--metadata ds2-5-body-xs">The Nordic Journal of Aesthetics, 2014</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Form-of-Life: From Politics to Aesthetics (and Back)","attachmentId":117034840,"attachmentType":"pdf","work_url":"https://www.academia.edu/122352220/Form_of_Life_From_Politics_to_Aesthetics_and_Back_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/122352220/Form_of_Life_From_Politics_to_Aesthetics_and_Back_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="14" data-entity-id="106291030" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/106291030/Through_the_Scope_of_Life_Art_and_Bio_Technologies_Philosophically_Revisited">Through the Scope of Life. 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Vaos. 2009. “Ways of Making, Seeing and Thinking about Art: Art Expression and Art Education”. The International Journal of the Arts in Society 4 (2): 207-216</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2134917" href="https://upatras.academia.edu/AlexandraMouriki">Alexandra Mouriki</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Mouriki, A. and A. Vaos. 2009. “Ways of Making, Seeing and Thinking about Art: Art Expression and Art Education”. 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