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class="ds-work-card--work-title">Semi-Living Art</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="7611029" href="https://independent.academia.edu/ionatzurr"><img alt="Profile image of ionat zurr" class="ds-work-card--author-avatar" src="//a.academia-assets.com/images/s65_no_pic.png" />ionat zurr</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">2007</p><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">18 pages</p></div><div 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class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="532519" 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/532519/The_Art_of_the_Semi_Living">The Art of the Semi-Living</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="49457" href="https://uwa.academia.edu/IonatZurr">Ionat Zurr</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="30643" href="https://uwa.academia.edu/OronCatts">Oron Catts</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":"The Art of the Semi-Living","attachmentId":30848386,"attachmentType":"pdf","work_url":"https://www.academia.edu/532519/The_Art_of_the_Semi_Living","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/532519/The_Art_of_the_Semi_Living"><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="1" data-entity-id="38130049" 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/38130049/Design_and_biotechnology_an_exploration_of_the_possibilities_of_objectifying_living_organisms">Design and biotechnology:an exploration of the possibilities of objectifying living organisms</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="30643" href="https://uwa.academia.edu/OronCatts">Oron Catts</a></div><p class="ds-related-work--metadata ds2-5-body-xs">The Journal of the School of Design Issue number 4 , 1996</p><p class="ds-related-work--abstract ds2-5-body-sm">In this paper I will look at current artistic trends, as well as recent developments in biotechnology that in the future may transform living organisms into objects. The concept of technological progress as a part of a linear perception of history that may exceed its limits is analysed, and the need for re-evaluating the concept of progress is emphasised. The role of biotechnology in technological progress, as well as the potential of biotechnology to change our perception of progress by applying natural processes in most basic terms, is highlighted. The relationship between art and technology is examined and shows that in some cases art explores technological advances before they occur. The work and the views of body artists Stelarc and Orlan are discussed, as well as those of some other artists. Bioethics is introduced as a scholarly way to examine biotechnological development, and it's revealed that not much has been done in respect to issues that are not directly connected to humans. This area seems to be where design can come in and explore the prospects of living objects and their manipulation. The need for a closer relationship between design and biotechnology, in order to produce a better future, concludes this paper.</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":"Design and biotechnology:an exploration of the possibilities of objectifying living organisms","attachmentId":58160408,"attachmentType":"pdf","work_url":"https://www.academia.edu/38130049/Design_and_biotechnology_an_exploration_of_the_possibilities_of_objectifying_living_organisms","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/38130049/Design_and_biotechnology_an_exploration_of_the_possibilities_of_objectifying_living_organisms"><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="2" data-entity-id="69756800" 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/69756800/Non_living_Matter_Bioscientific_Imaginaries_and_Feminist_Technoecologies_of_Bioart">Non/living Matter, Bioscientific Imaginaries and Feminist Technoecologies of Bioart</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="182893" href="https://liu-se.academia.edu/MariettaRadomska">Marietta Radomska</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Australian Feminist Studies, 2017</p><p class="ds-related-work--abstract ds2-5-body-sm">Bioart is a form of hybrid artistico-scientific practices in contemporary art that involve the use of bio-materials (such as living cells, tissues, organisms) and scientific techniques, protocols, and tools. Bioart-works embody vulnerability (intrinsic to all beings) and depend on (bio)technologies that allow these creations to come into being, endure and flourish but also discipline them. This article focuses on ‘semi-living’ sculptures by The Tissue Culture and Art Project (TC&A). TC&A’s artworks consist of bioengineered mammal tissues grown over biopolymer scaffoldings of different shapes and require sterile conditions of a bioreactor and constant care in order to survive. The article explores how bioart-works are always already intertwined with multiple (bio)technologies and techniques of care and labour, forming specific feminist technoecologies that challenge conventional bioscientific and cultural imaginaries of embodiment and the relation between physis and techné. TC&A’s sculptures expose life as the non/living: the processual enmeshment of the organic and inorganic, living and non-living, and growth and decay. The article argues that thinking with and through the feminist technoecologies of bioart mobilises philosophical inventiveness: not only does it problematise the entwinement of technology and biomatter and of culture and nature, but it also prompts us to rethink the ontology of life.</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":"Non/living Matter, Bioscientific Imaginaries and Feminist Technoecologies of Bioart","attachmentId":79729752,"attachmentType":"pdf","work_url":"https://www.academia.edu/69756800/Non_living_Matter_Bioscientific_Imaginaries_and_Feminist_Technoecologies_of_Bioart","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/69756800/Non_living_Matter_Bioscientific_Imaginaries_and_Feminist_Technoecologies_of_Bioart"><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="3" data-entity-id="74833938" 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/74833938/1_The_Art_of_The_Semi_Living">1 The Art of The Semi-Living</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="30643" href="https://uwa.academia.edu/OronCatts">Oron Catts</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 field of biological arts deals with modern biological knowledge, its applications and outcomes as both medium and subject. This is a transgressive and explorative art form that draws its inspiration and discourses from a diverse array of disciplines and modes of art expressions. At this stage it seems to be too early to discuss biological art as a movement per se, but rather it can be analysed as a problematic engagement with a new medium for artistic expression. The motivations and backgrounds of the main artists in this emerging field range from formalistic approaches to total transgression of both the artistic and scientific discourses. Works that involve living components in their presentation can be seen in many cases as time base works. They are durational pieces that can be viewed as an ‘art as documentation’. In his essay Art in the Age of Biopolitics: From Artwork to Art Documentation, the Russian critic Boris Groys (2002) explains this turn towards ‘art as documentatio...</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":"1 The Art of The Semi-Living","attachmentId":82844235,"attachmentType":"pdf","work_url":"https://www.academia.edu/74833938/1_The_Art_of_The_Semi_Living","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/74833938/1_The_Art_of_The_Semi_Living"><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="4" data-entity-id="111042049" 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/111042049/An_Emergence_of_the_Semi_Living">An Emergence of the Semi-Living</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="7611029" href="https://independent.academia.edu/ionatzurr">ionat zurr</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2002</p><p class="ds-related-work--abstract ds2-5-body-sm">Think of objects not as instruments for our use, but as entities that are effectively linked and that need care.... Think of objects that are beautiful and useful as trees in your own garden, objects that endure and have lives of their own, objects that perform services and, require care... I am thinking of a quality that leads to a system of objects that have the variety, complexity, life, and blend of beauty and utility of a garden but, at the same time, are a product of the real world, a world extensively and intensively artificial. 1 A new concept is emerging in the continuum of life-the Semi-Living, a new and autonomous entity located on the fuzzy border between the living and the non-living, the organically grown and the constructed, and the object and the subject. While the Semi-Living entity relies on the vet and the mechanic, the farmer and the artist, and the nurturer and the constructor for care, it is not a human imitation nor does it attempt to replace humans. Rather, the Semi-Living is at once similar and different from both human-made objects and selectively bred domestic plants and animals (both pets and husbandry). Yet, the Semi-Living is another construct of a self-centred species, the Homosapien, and it is a product of human-centric activity. However, it cannot be classified strictly as a human-made object or as a modified animal; the Semi-Living consists of both. This paper raises-but does not resolve-some of the conceptual issues that emerge with developments in new biologically related technologies, drawing on examples of existing precursors for Semi-Living entities. As the emphasis of this paper is on life in its tangible and physical forms, we will only superficially address issues regarding artificial or virtual life and intelligence. Modern biology enables us to objectify living systems and to create Semi-Living beings. As wet biology art practi-' Hannah Landecker, "Building a new type body in which to grow a cell: Tissue Culture at the Rockefeller Institute. 1910-1914," Rockefeller University Centennial, NY, November 2000. 8 Ibid. 9 The original idea for the "Tissue Culture & Art Project" came from Oron Catts' 1996 thesis, "Living Surfaces, Biotechnology and the Design Way," in which he explored a theoretical product development proposal for the use of Custom Grown Organic Surface Coating. See http://www.tca.uwa.edu.au</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":"An Emergence of the Semi-Living","attachmentId":108671156,"attachmentType":"pdf","work_url":"https://www.academia.edu/111042049/An_Emergence_of_the_Semi_Living","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/111042049/An_Emergence_of_the_Semi_Living"><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="25286181" 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/25286181/The_Abstract_Organism_Towards_a_Prehistory_for_A_Life_Art">The Abstract Organism: Towards a Prehistory for A-Life 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="17087643" href="https://swin.academia.edu/TroyInnocent">Troy Innocent</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Leonardo, 2001</p><p class="ds-related-work--abstract ds2-5-body-sm">An examination of historical precedents for contemporary art practice using artificial life, in particular in the work of Paul Klee and Kasimir Malevich. Similarities are identified between artificial life and the philosophical tradition of organicism; specific examples from Klee and Malevich indicate that those artists were engaged in a form of creative organicist thought which imagined the realisation of living structures in artificial media. Over the past decade artificial life has attracted the interest of a significant number of new media artists. The work of artists such as is relatively well-known within the field. Artificial life was chosen as the theme for the 1993 Ars Electronica festival; more recently, a juried competition for a-life art -"Life 2.0"attracted a wide field of international artists. Just as a-life science has entered the consciousness of cyberculture in general, in part through the accounts of popular writers such as Stephen Levy and Kevin Kelly, it has become part of the conceptual and technical landscape of new media art. Of course a-life ideas have been taken up in a wide variety of ways and with diverse creative intentions. Sims, Latham, Steven Rooke and Jon McCormack all use artificial evolutionary processes, but for different aesthetic and conceptual purposes. Simon Penny and other roboticists such as Ken Rinaldo and Bill Vorn and Louis-Philipe Demers use similar bottom-up techniques, but once again their artistic agendas, and resultant aesthetics, are diverse. A-life techniques are applied in a wide range of media forms -virtual worlds, generative systems, still images and animations, online environments and robotic</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 Abstract Organism: Towards a Prehistory for A-Life Art","attachmentId":45587390,"attachmentType":"pdf","work_url":"https://www.academia.edu/25286181/The_Abstract_Organism_Towards_a_Prehistory_for_A_Life_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/25286181/The_Abstract_Organism_Towards_a_Prehistory_for_A_Life_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="74255237" 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/74255237/Emergence_of_the_Semi_Living">Emergence of the Semi-Living</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="7611029" href="https://independent.academia.edu/ionatzurr">ionat zurr</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Thresholds</p><p class="ds-related-work--abstract ds2-5-body-sm">Think of objects not as instruments for our use, but as entities that are effectively linked and that need care.... Think of objects that are beautiful and useful as trees in your own garden, objects that endure and have lives of their own, objects that perform services and, require care... I am thinking of a quality that leads to a system of objects that have the variety, complexity, life, and blend of beauty and utility of a garden but, at the same time, are a product of the real world, a world extensively and intensively artificial. 1 A new concept is emerging in the continuum of life-the Semi-Living, a new and autonomous entity located on the fuzzy border between the living and the non-living, the organically grown and the constructed, and the object and the subject. While the Semi-Living entity relies on the vet and the mechanic, the farmer and the artist, and the nurturer and the constructor for care, it is not a human imitation nor does it attempt to replace humans. Rather, the Semi-Living is at once similar and different from both human-made objects and selectively bred domestic plants and animals (both pets and husbandry). Yet, the Semi-Living is another construct of a self-centred species, the Homosapien, and it is a product of human-centric activity. However, it cannot be classified strictly as a human-made object or as a modified animal; the Semi-Living consists of both. This paper raises-but does not resolve-some of the conceptual issues that emerge with developments in new biologically related technologies, drawing on examples of existing precursors for Semi-Living entities. As the emphasis of this paper is on life in its tangible and physical forms, we will only superficially address issues regarding artificial or virtual life and intelligence. Modern biology enables us to objectify living systems and to create Semi-Living beings. As wet biology art practi-' Hannah Landecker, "Building a new type body in which to grow a cell: Tissue Culture at the Rockefeller Institute. 1910-1914," Rockefeller University Centennial, NY, November 2000. 8 Ibid. 9 The original idea for the "Tissue Culture & Art Project" came from Oron Catts' 1996 thesis, "Living Surfaces, Biotechnology and the Design Way," in which he explored a theoretical product development proposal for the use of Custom Grown Organic Surface Coating. See http://www.tca.uwa.edu.au</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":"Emergence of the Semi-Living","attachmentId":82469213,"attachmentType":"pdf","work_url":"https://www.academia.edu/74255237/Emergence_of_the_Semi_Living","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/74255237/Emergence_of_the_Semi_Living"><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="40639750" 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/40639750/The_Living_Image_in_Bio_Art_and_in_Philosophy">The Living Image in Bio-Art and in Philosophy</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="8081329" href="https://liverpool.academia.edu/VidSimoniti">Vid Simoniti</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Oxford Art Journal, 2019</p><p class="ds-related-work--abstract ds2-5-body-sm">With the advent of bio-art in the 1990s a tantalizing new vista opened up for artists: the possibility of creating living artworks in laboratories, of incarnating images that were previously only represented. In the decades that followed, biotechnology became increasingly sensationalised through scandalous, freakish imagery propagated in mass media, and so the question arose whether bio-art would participate in the scandal or offer critical inquiry into it. Here, I test the critical intentions of bio-artists by setting up a comparison between bio-art and bioethics: a philosophical discipline, which developed contemporaneously with, but separately from, bio-art. How artists and philosophers treat the image in biotechnology, I claim, is the key to understanding the competing claims of each discipline. Iconological notions of the living presence, the viral image and the pensive image are central to my inquiry. I develop my argument by comparing the works of artists Eduardo Kac, Stelarc and Maja Smrekar, and the philosopher Julian Savulescu.</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 Image in Bio-Art and in Philosophy","attachmentId":60920967,"attachmentType":"pdf","work_url":"https://www.academia.edu/40639750/The_Living_Image_in_Bio_Art_and_in_Philosophy","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/40639750/The_Living_Image_in_Bio_Art_and_in_Philosophy"><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="29912407" 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/29912407/Bio_objects_and_the_bio_objectification_process">Bio-objects and the bio-objectification process</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="22746830" href="https://uppsala.academia.edu/ToraHolmberg">Tora Holmberg</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Croatian Medical Journal, 2011</p><p class="ds-related-work--abstract ds2-5-body-sm">This short text is the second in a series of articles from the recently established "Bio-Objects" research network supported by the European Commission's Cooperation in Science and Technology (COST) program (1). Here we explore in more detail the ways in which we understand the boundaries of bio-objects determined through a "bio-objectification" process wherein life-forms or living entities are first made into objects, become possible, through scientific labor and its associated technologies, and then come to be attributed with specific identities. This move from living entity, through bio-objectification to what we can call "bioidentification" helps us to understand the contested, often controversial process seen in the biological sciences (and not merely in biomedicine, but elsewhere, such as in agriculture and food research) where we see a new mixture of relations to life or to which "life" is attributed, such as animal-human hybrids, chimera, genetically modified organisms, or transgenics. As a consequence of these novel relations, the boundaries between human and animal, organic and nonorganic, living and the suspension of living (and the meaning of death itself ), are often questioned and destabilized, and their identities have to be negotiated and (temporarily) stabilized, and so given an identity. What is common to what we call bio-objects, is that they all in various ways challenge conventional cultural, scientific, and institutional orderings and classifications.</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":"Bio-objects and the bio-objectification process","attachmentId":50373567,"attachmentType":"pdf","work_url":"https://www.academia.edu/29912407/Bio_objects_and_the_bio_objectification_process","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/29912407/Bio_objects_and_the_bio_objectification_process"><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="106291030" 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/106291030/Through_the_Scope_of_Life_Art_and_Bio_Technologies_Philosophically_Revisited">Through the Scope of Life. Art and (Bio)Technologies Philosophically Revisited</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="300745" href="https://unam1.academia.edu/Mar%C3%ADaAntoniaGonz%C3%A1lezValerio">María Antonia González Valerio</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Through the Scope of Life. Art and (Bio)Technologies Philosophically Revisited, 2023</p><p class="ds-related-work--abstract ds2-5-body-sm">This book offers intriguing philosophical inquiries into biotechnological art and the life sciences, addressing their convergences as well as their epistemic and functional divergences. Rooted on a thorough understanding of the history of philosophy, this work builds on critical and ontological thought to interpret the concept of life that underscores first-hand dealings with matter and experimentation. The book breaks new ground on the issue of animality and delivers fresh posthumanist perspectives on the topics addressed. The authors embark on a deep ontological probe of the concept of medium as communication-bridging and life-bearing. They also take on the concept of performativity as biotechnological art. The book includes concrete, well-documented case studies and shows how certain narratives and practices directly impact ideas surrounding science and technologies. It will interest philosophers in art and technology, aesthetics, ontology, and the life sciences. It will also engage art practitioners in art and science, curators and researchers.</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":"Through the Scope of Life. Art and (Bio)Technologies Philosophically Revisited","attachmentId":105528059,"attachmentType":"pdf","work_url":"https://www.academia.edu/106291030/Through_the_Scope_of_Life_Art_and_Bio_Technologies_Philosophically_Revisited","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/106291030/Through_the_Scope_of_Life_Art_and_Bio_Technologies_Philosophically_Revisited"><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":108671089,"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":108671089,"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_108671089" 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. 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data-entity-id="31860671" 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/31860671/Embodiment_and_Technics_At_the_Brink_of_Biology">Embodiment and Technics—At the Brink of Biology</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="56902878" href="https://independent.academia.edu/TheresaSchilhab">Theresa Schilhab</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Biosemiotics, 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":"Embodiment and Technics—At the Brink of 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href="https://www.academia.edu/10513412/_Bodies_Against_Meaning_De_Subjectification_in_Body_Art_and_Bioart_in_Gunnarsson_Martin_and_Svenaeus_Fredrik_eds_The_Body_as_Gift_Resource_and_Commodity_Exchanging_Organs_Tissues_and_Cells_in_the_21st_Century_2012_ISBN_978_91_86069_00_0_pp_169_203_color_plates">‘Bodies Against Meaning. De-Subjectification in Body Art and Bioart’, in Gunnarsson, Martin & Svenaeus, Fredrik (eds.), The Body as Gift, Resource and Commodity. Exchanging Organs, Tissues and Cells in the 21st Century, 2012. ISBN: 978-91-86069-00-0, pp. 169-203 + color plates.</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="25068119" href="https://lu.academia.edu/MaxLiljefors">Max Liljefors</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":"‘Bodies Against Meaning. De-Subjectification in Body Art and Bioart’, in Gunnarsson, Martin \u0026 Svenaeus, Fredrik (eds.), The Body as Gift, Resource and Commodity. Exchanging Organs, Tissues and Cells in the 21st Century, 2012. 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