Sometimes the online world reveals unsuspected parallel dimensions. This is an unknown restyle of Neural independently (and secretly as we never knew about it) made by NY-based Motion and Graphic Designer, Clarke Blackham. Very nicely made, perhaps only a bit glossier for the magazine’s line, it testifies once more how even your most familiar outcomes can have another life somewhere else.
Biotechnology impose new parameters of perception of the organic structure of nature, which for the first time sees altered the processes of development and growth from within and not just as a mere consequence induced by heavy external interventions. This intrusion into the essences of vital growth and survival of organisms is transformed by the artists in open debate enlarging excessively the macro paradoxes to which these manipulations are inevitably encounter, overwhelming common sense and conceptual categories established in the unconscious of each. Art of the Biotech He was trying to make a temporary reconnaissance work and conceptually challenging the invisible and persistent change in the natural world that are doing the multinationals. In the symposium are presented the works on display in the exhibition curated by Melentie Pandilovski which takes place at the Experimental Art Foundation in Adelaide (Australia). Among these we note the Tissue Culture & Art Project (Oron Catts and Zurr Ionat in collaboration with Stelarc) with their impressive 'Semi-Living Extra Ear 1/4 Scale', a reproduction alive Ear Stelarc built with patterned fabrics thanks to a roundabout induced growth technique, a prosthesis 'soft' and that calls into play his concept of 'prosthesis', being conceived as 'accretive' (ie for a third ear) instead of replacement. The 'superweed Kit 1.0' Heath Bunting, however, is a fearsome weapon of organic resistance fighting the multinationals of artificial selection of plants with their own means. The seeds contained in the bags packed by the British contain weeds from genetic mutant that once developed intersect through germination and pollination also becoming resistant to current herbicides and air sending the aims of unassailable monocultures. There are also developments (partly true and partly special effects) of the performer Iona Kewney in 'Infected' Gina Czarnecki, which emphasizes the perception of extension of the boundaries of the possibilities of the body, the infinite hybrid 'streptocarpus' generated by George Gessert since 1995 in the project 'The Family Of' Mark Tobey 'From Origin' and the classic ' Genesis 'by Eduardo Kac.