No description available.

No description available.

What does it mean to take Animals, Plants, and Machines seriously when engaging in hybrid natures such as bioart, plant-art, taxidermy art and cyborgs in contemporary art?  Traditionally within art history the focus has been on human culture as the fundamental underpinning for cultural behaviour and productions, consequently rendering animal and plant histories invisible from the analysis of artworks. In this thesis I attend to the bodies of animals, plants, and machines put in the context of the zooësis (places/contact zones) of these bodies as biopolitical aesthetics (aesthetic bodies/objects) in contemporary art. Followingly, also attending to the histories of animals, plants, and machines in human societies and culture.  Situated within the interdisciplinary field of Human-Nonhuman-Animal Studies, or Anthrozoology, the aim in this thesis is to examine the meaning of animals, plants, and machines beyond representation, symbolism and mythology in contemporary art. In other words, this thesis analyses the representations of animal, plant, and cyborg bodies as actant aesthetic (organic and mechanical) objects, in art, literature, and media. Particular focus is payed to the hybrid natures founded in the taxidermy art of Berlinde De Bruyckere; in the bioart and transgenic plant-art of Špela Petrič; in the hybrid hyperrealist sculptures and bioethics of Patricia Piccinini; and in the hybrid artifacts, or “technoanimalism” of Tove Kjellmark.

Uncontainable Life: A Biophilosophy of Bioart investigates the ways in which thinking through the contemporary hybrid artistico-scientific practices of bioart is a biophilosophical practice, one that contributes to a more nuanced understanding of life than we encounter in mainstream academic discourse. When examined from a Deleuzian feminist perspective and in dialogue with contemporary bioscience, bioartistic projects reveal the inadequacy of asking about life’s essence. They expose the enmeshment between the living and non-living, organic and inorganic, and, ultimately, life and death. Instead of examining the defining criteria of life, bioartistic practices explore and enact life as processual, differential, and always already uncontainable, thus transcending preconceived material and conceptual boundaries. In this way, this doctoral thesis concentrates on the ontology of life as it emerges through the selected bioartworks: “semi-living” sculptures created by The Tissue Culture and Art Project and the performance May the Horse Live in Me (2011) by L’Art Orienté Objet. The hope is that such an ontology can enable future conceptualisations of an ethico-politics that avoids the anthropocentric logic dominant in the humanities and social sciences. / Otyglat liv: Biokonst och biofilosofi undersöker hur biofilosofisk praktik och biokonst, alltså tänkande genom samtida hybrida konstnärliga-vetenskapliga praktiker, kan bidra till en mer nyanserad förståelse av liv än vad vi vanligtvis möter i akademiska diskurser. Med utgångspunkt i ett feministiskt deleuzianskt perspektiv, och i dialog med samtida biovetenskap, pekar biokonstnärliga projekt på det otillräckliga i att ställa frågor om livets innehåll. Projekten tydliggör istället hur det levande och det icke-levande, det organiska och oorganiska, precis som liv och död, är sammanflätade. Istället för att sätta upp fasta kriterier för liv undersöker och framställer biokonstnärliga praktiker liv som en differentiell process, i sig omöjlig att fastställa och därmed något otyglat, som överskrider uppsatta gränser mellan det materiella och föreställda. Följaktligen fokuserar föreliggande avhandling på livets ontologi så som den framträder i ett urval av biokonstnärliga arbeten: ”semi-levande” skulpturer skapade av The Tissue Culture and Art Project, samt performance-konstverket May the Horse Live in Me (2011) av L’Art Orienté Objet. Förhoppningen är att en sådan ontologi kan möjliggöra framtida begreppsliggöranden av en etisk politik som undviker den antropocentriska logik som dominerar humaniora och samhällsvetenskap idag.

Made available in DSpace on 2014-07-29T15:13:39Z (GMT). No. of bitstreams: 1 Yandra Cassia Lobato do Prado.pdf: 3346090 bytes, checksum: 459271b973e2cf45dae272f74f535fe4 (MD5) Previous issue date: 2010-06-10 / Primates are known for larger brain size, enhanced handling and cognitive abilities and increasingly complex social behavior. Many studies have been conducted with the neotropical primates of the genus Cebus, known as capuchin monkey, regarding their behavior, tool use, encephalization index and memory. These studies are justified because these primates present high cognitive faculty and other biological characteristics that make them similar to Old World primates. This thesis rendered possible the production of two articles. The first one is entitled Anatomical description of the extensor muscles of the forearm associated with cognition and tool use in Cebus libidinosus . In this article, a comparative analysis between the anatomy of the forearm muscle of this genus and that the one of other primates that, individually or jointly, act in the hands allowing more or less specialized movements of the fingers, relating them to the use of tools and to the cognitive aspects of Cebus spp. described in the literature. There were evident similarities between the extensor muscles in C. libidinosus primates and the correspondent muscles in humans and chimpanzees; however, there were differences when compared to baboons. The structure and differentiation of the forearm muscles of Cebus spp., together with its previously known encephalization index, corroborate the association between its manual ability and cognitive and behavioral aspects in primates. The second article is entitled "Cytoarchitecture of the occipital neocortex of Cebus libidinosus . Its purpose was to analyze the cytoarchitecture of the occipital cortex using the technique of Golgi-Cox, the qualitative and quantitative aspects provided by this technique of impregnation of neurons, and to compare them with data from the literature. Primary and secondary visual areas are located in the occipital neocortex, and in C. libidinosus, the histological organization of these areas is similar to humans and other primates and it is characterized by the predominance of granular neurons and the presence of transversal fibers in the fourth layer. Although the Golgi-Cox method allowed individual observation of neurons and their extensions, the weak distinction between neurons and glial cells impaired neuron counting. These data, nevertheless, will grant further cell density comparison of other cortical areas between Cebus spp. and other primates. Aiming to contribute to the foundations of studies related to the evolution of primate cognition, this study related morphology, as a science, to the numerous observations on the behavior of capuchin monkeys. The comparative approach to study the morphology of the musculoskeletal and neural apparatus of C. libidinosus will allow data inference in areas of cognitive science and related areas. / Os primatas são caracterizados pelo maior tamanho do cérebro, pelo aprimoramento de habilidades manipulativas e cognitivas e desenvolvimento de comportamento social complexo. Muitos estudos têm sido realizados com os primatas neotropicais do gênero Cebus, conhecidos por macaco-prego, relativos a comportamento e uso de ferramentas, índice de encefalização e memória. Esses estudos se justificam em razão desses primatas apresentarem elevada capacidade cognitiva e outras características biológicas que os torna similares aos primatas do Velho Mundo. A presente tese gerou a produção de dois artigos. O primeiro intitulado Descrição anatômica dos músculos extensores do antebraço de Cebus libidinosus associada a aspectos cognitivos e ao uso de ferramentas , propôs-se a análise comparativa entre a anatomia muscular do antebraço com àquela de outros primatas que, individual ou conjuntamente, atuam nas mãos possibilitando movimentos mais ou menos especializados dos dedos, relacionando-se ao uso de ferramentas e aspectos cognitivos de Cebus spp. descritos na literatura. Observaram-se evidentes similaridades entre os músculos extensores de C. libidinosus com os músculos correspondentes em humanos e chimpanzés, porém houve diferenças desses músculos em relação aos babuínos. A estrutura e diferenciação dos músculos do antebraço do Cebus spp., associados ao seu já conhecido índice de encefalização, reforçam a associação entre suas habilidades manuais e os aspectos cognitivos e comportamentais em primatas. O segundo artigo intitulado Citoarquitetura do neocórtex occipital de Cebus libidinosus propôs-se a análise da citoarquitetura do córtex cerebral occipital utilizando a técnica de Golgi-Cox, sob os aspectos qualitativos e quantitativos que esta técnica de impregnação de neurônios proporciona e, compará-los com dados descritos na literatura. No neocórtex occipital estão situadas as áreas visuais primárias e secundárias e, em C. libidinosus, a organização histológica destas áreas apresenta, tal como em outros primatas não-humanos e o homem, a predominância de neurônios granulares e a presença de estrias de Baillarger na quarta camada. O emprego da técnica de Golgi-Cox permitiu a visualização individual dos neurônios e seus prolongamentos, entretanto quanto à análise quantitativa apresenta como limitação a dificuldade em diferenciar células neuronais e não-neuronais. Estes dados permitirão futuras comparações entre diferentes áreas corticais de Cebus spp. e outros primatas. Com o intuito de contribuir com as bases dos estudos relacionados à evolução da cognição de primatas, este trabalho relacionou a morfologia, tal como ciência que é, com as inúmeras observações sobre comportamento do macaco-prego. A abordagem comparativa no estudo da morfologia músculo-esquelética e do aparato neural do C. libidinosus permitirá inferir dados às áreas da ciência cognitiva e áreas correlatas.

Through two books and a series of video documentations of live performances Mette Ingvartsen makes choreography into a territory of physical, artistic and social experimentation. The Artificial Nature Series focusses on how relations between human and non-human agency can be explored and reconfigured through choreography. By investigating and creating a ‘nonhuman theater’ questions regarding material agency, ecology, natural disasters, the Anthropocene and non-subjective performativity are posed. The resulting reflections are closely related to the poetic principles utilized to create the performances, while also drawing connections to territories outside theater. By contrast, 69 positions inscribes itself into a history of human performance with afocus on nudity, sexuality and how the body historically has been a site for political struggles. By creating a guided tour through sexual performances – from the naked protest actions of the 1960’s, through an archive ofpersonal performances into a reflection on contemporary sexual practice – this solo work rethinks audience participation and proposes a notion of soft and social choreography. The contrasting performative strategiesarticulate a twofold notion of expanded choreography: on the one hand movement is extended beyond the human body by including the agency of nonhuman performers, and on the other hand, movement is expanded into animaginary and virtual space thanks to ‘language choreography’. / <p>LINKS</p><p>https://vimeo.com/164552586</p><p>https://vimeo.com/164558381</p>

Collaborating in the Electric Age: [onto]Riffological Experiments in Posthumanizing Education and Theorizing a Machinic Arts-Based Research is a study about locating opportunities and entry points for introducing consideration of the nonhuman and posthuman to pedagogical perspectives that are traditionally concerned with human beings and epistemological subjects. The research, herein, engages doings in collaborative effort, during conditions of unprecedented interconnectedness facilitated by the electric age. Steeped in a environment thus created by technologies’ immense ubiquity and influence, this collaboration endeavours to recognize their full research participation, alongside that of humans. This research presents collaboratively conducted, published inquiries that have been coauthored by myself and fellow doctoral candidate Richard Wainwright. Each facilitates, then attempts to articulate ways to decentre the human in educational contexts, beginning with our own human perspectives. As exercises in broadening our considerations of the life forms, matter, and nonhuman entities that surround humanity, this research prompts us to recognize much more than what humanity typically acknowledges as existing, given the anthropocentric frameworks it has constructed. We reorientate the nature of these relationships—posthumanizing them—and in doing so, disrupt our own thinking to work something different than our circumstances have hitherto informed us to consider. We have co-developed a study and conducted research in collaboration with human and nonhuman research participants.Five nationally and internationally published co-authored journal articles, a book chapter, and five intermezzos (short “observational” pieces) comprise this study that explores collaboration and recombinatoriality during “the electric age” (McLuhan, 1969, 10:05). Recognizing humanity’s increasingly inextricable relationships with technologies, this collaboratively conducted study draws into creative assemblage Gilles Deleuze and Félix Guattari’s philosophical concepts; new materialism as cultural theory; the prescient observations and predictions of Marshall McLuhan and a media studies curriculum he co-developed over forty years ago; arts-based research; museum exhibitions; features of music production such as sampling, mashup, remix, and turntabling; among many other notes and tones. A conceptually developed riff mobilizes our inquiries as “plug in and play,” while its academic study is theorized as [onto]Riffology. Ontological shifts beget a machinic arts-based research (MABR) that develops a posthuman critical pedagogy inspired by Negri and Guattari (2010). Collaborating in the Electric Age: [onto]Riffological Experiments in Posthumanizing Education and Theorizing a Machinic Arts-Based Research celebrates collaborativity, discovery, and learning during the electric age. / Graduate / 2023-01-07