Esta dissertação aborda a poética do artista multimídia Eduardo Kac, conhecido internacionalmente por suas obras inovadoras e polêmicas e pela atuação como professor, crítico e pesquisador de modalidades artísticas contemporâneas que envolvem o uso das novas tecnologias, incluindo algumas criadas por ele mesmo, como é o caso da holopoesia, da arte da telepresença e biotelemática e da arte transgênica. Consideramos a idéia da criação presente nos trabalhos, principalmente as relações entre esta e uma concepção mística de linguagem, baseada em conceitos e técnicas da Cabala judaica. A partir das obras de arte transgênica que compõem sua Trilogia da Criação: Gênesis (1999), GFP-Bunny (2000) e O Oitavo Dia (2001), buscamos iluminar as referências e procedimentos criativos que conectam o corpo de conhecimento bastante antigo e tradicional (a Cabala) com a reflexão sobre a criação e suas relações com a linguagem, na tradição cabalística e na arte contemporânea / This dissertation approaches the poetics of the multimedia artist Eduardo Kac, internationally known for his innovative and controversial works and for his performance as a professor, critic and researcher of contemporary artistic modalities that involve the use of new technologies, including some that were developed by himself, such as the holopoetry, the telepresence and biotelematic art and the transgenic art. We consider that the idea of creation in his works, mainly the relationship between this creation and a mystical conception of language, is based on concepts and techniques of the Jewish Kabbalah. By analyzing the transgenic art works that compose the Creation Trilogy: Genesis (1999), GFPBunny (2000) e The Eighth Day (2001), we intend to highlight the references and creative procedures that connect the ancient and traditional structure of knowledge (the Kabbalah) with the analysis of creation and its relationship with language in the kabbalistic tradition and contemporary art.

Esta dissertação aborda a poética do artista multimídia Eduardo Kac, conhecido internacionalmente por suas obras inovadoras e polêmicas e pela atuação como professor, crítico e pesquisador de modalidades artísticas contemporâneas que envolvem o uso das novas tecnologias, incluindo algumas criadas por ele mesmo, como é o caso da holopoesia, da arte da telepresença e biotelemática e da arte transgênica. Consideramos a idéia da criação presente nos trabalhos, principalmente as relações entre esta e uma concepção mística de linguagem, baseada em conceitos e técnicas da Cabala judaica. A partir das obras de arte transgênica que compõem sua Trilogia da Criação: Gênesis (1999), GFP-Bunny (2000) e O Oitavo Dia (2001), buscamos iluminar as referências e procedimentos criativos que conectam o corpo de conhecimento bastante antigo e tradicional (a Cabala) com a reflexão sobre a criação e suas relações com a linguagem, na tradição cabalística e na arte contemporânea / This dissertation approaches the poetics of the multimedia artist Eduardo Kac, internationally known for his innovative and controversial works and for his performance as a professor, critic and researcher of contemporary artistic modalities that involve the use of new technologies, including some that were developed by himself, such as the holopoetry, the telepresence and biotelematic art and the transgenic art. We consider that the idea of creation in his works, mainly the relationship between this creation and a mystical conception of language, is based on concepts and techniques of the Jewish Kabbalah. By analyzing the transgenic art works that compose the Creation Trilogy: Genesis (1999), GFPBunny (2000) e The Eighth Day (2001), we intend to highlight the references and creative procedures that connect the ancient and traditional structure of knowledge (the Kabbalah) with the analysis of creation and its relationship with language in the kabbalistic tradition and contemporary art.

The aim of this diploma thesis is Bioart, new media art discipline, which is represented by a narrow group of authors. Bioart is often referred to by variety of names and the term itself is not uniformly defined. The work offers a comprehensive definition of the term as an art area that creates space for social reflection of scientific knowledge through its reflection of modern science. The thesis also describes respective artistic, philosophical and historical context of the term. At the same time, the thesis examines aspects of contemporary bioart from the perspective of the artists working in this field of art by interviewing them. The thesis is divided into three main chapters. The first chapter deals with Bioart as a term on theoretical level and introduces the interviewed artists. The second chapter summarizes the historical background of Bioart. The third chapter introduces the overlap of Bioart on ethics, safety and engagement of artists and the public in science. Powered by TCPDF (www.tcpdf.org)

Text in English / The rise of the biotechnical and genomic revolution has motivated contemporary artists to explore the use of scientific methods as a medium for art-making. The application of these ground-breaking methods within the realm of contemporary art allows for the distortion that exists between life sciences and the imagination to become a reality. This practice is known as transgenic art. With biotechnology as the new playing-field for art comes a myriad of dangerous implications, ethical issues, questions of authorship and responsibilities. The transgenic artworks of Eduardo Kac entitled GFP Bunny (2000) and Genesis (1999) form the basis of the research. The main question posed in this research explores the purpose of transgenic art and the unavoidable impact thereof on society. Social awareness of ethical issues surrounding this type of art-making is addressed. The poignancy of the study lies in debates deliberately introduced by the artist, but also unintended controversial issues that surface from the creation of living artworks. / Art History, Visual Arts & Musicology / M.A. (Visual Arts)

Text in English / The rise of the biotechnical and genomic revolution has motivated contemporary artists to explore the use of scientific methods as a medium for art-making. The application of these ground-breaking methods within the realm of contemporary art allows for the distortion that exists between life sciences and the imagination to become a reality. This practice is known as transgenic art. With biotechnology as the new playing-field for art comes a myriad of dangerous implications, ethical issues, questions of authorship and responsibilities. The transgenic artworks of Eduardo Kac entitled GFP Bunny (2000) and Genesis (1999) form the basis of the research. The main question posed in this research explores the purpose of transgenic art and the unavoidable impact thereof on society. Social awareness of ethical issues surrounding this type of art-making is addressed. The poignancy of the study lies in debates deliberately introduced by the artist, but also unintended controversial issues that surface from the creation of living artworks. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)