Week 6: Biotech and Art
Art scenes grown from a petri dish Photo by Suzanne Anker (2016) |
Picture of the GFP Bunny glowing Photo by Chrystelle Fontaine (2000) |
Eduardo
Kac was the artist behind the artwork “GFP Bunny” which involved genetically
modifying a rabbit to be albino and express a green fluorescent protein (GFP)
so that the entire rabbit would glow green if exposed to UV light. The
experiment itself served no scientific purpose as GFP had already been proven
to be useful in research as a marker protein. Many animal rights organizations
opposed this artwork as it was thought to be cruel to the rabbit. Scientists
also commented on the artwork as an interesting but also said that it served no
real scientific purpose. However, as an artistic piece it is particularly
impactful because manipulating another living organism affects how we think of
ourselves because we too are living organisms and the manipulations done on
another organism could be done on us.
An example of bioart, encoding an image into DNA Image by Joe Davis (1996) |
I
consider the “GFP Bunny” as a valid artistic expression because the artist
behind the manipulations had specific intentions he was trying to get across while
creating the “GFP Bunny”. Some of the reasons behind the artwork was to open
the dialogue between scientists and artists as well as questioning the ethics
and social impact of genetic engineering. However, there should be a limit to
what is acceptable as art and what is not, especially if the artwork is
manipulating life itself. The manipulation itself is not inherently bad as
humans have been doing genetic manipulations for millennia in the form of
selective breeding. I believe the issue is that many of the modern
manipulations are not as subtle as selective breeding and have a significant
impact on life and could cause severe problems for the lifeforms being
manipulated. It is one thing to make small changes to convey a certain idea,
but it is another to go to any means to produce the perfect masterwork
regardless of the consequences.
References
Anker,
Suzanne. Vanitas. 2016,
http://suzanneanker.com/blog/2015/04/07/genspace-talks-suzanne-anker-where-is-the-art-in-bio-art/.
Accessed 14 May 2018.
Davis,
Joe. Microvenus. 1996,
https://www.jstor.org/stable/777811?seq=1#page_scan_tab_contents. Accessed 14
May 2018.
Fontaine,
Chrystelle. Alba The GFP Bunny. 2000,
http://www.ekac.org/gfpbunny.html#gfpbunnyanchor. Accessed 14 May 2018.
Kac,
Eduardo. "GFP BUNNY". Ekac.Org, 2000, http://www.ekac.org/gfpbunny.html#gfpbunnyanchor.
Accessed 14 May 2018.
Kelty,
Christopher. "Outlaw, Hackers, Victorian Amateurs: Diagnosing Public
Participation In The Life Sciences Today". Journal Of Scientific
Communication, no. 1, 2010, Accessed 14 May 2018.
Levy,
Ellen. "Defining Life: Artists Challenge Conventional
Classifications". Accessed 14 May 2018.
Stutz,
Bruce. "Wanted: GM Seeds For Study". Seedmagazine.Com, 2010,
http://seedmagazine.com/content/article/wanted_gm_seeds_for_study/. Accessed 14
May 2018.
Yetisen,
Ali K. et al. "Bioart". Trends In Biotechnology, vol 33, no. 12,
2015, pp. 724-734. Elsevier BV, doi:10.1016/j.tibtech.2015.09.011. Accessed 14
May 2018.
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