Eduardo Kac

The book includes essays, manifestoes, articles, and several documents in art, literature, and communication published by the artist throughout the 1980s.

ensaios de arte, literatura e comunicação

Luz & letra

The first international anthology to document a radically new poetry which takes language beyond the confines of the printed page into a non-linear world of digital interactivity and hyperlinkage. The work of the poets discussed in this book challenges even the innovations of experimental poetics. It embraces new technologies to explore a new syntax made of linear and non-linear animation, hyperlinkage, interactivity, real-time text generation, spatiotemporal discontinuities, self-similarity, synthetic spaces, immateriality, diagrammatic relations, visual tempo, multiple simultaneities, and many other innovative procedures. This new media poetry, although defined within the field of experimental poetics, departs radically from the avant-garde movements of the first half of the century, and the print-based approaches of the second half. Through an embrace of the vast possibilities made available through new media, the artists in this anthology have become the poetic pioneers for the next millennium.

An International Anthology

Media Poetry

"Eduardo Kac's work represents a turning point. What it questions is our current attitudes to creativity, taking that word in its most fundamental sense." -Edward Lucie-Smith, author of Visual Arts in the 20th Century "His works introduce a vital new meaning into what had been known as the creative process while at the same time investing the notion of the artist-inventor with an original social and ethical responsibility." -Frank Popper, author of Origins and Development of Kinetic Art "Kac's radical approach to the creation and presentation of the body as a wet host for artificial memory and 'site-specific' work raises a variety of important questions that range from the status of memory in digital culture to the ethical dilemmas we are facing in the age of bioengineering and tracking technology." -Christiane Paul, Whitney Museum of Art For nearly two decades Eduardo Kac has been at the cutting edge of media art, first inventing early online artworks for the web and continuously developing new art forms that involve telecommunications and robotics as a new platform for art. Interest in telepresence, also known as telerobotics, exploded in the 1990s, and remains an important development in media art. Since that time, Kac has increasingly moved into the fields of biology and biotechnology. Telepresence and Bio Art is the first book to document the evolution of bio art and the aesthetic development of Kac, the creator of the "artist's gene" as well as the controversial glow-in-the-dark, genetically engineered rabbit Alba. Kac covers a broad range of topics within media art, including telecommunications media, interactive systems and the Internet, telematics and robotics, and the contact between electronic art and biotechnology. Addressing emerging and complex topics, this book will be essential reading for anyone interested in contemporary art.

Networking Humans, Rabbits, & Robots

Telepresence & Bio Art

The theory and practice of bio art, a new art form that uses the materials and processes of biotechnology, with examples of work by such prominent artists as Eduardo Kac and Marc Quinn. Bio art is a new art form that has emerged from the cultural impact and increasing accessibility of contemporary biotechnology. Signs of Life is the first book to focus exclusively on art that uses biotechnology as its medium, defining and discussing the theoretical and historical implications of bio art and offering examples of work by prominent artists. Bio art manipulates the processes of life; in its most radical form, it invents or transforms living organisms. It is not representational; bio art is in vivo. (A celebrated example is Eduardo Kac's own GFP Bunny, centered on "Alba," the transgenic fluorescent green rabbit.) The creations of bio art become a part of evolution and, provided they are capable of reproduction, can last as long as life exists on earth. Thus, bio art raises unprecedented questions about the future of life, evolution, society, and art. The contributors to Signs of Life articulate the critical theory of bio art and document its fundamental works. The writers—who include such prominent scholars as Barbara Stafford, Eugene Thacker, and Dorothy Nelkin—consider the culture and aesthetics of biotechnology, the ethical and philosophical aspects of bio art, and biology in art history. The section devoted to artworks and artists includes George Gessert's Why I Breed Plants, Oron Catts and Ionat Zurr's Semi-Living Art, Marc Quinn's Genomic Portrait, and Heather Ackroyd and Dan Harvey's Chlorophyll.

Bio Art and Beyond

Signs of Life

Avital Ronell

Humankind has imagined and depicted fantastical creatures since the formation of the first societies. Beasts such as the Chimera, the Golem, the Minotaur and Galatea could be said to be culturally symptomatic. Today, in the twenty-first century, we witness the emergence of a new class of beings: organisms that are first imagined and then--through the agency of biotechnologies--brought to life. What once was myth is today a medium. In Eduardo Kac: Life Extreme, Kac, the pioneer of "bio art" who is internationally recognized for celebrated works such as "Genesis" and the fluorescent green "GFP Bunny," has selected 36 new organisms and invited the prominent philosopher Avital Ronell to discover these new beings. The book, published in Dis Voir's new Encountersseries, is prefaced by Kac's "Anthroduction" and includes a whimsical taxonomy of taxonomies, offering a unique classification method for future species.

An Illustrated Guide to New Life

Life Extreme

Durante más de dos décadas, Eduardo Kac ha estado en la vanguardia del media art, al principio inventando algunas de las primeras obras de arte online y, después, continuando el desarrollo de nuevas formas artísticas que utilizan la telecomunicación y la robótica como plataformas. El interés en la telepresencia, también conocida como telerrobótica, surgió durante los noventa y sigue teniendo un desarrollo importante dentro del media art. Desde ese momento, Kac se ha desplazado cada vez más hacia los campos de la biología y la biotecnología. Telepresencia y bioarte documenta la evolución del bioarte y el desarrollo estético de Kac, creador del "gen del artista", así como de "Alba", su controvertido conejo modificado genéticamente para brillar en la oscuridad. En él, Kac cubre toda una serie de temas dentro del media art, incluidas las telecomunicaciones, los sistemas interactivos, Internet, la telemática y la robótica y el contacto entre el arte electrónico y la biotecnología.

Eduardo Kac

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