[-empyre-] First Postings

2013-09-04 Thread Adam Zaretsky
--empyre- soft-skinned space--
Thanks Adam N. for having a mind meld on these topics. Good crew! Off the
top, Bioart is living-materials-first in my addled brain. No offense to the
object oriented animism of listmania but tinkers and tailors of life feel
the experience differently than illustrators. The use of biomedia for
aesthetic projection is the ethico-political stake we wield. The blood on
the hands is part of the sacrificial rite, neh? That being sort of put out
there bare, I am more interested in the debate being started in terms of the
potentials for positive declension in the moulding of populations.

I have to say that optimism in biopolitics, even in terms of techno-breeding
for novel feelings, is not a total ruse. A trajectory from Charles Fourier,
to Willhelm Reich, to Buckmister Fuller, not to mention the Bronx cheer of
Charles Fort, trace the potential for a river of amorous flows. But can we
really limit the emphasis on the work of the negative in Foulcault to that
of a gore hound, netcasting for yet another Gilles de Rais? We have to
remember that philosophy is caught up in the industrial confessionary. We
may be parrahesiac cheerleaders, spreading liturgy for liturgy¹s sake, but
the toying with fascism is just an armchair away from the radiation's leak.
Mayr's migrating populations shower us with difference, but population
genetics is being marketed as a post race identity politics for those in
need of a new origin story from which to promulgate neo-superiorities (see
http://www.ancestry.com/). In terms of affirming affirmation, to distort et
echo Cary, I can only find it through that deep ecospheric indiscriminacy
that Rob mentioned.

Is the work of the positive to posit a function of the organism,
orgasmically in optimismÉ in every direction? I hope so. Life is
uncontained, oozing revelry and consuming lewdness. A snail-like acting is
wet and slap-happy and on itÕs way. This is the question of affirmation. Can
we be all accepting. This is a more systemic question, which should be
looked at a variety of magnifications: The Panspermic Cosmos, The 'Gaia at
Werk' Planetary Organism, Populations/Variations/Migrations/Meshing, The
Crust Operas of Vitality (Spartan/Hedonism of Being inCorporate), The Organs
without a Body (BatailleÕs Big Toe), The Selfish life of Cells, Subcellular
Congeniality (hanging out on the sofas of the Endoplasmic Reticulum,
alternative conformating).

empyre forum

[-empyre-] Stillborn Arts

2013-09-11 Thread Adam Zaretsky
--empyre- soft-skinned space--
Oron Rich Lynn Tyler and Empyre Listies

These arts are meant to confuse relations between hardened categories. Rich
and Oron you are both doing that very well in two very different rhetorical
styles! Experimental life spaces support artistic research without scientism
or reason¹s reductionism to tether the artistry to meaning or repeatability.
When recapitulating wet lab biological technics through the mutagenic forces
of Œart¹ goals, we break with use value. We even rescind knowledge
acquisition. Instead, we allow for a reading of science and art in the
difficult land of luxurious, useless, process based, conceptual, secular
catechism. Yes the tactical irony runs strong as the Lives involved have
shambled into the dead end of ŒArts Sake¹. Is this the purity of research?
How powerful is ritual sacrifice?

When we ask how to make this an affirmation of anti-anthropocentrismŠ the
real question there is are we -

A: talking about Nietzsche¹s afflicted overcoming and dire loving of life as


B: talking to US ego psychology based, anti-phenomenal affirmations:


Perhaps that is for Adam N., Rob and Cary to divulge. Is The Thing (Das
Ding) positive thinking?

For my focus, the multiplication of non-human organizational diversity
intends to create socio-cultural, posthuman moiré patterns by physically
genre bashing hereditary tropes and canalized traits. My research interests
use cruel and unusual techniques to convey the altered ethical, legal and
social structures of a transgenic world. This is achieved by investigating:
novel architectures of the body, hereditary interaction design, inborn
future body design technologies, cyborg relational aesthetics, environmental
effects of new breeding techniques, alternative bio-based economies, poetic
nomenclature for complicated processes, hands-on community laboratory
collaborations, DIY-BIO interventionist strategies, and other art and
science based emerging areas of contemporary art practice. In the case of
IGM, the sites of contention are based on human anatomy and, in particular,
hereditary cascade entry points for novel gene constructs. The questions are
simply: Where to get genes in? How to get genes in? Which genes to pick and
why? Who is produced? And, for the ethical forayŠ how they feel in the world
as bred sculptures of varied Œsuccess¹.


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[-empyre-] Redistributing the material world¹s diverse accents

2013-09-16 Thread Adam Zaretsky
--empyre- soft-skinned space--This is a response to Chris Robbins:

I am answering a request for Œmore definitive notion of art goals.¹ Beyond
what I had said about bioart offering a reading of science and art in the
difficult land of luxurious, useless, process based, conceptual, secular
catechism. This former listing of Œart goals¹ is naïve modernismŠ
described. I think we are still there in the arts and the sciences,
perpetuating the myth of the Avant Garde or as Laibach and NSK calls it: the
Retro Garde. 


Is the goal Tactical bioMedia?

The showcasing or making public of techniques for scientific control over
organismic development has a tactical design. This is a more popular way of
explaining why we do public labs. To bring a hands-on experience to the
untrained crowd-sources demystification and takes relational knowledge to
the sites of contention. It sounds benevolent.

Accused of lowering the bar on a slippery slope.

The other half of Chris¹ question asks for delineation of what I mean by
cruel and unusual arts. Examples:

Tissue Culture

Synthetic Biology


Mutant Environmental testing

Human Germline Alteration

Firstly, do these Bioart exposures merely normalize our novel ways of toying
with life? Wet-lab bioart has recently been read as a form of DIY Fukushima.
(Loose quote from a rescent public debate about a GMO permit filed with the
Ministry in the Hague to exhibit modified organisms (Solar Zeebrafish and
Bipolar Flower) in the Errorarium at the Ja Natuurlijk exhibition with
representatives: Rob Zwijnenberg, Per Staugaard, Lucas Evers De Waag,,
 Herman Bekken Greenpeace, Dirk de Jong Ministery of Economic Affairs and
Miep Bos Gentechvrij  {GMO Free EU}).

It is keen to ask, is citizen science merely a practice of assuaging the
public¹s reactive disgust to new life science? This would be advertising,
the use of Œfine¹ art as propaganda for the biotechnical bubble we fund.
Actually, many DIY-BIO centres have no problem with the idea that these
hands-on labs would be staged to promote acceptance of the inherent safety
and casual usury that research entails.  In fact, often being science led,
they fear the good name of science being help in dissonant hands.

Lust for lifeŠ

So art can pose prettily for public relations propping up science in a
redundant campaign and art can also chide the public for not being more
active in contestational debate:

If we uncover the root desire to inflict change, to breed or grow
imagination in lineage form, this is the culturing of lust, the incubating
of desire. Want is inbred and an excess of greed is more than likely a
genetic aberration (potentially curable with gene therapy), but lust for
life just is. What kind of transcendence leaves it¹s chthonic mark in the
brains and germcells of the ones it has come to know? What is life without
lust? Biotech is muddy parasitism.

³The urge to scope and poke, force evolution and morphologically sculpt is a
bridge that joins the Arts and the Sciences. But, I will say this once
because it is quite clear and concise, I think this process is cruel.
Physical Manipulation DevBio Arts as a way towards knowing or sculpting
Development is non-intuitive, intriguing, curious and lovely but there is no
doubt that the process is meddlesome, violent, surgical and often
gratuitously so.² 


More on lust in Bioart:

Viva Vivo! Living Art Is Dead


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[-empyre-] Living Experiments

2013-09-18 Thread Adam Zaretsky
--empyre- soft-skinned space--Hacking the Human Genome

Lets take a moment to think about the changes in relationships between
ethics and aesthetics in terms of inborn (bred) cultural design of the human
form, consciousness, duration and sensual range. I mean, as we find
ourselves in a new reproductive technology crisis, future human children are
becoming design issues. Is it just another kind of pollution?

Just Another Kind of Pollution

In human culture, IGM has had its precursors. The laws of sexual attraction
have always been bent by the pollution of arranged marriages. The cancer
maps of environmental toxicology reveal other sources of genetic pollution,
the errors we have created in the name of industrial metabolic devolution,
toxic waste (for instance BPE, DDT, cesium-137, etc.) There are also forces
of mutagenesis geologically and astrobiologically present in our ecosphere.
Without our influence, organic and so-called natural disasters have
influenced anatomy through flexible fitness regimes: cosmic radiation
fluctuations, tannins in the water, belladonna. The beauty of our felt form
is the result of all sorts of environmental hardship. The rate of rate of
rate of rate of change does change and the shape of living things to come do
alter to fit. The question of pollution reshaping human genealogical
integrity is therefore situational to say the least. It is perhaps still

IGM: Tailored Wilding

Intentional Inheritable Genetic Modification of the Human Genome (IGM) is
the making of transgenic humans. The ethical dimensions are faceted: who
decides, which traits, towards what imagined end, who is born, how true to
type, who judges, who births, what is the architecture or cultural form
appropriate to the transgen-posthuman and finally, what are the aesthetics
of the new, laterally engineered types?

Bioart as the Doing-Of Key Technologies

IGM Key Technologies Targets ­

Human gene insertion potential sites on the human body are:

1. The whole somatic body of women and men (including germ cells)
2. Targeted ovaries and testicles
3. In vitro or in situ sperm and ovum
4. Post fusion zygote or blastula
5. Human Embryonic Stem cells (HESc), isolated lines in tissue culture
6. Developing human embryos and/or embroid bodies (preimplantation embryos)
7. Primordial germ cells (presperm or pre-eggs also known as spermatogonia
and oogonia.)

IGM Key methods:

1. Minimally invasive germcell access: physical (often surgical) getting to
potential sites
2. Which genes to pick and why: a taxonomy of all possible traits in the
life world
3. Transcript for alterity: designing vectors and cassettes for trans gene
infection of the human genome
4. Methods of transport: getting the infectious construct (plasmid or raw
DNA) into the germline nuclei, i.e. 1) genegun, 2) microinjector, 3)
plasmids 4) electroporators, 5) agrobacteria and 6) lipofection.
5. Inbreeding kindred: methods of stabilizing a human novel transgenic line

IGM spaces of interest:

1. Divisions of Reproductive Endocrinology and Infertility
2. Departments of Obstetrics  Gynecology
3. IVF/fertility clinics
4. Hospital based gene therapy trials
5. Transgenic animal production
6. Abortion clinics ­ family planning
7. Surrogate mother agencies
8. Sperm donor agencies
9. Medical waste embryo disposal or medical research reuse containers
10. International Space Station (ISS), HESc in orbit research ongoingŠ

The challenge, to an artist non-expert, is to take a hands-on approach to
the mechanisms of new reproductive devices and practice inventive methods of
genetic alteration. The research includes continued analysis of the
burgeoning technology¹s potential effect on future, posthuman concepts of
race, class, gender, disability and sensuality. But the artistic process
here is based on materials, methods and time based, new media sculptural
results that have agency and volition beyond the technique used to mold
them. Bioart experiments on the bench are based on the doing-of key
technologies while allowing for a feeling-with the post alteration being as
a post-person familiar.

empyre forum

[-empyre-] Living Experiments

2013-09-18 Thread Adam Zaretsky
--empyre- soft-skinned space--Ethics and Aesthetics Relations in terms of Genetically Modified Human

The formal judgment of production scores for newborn chicks
in the linked PDF (below) might have some play here...
If applied to human flesh based art derivatives

Lets try and figure out which is more oppressive ­

the relativistic ethical dimensions of aesthetic based biopolitical actions
the aesthetic (emo) basis behind the formation of biopolitical ethics based
decisiveness .



Head, Heart, Hands, and Health are the four Hs in 4-H,
and they are the four values members work on through fun and engaging

Head - Managing, Thinking
Heart - Relating, Caring
Hands - Giving, Working
Health - Being, Living

I pledge my head to clearer thinking,
My heart to greater loyalty,
My hands to larger service,
and my health to better living,
for my club, my community, my country, and my world.

Starting a county Genetically Modified Human show

Keeping GM Humans has become more popular in both the rural and urban areas.
Because of their novelty, IGM transgen humans make an excellent animal for a
4-H or FFA animal project. Those youth raising next-humans want a place to
show off their project. If your county does not have a post-integrity
HGProduct show, consider adding one, as a stand alone show or as part of the
county fair. Jesse Lyons will be discussing what is involved in starting a
new genus Homo show. Mr. Lyons is an Extension Associate at the University
of Missouri specializing in New Reproductive Technology and Fertility
Aesthetics. He is also an FDA certified H+ judge.


empyre forum

[-empyre-] Does Cloned Animal Safety take into account the effect of Aesthetics on the long-term Ecological effects of Food Chain Design?, Eye of the Storm, Arts Catalyst, Tate Museum, London UK, 2009

2013-09-22 Thread Adam Zaretsky
--empyre- soft-skinned space--Adam Zaretsky Submitted a Response to the United States Food and Drug
Administration call for comments on the Use of Edible Products from Animal
Clones or their Progeny for Human Food or Animal Feed as follows:

SubbDocket Number  Title:
2003N-0573 - Draft Animal Cloning Risk Assessment; Proposed Risk Management
Plan; Draft Guidance for Industry; Availability
Availability of, and request for comment on, Animal Cloning: A Draft Risk
Assessment (to evaluate the health risks to animals involved in the process
of cloning and to evaluate the food consumption risks that may result from
edible products derived from animal clones or their progeny); draft Animal
Cloning: Risk Management Plan for Clones and their Progeny; and draft GFI
#179: Use of Edible Products from Animal Clones or their Progeny for Human
Food or Animal Feed
Does Cloned Animal Safety take into account the effect of Aesthetics on the
long-term Ecological effects of Food Chain Design?
We should not be overly worried about somatic cell nuclear transfer as a
Food Science edible technique.  The abnormalities that can be expected might
be delicious. Our worries stem from the fact that a large percentage of
breeders may not have had the Art Historical schooling that most Academic
students of Aesthetics might have had.  Right now, the only type of Œtaste¹
we can see embedded in cloned livestock is based on ramping up meat
production and maybe designing and cloning industrial beings born with zero
percent transfat. If we are spending millions of taxpayer dollars on making
copies of sires whose profitability is based on 4-H tropes of beauty alone,
then we are missing much of what contemporary art can lend to contemporary
breeding of gastronomic novelty.
How do we decide what is worth engineering for?
In particular, Livestock can be designed along a wide variety of Aesthetic
gene expressions.  Considering the range of gene expressions possible in a
collage of multiple genomic palletes, economic efficiency is neither a
simple concept nor our only deciding force. Beyond public acceptance of the
technology, there is also public trend diversity, novelty markets and niche
power to be brokered in this global competition for more unusual food. We
need to explore the entire range of clonables and widen the variety pool to
include gourmet, abject and non-utilitarian breeding projects.
Practitioners or Historians of Futurism, Surrealism, Abstraction, Minimalism
and other Contemporary art movements may all have their own special cow, pig
or chicken clone advisory role to play.  Consider what a gifted cubist could
bring to the table.
What are the cultural aesthetics of our ecological future?
The decision to design livestock along a plurality of aesthetic lineages may
have an impact on the future of ecology and diversity of our planet.  As
competitively designed meat factories take up more and more of the
terrestrial grazing land, we have come to understand that we live on a
planet dominated by humans and their domestic familiars. Designed and cloned
livestock are limited editions but they can reproduce independently.  The
industry animals may be foreign species brought forth from technological
sites but are they beautiful enough for us to want to live with them for
generations to come.  Sometimes real-time back fat is not enough.  There is
an economy of aesthetics, which will drive the ecological affect of our
engineered future. 
What can an understanding of the arts bring to livestock design?
The history of art may finally come to some use for humanity through
agricultural and other replicant applications.  The aesthetic hazards of
breeding without a proper understanding of Western Culture and our shared
artistic heritage must be taken into account.. The arts represent a great
asset for livestock design and a great way to insure that the future isn¹t
born looking dull, retrograde and a bit too sketchy.  Without a firm grasp
of Art History, our cloned food may not represent our national and
international goals as U.S. food producers and consumers.  The admixture of
global variety through genetic engineering and the cloning of spectacular
hereditary cascades should only be approved through an aesthetic advisory
commission made up of artists, art historians and aesthetics specialists.
The future of style and the avoidance of our populous eating any aesthetic
hazards depends on collaboration between new reproductive biotechnology and
the Arts.  
I hope these issues will be taken into account as we sculpt new life from
the media of biotechnology.
Adam Zaretsky


empyre forum

[-empyre-] Animal Interlude, Letter to Alba Guestbook, 2001

2013-09-22 Thread Adam Zaretsky
--empyre- soft-skinned space--Hi Eduardo 

As you know... I support you and Alba. May you find togetherness!(Pending
FDA/EPA approval.) 

I have no problem with the techniques of transgenes being used for art
production purposes.
I do have an objection to the concept of this being a Harmless Art.

Why pretend that? 

The inserted gene is claimed to be harmless to Alba as an organism.
This is an industry claim that I seriously doubt.

But, if the art of GFP Bunny is not Alba in Herself but instead
'comprises her creation' including the techniques of Insertational
and you still want to claim that 'no harm was done'
then lets take a closer look at the Protocols for a Transgenic Rabbit·

They call for hormone treatments both for hyper-ovulation of the egg
supplying (donor) rabbit -- mom(1)
and hormone treatments for the psuedo-pregnant state of the surrogate
'uterus' donor -- mom(2)
and surgery on both sides to collect the fertilized embryos from the
fallopian tubes of mom(1) rabbit
and to implant the GFP positive embryos into the surrogate uterus of the
mom(2) rabbit. 

This says nothing of the throwing away of the biohazardous Œleftover¹
embryos that didn't take the transgene properly.

As a part of the process, We also have to take into account the unnamed or
numbered Brothers and Sisters of Alba
who were possibly still born or born with abnormalities due to the viral
infection vectors, cytoplasmic bacterial infection,
bad laparascopic technique, or other natural causes.

How many embryos were implanted?

From which rabbit? 

Into which rabbit?

How many lived? 

How many were tossed?

Where are Alba's moms?

Could you have done this procedure, proudly, with your own hands?

Let me be clear. I remind you that I support your actions, morally and
I believe that Transgenic Art, both the products and the processes, are
valid as an art forms a
nd as much needed commentaries on an industry of
post/species-boundarybreeding technology.

Unnecessary surgery, Aesthetic breeding, Even embryonic gene-play
should and has be done by curious artists wielding their own scalpels.

But it does us all an injustice to white wash (or green glowwash) a bloody
and meaty process. 
No art that uses the knife (even a knife for hire) should claim that it is
That is a grotesque affront.

Could you to be a little more transparent or forthcoming
When you review the modern breeding procedures
That went into the formation of Alba?

They surely did cause some harm.

Signing out until next time,
A difficult fan,
Adam Zaretsky 
Research Affiliate,
Arnold Demain Fermentation
and Industrial Microbiology Laboratory
Department of Biology Massachusetts Institute of Technology
68-223 Cambridge MA 02139

PS: I hope the next trangenic mammalian art piece
is better documented.

I mean the glowing birth of a GFP Mammal
will be a gorgeous event to capture on Digital Video!

Woodstock, NY USA - Tuesday, July 17, 2001 at 11:02:46 (PDT)

empyre forum

[-empyre-] AnthropoDecentering and the Hack of the Human Germline

2013-09-23 Thread Adam Zaretsky
--empyre- soft-skinned space--Last of Four on Designer Baby ethics and aesthetics

Looking forward to hearing the wrap up week.

The two biopolitical animal studies letters I posted above are meant to
contrast the very anthropocentric issues of the FDA GM babies post above
them.  I don¹t know if elite, DIY or corporate mass produced transhumans
count as human, super human, subhuman, post human, nextwave golemic or
a-humanist mugwump jismatics but we are all always animal already. I wonder
if the ethics of wetlab involvement in gore ethics of the Letter to Alba and
the livestock aesthetics of well bred Cloned Animal meat might help mete out
the home on the wide range that the diversity collage shuffle\d into this
millenium? In any case,  you can read into the issues of Human IGM Œbetween
the blinds¹ of the animal model concepts in the two letters.

empyre forum