1,720,964 research outputs found
Arte y ciencia: la práctica bioartística argenitna en su relación con La escena internacional
Get PDFResumen temporalmente no disponible. La presente obra no cuenta con resumen provisto por el autor.Fil: Stubrin, Lucía. Universidad de Buenos Aires. Facultad de Filosofía y Letras
Arte y ciencia: la práctica bioartística argenitna en su relación con La escena internacional
Get PDFResumen temporalmente no disponible. La presente obra no cuenta con resumen provisto por el autor.Fil: Stubrin, Lucía. Universidad de Buenos Aires. Facultad de Filosofía y Letras
Discursivities of Bioart and the Challenge of an Interspecies Methodology
No full textEn La semiosis social 2 (2013), Eliseo Verón utiliza metáforas biológicas para explicar diferentes recorridos que los espectadores realizan en el marco de una exposición en el Centro Pompidou en 1984. Si pensamos en un museo de arte contemporáneo del presente, podemos advertir al menos tres grandes cambios en lo que respecta a los elementos de análisis que utilizó Verón. Por un lado, el objeto en ese caso era la fotografía analógica. Por otro lado, las características de ese objeto exigían una estrategia de montaje que respondiera a la lógica del museo moderno. Finalmente, las condiciones de recepción responden a una puesta en circulación de cuerpos significantes. Frente a la consolidación del bioarte como ámbito de producción poética junto-con especies no humanas (López del Rincón 2015, Stubrin 2021), nos preguntamos en este artículo sobre las nuevas necesidades metodológicas que la semiótica podría actualizar recuperando aportes del campo de la biosemiótica.In La semiosis social 2 (2013), Eliseo Verón instrumentalizes biological metaphors to explain different trajectories that the spectators make during an exposition in the Pompidou Centre during 1984. If we think in recent museums of contemporary art, we can note at least three substantial changes in the elements that Verón used in his study. On one hand, the object in that case was analog photography. On the other hand, the characteristics of this object required an assembly strategy that responded to the logic of the modern museum. Finally, the conditions of reception respond to a circulation design of meaningful bodies. Faced with a consolidation of bioart as a field of poetic production with nonhuman species (López del Rincón 2015, Stubrin 2021), we ask ourselves in this article about the new methodological needs that semiotics could update by recovering contributions from the field of biosemiotics.Fil: Stubrin, Lucía. Universidad Nacional de Entre Ríos; ArgentinaFil: Hirschfeld, Eric Hernán. Universidad Nacional del Litoral. Instituto de Humanidades y Ciencias Sociales del Litoral. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Santa Fe. Instituto de Humanidades y Ciencias Sociales del Litoral; Argentin
The immortal woman: bioart from HeLa cells
No full textA partir de la obra The anarchy cell line (2004), de la artista australiana Cynthia Verspaget, se buscará analizar y poner en debate las consecuencias de su práctica artística, en términos de la reflexión estética que sostiene el bioarte, así como su inscripción dentro del debate poshumanista y su deriva feminista.
El origen desconocido de material orgánico servirá como disparador para analizar estrategias de posicionamiento político del arte contemporáneo sobre la propiedad de tejidos que se utilizan con regularidad en la actividad científica. Se intentará reconstruir, entonces, la tensión existente entre la mirada del arte y la conceptualización y tratamiento de las células HeLa en el laboratorio científico.Through the artwork titled The anarchy cell line (2004), by Australian artist Cynthia Verspaget, we will analyze and debate the consequences of her artistic practice, in terms of the aesthetic concepts that sustain bio-art, as well as its inscription within the post-humanist debate and its feminist drift.
The unknown origin of organic material will serve as a trigger to analyze strategies of political positioning of contemporary art about tissue ownership, regularly used materials in scientific activity. An attempt will be made to reconstruct the tension between art perspective and conceptualization and treatment of HeLa cells in the scientific laboratory.Facultad de Arte
The immortal woman: bioart from HeLa cells
Get PDFA partir de la obra The anarchy cell line (2004), de la artista australiana Cynthia Verspaget, se buscará analizar y poner en debate las consecuencias de su práctica artística, en términos de la reflexión estética que sostiene el bioarte, así como su inscripción dentro del debate poshumanista y su deriva feminista.
El origen desconocido de material orgánico servirá como disparador para analizar estrategias de posicionamiento político del arte contemporáneo sobre la propiedad de tejidos que se utilizan con regularidad en la actividad científica. Se intentará reconstruir, entonces, la tensión existente entre la mirada del arte y la conceptualización y tratamiento de las células HeLa en el laboratorio científico.Through the artwork titled The anarchy cell line (2004), by Australian artist Cynthia Verspaget, we will analyze and debate the consequences of her artistic practice, in terms of the aesthetic concepts that sustain bio-art, as well as its inscription within the post-humanist debate and its feminist drift.
The unknown origin of organic material will serve as a trigger to analyze strategies of political positioning of contemporary art about tissue ownership, regularly used materials in scientific activity. An attempt will be made to reconstruct the tension between art perspective and conceptualization and treatment of HeLa cells in the scientific laboratory.Facultad de Arte
El poder reunificador de la biotecnología. Reflexiones en torno a la conformación de un espacio colaborativo entre arte y ciencia
No full textEn este artículo se buscan desplegar los replanteos epistemológicos dentro de la historia de las ciencias biológicas que prepararon el terreno para la apertura mental de los científicos y la apertura física de los laboratorios, dando lugar a la consolidación del bioarte. De esta manera, intentamos analizar el surgimiento de la biotecnología dentro de un entramado político, económico y social complejo donde los conocimientos se complementan dentro del ámbito científico, generando asimismo un margen de conciencia sobre la falibilidad del método y la ciega especialización. El reconocimiento de las debilidades sirve como condición de posibilidad para la incorporación de actores artísticos que trabajan con los mismos materiales, desafiando las lógicas, preguntas y objetivos tradicionales de la tarea científica. El artículo, asimismo, se inscribe dentro de la investigación interdisciplinaria realizada en el marco de la tesis doctoral de quien escribe, titulada “Arte y ciencia: la práctica bioartísticaargentina en su relación con la escena internacional”.
Palabras clave
Biotecnología, bioarte, ciencia, epistemología, arte contemporáneo, técnica, Argentina.
Re-unifying power of technology. Reflections about the creation of a collaborative space between science and art
Abstract
This article aims at displaying the epistemological statements within the history of biological sciences which prepared the terrain for the mind opening of the scientists and physical opening of laboratories, giving place to the consolidation of bio-art. In this manner, we intend to analyze the surge of biotechnology inside a complex interwoven political, economic and social context, where knowledge is complemented in the scientific field, generating a light of consciousness about the method fertility and blind specialization. Acknowledging weaknesses serves as a feasibility condition for the involvement of artistic actors who work with the same materials, challenging the traditional logics, questions and goals of the scientific task. The article in itself belongs to the inter-disciplinary research carried out within the framework of the doctoral thesis of the undersigning, entitled “Art and Science: the Argentinean bio-artistic practice in its relation with the international scene”.
Key words
Bio-technology, bio-art, science, epistemology, contemporary art, technique, Argentina.
O poder reunificador da biotecnologia. Reflexões em torno à confirmação de um espaço colaborativo entre arte e ciência
Resumo
Neste artigo se buscam expandir os delineamentos epistemológicos dentro da história das ciências biológicas que prepararam o terreno para a abertura mental dos cientistas e à abertura física dos laboratórios, dando lugar à consolidação da bioarte. Desta maneira, tentamos analisar o surgimento da biotecnologia dentro de um entrançado político, econômico e social complexo no qual os conhecimentos se complementam dentro do âmbito cientifico, gerando assim mesmo uma margem de consciência sobre a fiabilidade do método e a cega especialização. O reconhecimento das fraquezas serve como condição de possibilidade para a incorporação de atores artísticos que trabalhem comos mesmos materiais, desafiando as lógicas perguntas e objetivos tradicionais da tarefa científica. O artigo também se inscreve dentro da investigação interdisciplinar realizada no marco da tese doutoral de quem escreve, titulada “Arte e ciência: a prática bioartística argentina na sua relação com a cena internacional”.
Palavras chave
Biotecnologia, bioarte, ciência, epistemologia, arte contemporânea, técnica, Argentina
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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