By Patricia Trutty Coohill

Even supposing the inventive impulse surges in rebel opposed to daily fact, breaking via its confines, it makes pacts with that reality’s crucial legislation and returns to it to modulate its experience. in truth, it truly is via praxis that mind's eye and inventive inventiveness transmute the very important issues of lifestyles, giving them human degree. yet while art’s notion imbues existence with aesthetic experience, which lifts human event to the religious. inside of those views artwork launches messages of in particular human internal propulsions, strivings, beliefs, nostalgia, yearnings prosaic and poetic, profane and sacral, functional and excellent, whereas status on the fragile borderline of everydayness and creative experience. Art’s inventive perduring constructs are intentional marks of the classy importance attributed to the flux of human lifestyles and mirror the human quest for repose. They mediate communique and participation in spirit and maintain the relative continuity of tradition and historical past

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Bio Art and Beyond, ed. Idem. op. , pp. 164–177. 21 See: Kac, E. “Art that Looks You in the Eye: Hybrids, Clones, Mutants, Synthetics, and Transgenics,” inSigns of Life. Bio Art and Beyond, ed. Idem. op. , p. 19. 22 Ibidem, pp. 19–20. 23 See Andrieu, B. “Embodying the Chimera: Biotechnology and Subjectivity,” in Signs of Life. Bio Art and Beyond, ed. E. Kac. op. , p. 67. 24 See Tomasula, S. “Genetic Art and the Aesthetics of Biology,” op. , p. 140. 25 See: Eco, U. The Open Work, tr. A. Cancogni (Harvard University Press, 1989).

Pp. 128–133. htm (Retrieved: 01. 05. 2009). 12 See Tomasula, S. “Genetic Art and the Aesthetics of Biology,” op. , p. 138. 13 Ibidem, p. 139. 14 Gedrim, R. J. “Edward Steichen’s 1936 Exhibition of Delphinium Blooms: An Art. Of Flower Breeding,” in Signs of Life. Bio Art and Beyond, ed. E. Kac. op. , p. 347. 15 Tomasula, S. “Genetic Art and the Aesthetics of Biology,” op. , p. 138. See also Gedrim, R. J. “Edward Steichen’s 1936 Exhibition of Delphinium Blooms,” in History of Photography, No. 4, 1993.

If yes, what is the cultural role and metaphysical significance of bio art? Or maybe bio art is just another example of Umberto Eco’s idea of ‘open work’? Let’s try to think what kind of goal the art achieved traveling from Platonian ‘imitation of things as they appear’ to Duchampian ‘it is art if the artist says it is’. So what is the bio art? Let’s see a boutique opened in 1998 in Pasadena, California. “The boutique, Gene Genies Worldwide, offered ‘the key to the biotech revolution’s ultimate consumer playground’.

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