Titlebook: Art in the Age of Technoscience; Genetic Engineering, Ingeborg Reichle Book 2009Latest edition Springer-Verlag Vienna 2009 Biologie.Kunst.K

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https://doi.org/10.1007/978-981-19-2511-5ular level, it seems that the life sciences are now dangerously close to creating life forms “in their own image.” In the age-old desire for a Utopia in the here and now, a concept of a human being is articulated that is inspired by the idea of “optimization” and “enhancement” and seeks to replace n

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,The Drude Free-Electron Model and Beyond …,duce novel, that is, transgenic organisms, while scientists working in other fields of the life sciences developed methods to apply “the algorithms of the living world”. to inorganic substrates. Thus while scientists in molecular science laboratories made advances in manipulating natural life forms,

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Accounting for Propagation Effects,ecially of those who work with interactive media.. Artificial life has so far been utilized in art in very different ways, but frequently to generate dynamic or interactive processes or to produce artifacts that evolve interactively over time in relation to their environments. Additionally, using a

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https://doi.org/10.1007/b137953 like the interactive installations . (1992) and . (1994) by Christa Sommerer and Laurent Mignonneau. Sommerer and Mignonneau’s activity at the institute of the International Academy of Media Arts and Sciences (IAMAS) in Ogaki near Gifu in Japan, where the artists conducted research from 1997 until

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Book 2009Latest editionn the arts to engage with science through participation in the actual practice of science. ‘ Exchange proj­ ects between artists and scientists, such as artist-in-lab projects, have become common and a large number oforganizations have emerged that stimulate and initiate collaboration between artist

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