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<strong>New</strong> Media Dramaturgies: On interdisciplinary composition<br />
Erin Brannigan<br />
Yvonne Rainer’s Trio A and Minimalist Composition in Dance<br />
Stephen Muecke<br />
After Critique, what drives Experiments?<br />
BIOGRAPHIES TBC<br />
BIO ART/SENSE PERCEPTION<br />
ANDRE BRODYK<br />
Experimentation as attitude and the idea <strong>of</strong> the lab<br />
This paper elucidates recent tendencies in experimentation explicitly involving<br />
innovation and risk taking for creative purposes exemplified within new media<br />
Biotech art.<br />
Biotech art’s experimental mission may be understood in terms <strong>of</strong> practice-led &<br />
theoretically informed creative undertakings via fundamentally uninhibited<br />
circumstances involving biotechnology mediated life-based systems. By virtue <strong>of</strong><br />
their creative mandate such artistic inquiries necessarily cannot assume a<br />
controlled experimental guise in the sense that thinking about scientific<br />
enterprise does. However, control may indeed be part <strong>of</strong> those explorations.<br />
Biotech art entails adaption and use <strong>of</strong> unconventional living, semi-living or<br />
synthetic biology materials specifically as experimental art materials and biotech<br />
protocols as novel experimental art processes.<br />
Characteristically, Biotech art engages in creative emancipation from the<br />
limitations and assumptions <strong>of</strong> an experimental aporia. It achieves this by<br />
experimentation with life science models especially the idea and experience <strong>of</strong><br />
the lab, to determine the efficacy <strong>of</strong> something previously untried or explored.<br />
This is within experimental amalgams ostensibly both scientific and artistic.<br />
The materialization <strong>of</strong> creative intention as experimental attitude and argument<br />
are the agencies and the embodiment <strong>of</strong> biotech art experimental validations<br />
rather than attempting any proven factual veracity. Thus any inquiry into the<br />
questions <strong>of</strong> a fugitive disposition that is experimentation is arguably best<br />
apprehended by recourse to such materiality and attitude.<br />
The exhibition and the individual works in Visceral: The Living Art Experiment,<br />
recently held at the Science Gallery in Dublin represents a fecund example <strong>of</strong><br />
experimental attitude in Biotech art at both the macro and micro levels.<br />
This paper will discuss this innovative arts project itself as a model <strong>of</strong> creative<br />
experimentation representing the materialization <strong>of</strong> SymbioticA’s ongoing<br />
experimental trans-disciplinary attitude over its first ten years. Several examples<br />
from the show will provide further effectuation in the debate. This paper will help<br />
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