Technoetic Arts - Dismantling the Anthropocene: Beyond Binary Categorizations, Jul 2022

Social distancing has entered our bodies and changed our behaviour. The fight against COVID-19 leaves people with a different feeling of what it means to be together in the flesh. In this article, I will tackle the tension between virtualization of communication, social distancing and the basic human need for bodily contact. Sigmund Freud used the term ‘oceanic feeling’ to express human yearning for becoming one with others and the sense of fluidity of the self. This concept goes beyond basic intercorporeality. It represents experiences in meditation and cultural practices of immersion. Both the maximum intensity of intercorporeal behaviour and the dissolution of the bodily boundaries belong to this experience. The literature in the pandemic covers mainly new rituals and bodily practices of distance but there is not much reflection on what has gone missing and its relation to current and future cultural practices. In this article, I will discuss hedonist embodied rituals like dance, eating and celebrating in public as vital parts of human cultures. Being abolished as contagious sites of infection, their return to the social sphere is, now more than ever, viewed as problematic and potentially subversive in the face of an atmosphere of anxiety. My aim is to argue against cultural tendencies of social control and the emphasis of disembodied virtual forms of togetherness in favour of a posthuman hedonist culture incorporating new technologies and old rituals.

Consciousness is often defined as an experience of the world, but its definitions vary and stir up controversy. It is described through the vocabulary of philosophy, psychology, neuroscience and spirituality, to name but a few fields. Other-than-human consciousness has long been considered non-existent, a notion that has only recently changed as other-than-humans have been found to possess consciousness and a capacity for intentional behaviour (Low 2012: 2). This article presents perspectives on interspecies communication to propose that various species have consciousness and that communication between human and other-than-human consciousnesses is possible. My research aims to investigate the concept of consciousness and intuitive interspecies communication by experimenting methods within artistic practice that can foster a more profound understanding of human and other-than-human relations. I use art projects as artistic case studies to substantiate my hypothesis of consciousness being an essential connection for intuitive interspecies communication.

In this article, I argue for an essentialist account of cyborgs. This means that one condition for being a cyborg is to possess phenomenal consciousness, ‘what it feels like’ to undergo an experience. In this context, I make two related claims: (1) the metaphysical claim that it is essential to cyborgs to have phenomenal consciousness due to their being augmented human beings, and (2) the related claim that this metaphysical constraint need not apply to cyborg-like entities, which may or may not be augmented humans and so might not possess phenomenal consciousness. In support of these claims, I argue that cyborgs without phenomenal consciousness would lose information-processing abilities essential to the human condition and would be better understood as androids with biological body parts. First, I briefly characterize phenomenal consciousness in the context of the Mind–Body Problem. Then I introduce the Mind–Technology Problem and claim that it is better suited to frame the relevant discussion. In a second step, I argue that phenomenal consciousness is a vital feature of the human mind as it is fundamental for practices that relate what it feels to have an experience to other minds capable of such experiences, as in the arts. Briefly, thus, I argue that, without phenomenal consciousness, there is no art, and that art involves information-processing abilities essential to the human condition. Then I describe two different kinds of entity that might be considered cyborgs in the context of enhancement, distinguishing between cyborgs and cyborg-like entities. Finally, I argue that entities that do not possess phenomenal consciousness cannot be classified as cyborgs, since without it, an essential capacity of human experience, to be affected by the expressive arts, is absent.

We are living in an age when ‘everything is coming apart at the seams’, as the poet and painter Erna Rosenstein put it. Given this, I analyse the concept of the débâcle formulated and used by the French phenomenologist François-David Sebbah to explore the philosophy of Emmanuel Lévinas. The débâcle connotes catastrophe, fracture, failure, collapse and disintegration, but its semantic range also encompasses the breaking up of ice, escape and ruin. As Sebbah dissects this concept in the context of the philosophy of Lévinas, it comes to tie in with ‘the anonymous rustling of the there is (il y a)’, the abyss of being. Besides discussing the débâcle in the context of Lévinas’s philosophy, I will explore how this concept is relevant to the description of the present, in particular to artistic practices interpretable as revealing the unsteady rhythm of phenomena from which a fragile and unstable structure of meaning emerges. I will also ponder whether thus-conceived the débâcle is perhaps a paradigmatic figure of the present day.

The issue of human nature is a perennial question – as obstinate as it is old. Human reflection on the human condition is a defining feature of the experience of being human. In our time, the idea of post-biological evolution, the design paradigm of NBIC-convergence and transhumanism – as a philosophy and a cultural movement – all confront and confound our traditional notions of human nature. Unlike previous challenges to established images of the human being, this re-assessment of human nature has a practical aspect – for technology now seems poised to finally achieve the age-old aspiration of human control over human nature. At its core, the idea of post-biological evolution assumes the human condition as the object of engineering. The problem of the human being thus becomes an engineering problem, approached from an engineering perspective, which – in an essential way – is design orientated. Hence, the idea of the human being that underlies the apprehension of ourselves as such an object of engineering, is of vital significance. As such, this paper argues for the relevance of philosophical anthropology within the post-biological discourse.

The idea of ‘arts of vulnerability’ (AoV) reclaims the fact of being inherently open (never sealed) and becomes a tool to navigate such a lack of closure. It is art because it comes from art practice, and it is of vulnerability because it comes from materials that are vulnerable and defy control. The idea is rooted in bioart practice understood as artistic research and read through feminist and queer studies about embodiment and ecology. This article traces how the artwork series Wombs contributed to the development of the idea. AoV is a way of understanding art practice, yet it becomes an ethical and intellectual tool that pays attention (and tribute) to more-than-human ethics and aesthetics. It may thus contribute to a critical discussion of today’s surging ecological complexity.

This article explores the implications of Bernard Stiegler’s concept of the Neganthropocene, coined to reconfigure the entropic and apocalyptic conditions of the Anthropocene, for the artistic project Air Morphologies. Created by a London-based duo, Matterlurgy, the interactive Virtual Reality research project investigates the materiality and composition of air pollution particles, their causes, effects and morphological agency. Matterlurgy’s project, which locates viewers in the Virtual Reality environment and engages them in participatory activities, becomes a techno-ethical practice of nurturing ways to think and care for the more-than-human world essentially transformed and dominated by the anthropogenic factors. The artistic practice indicates that we need to think collectively, not about but with nature, technology, history, objects and theories. As the article shows, with such strategies, we will be able to acknowledge more-than-human interconnections, human-nature-technics connections and rework the conventional patterns of knowledge production to heal the adverse outcomes of the Anthropocene.

The focal point of my article is the work of biohackers: mainly Josiah Zayner, whose activism as a biohacker, as an artist and a public figure offers an interesting lens through which one can explore the contemporary genetic imaginary and our changing and varied approach to genetic engineering. The framework for this description is set by an analysis of cultural representations of contemporary science and technology, both in documentaries and in works of fiction. In the article, I trace and analyse the ways in which biohackers’ activity is involved with the earlier ideas of cyberculture, most notably with the notion of biological life as information (possible to edit or ‘hack’) and to the image of a ‘hacker’. I recall the popular phrase of ‘playing god’, often quoted in relation to genetic imaginary, mainly as a warning against excessive interventions within nature. The phrase and the warning itself seem to have become insofar more important, as the scale of possible interventions had been raised by the advancement of genetic engineering. Finally, I discuss the relation of art and science in Zayner’s activity, within a broader context of relevant images of artists and scientists and their role within the changing realities of contemporary life. The article does not pretend to fully analyse or even describe the modalities and implication of biohackers’ activity. Its main goal is to shed more light on the current changes in collective imagination related to the rapid development of biotechnology and its cultural understanding. The public presence of biohackers, and especially Zayner’s activity, provides new visions of human agency in nature and of relation between art, science and social practice.

The global pandemic outbreak in 2020 was a disturbing experience for most people worldwide. The primary way of protecting human life was social distancing and lockdown, often forcing people to stay at home. The confinement made the fear and uncertainty grow bigger and bigger. Fortunately, the online connection was still as possible and essential as never before. The text is inspired by a series of remote meetings under the working title Viral Culture: Bio Art and Society, initiated by academic curator Claire Nettleton to put together people working in art&science area. Recordings of the Zoom gatherings complemented by notes and chat transcriptions served as intriguing storage of topics and ideas. This article focuses on the three threads: being-with (other humans, the virus and other non-human actors), caring without touch and the pandemic interpreted as a vast bio art project. All the archived materials, including the present article, will potentially function as historical documents in the future, showing how a specific group of transdisciplinary culture producers dealt with the global crisis in its first phase.