![]() ![]() ![]() The first category includes the use of biological materials such as bodily fluids, food, or intentional putrefaction processes in an attempt to attribute semantic value to unstable materials. Three primary typologies of “alive” artworks exist today: representational and concept-based art, often including organic matter process-based “dry” media art using software and hardware such as informatics and robotics to simulate lifelike behaviors via media that are not biological and process-based “moist” media art with wetware that uses biotechnological methods to manipulate organic systems, organisms, or their constitutive parts in an aestheticized technical framework. By means of form, material, or process, art has imagined, represented, mimicked, simulated, and quite recently actually manipulated living beings and systems, since genetics, tissue engineering, DNA chips, and so-called synthetic BioBricks have entered the repertoire of experimental artistic strategies-for which cultural institutions remain dramatically ill-equipped. The creation of lifelike appearances is a persistent feature in art, from early anthropomorphic statues and myths of artists’ works “coming to life,” to notions of the artwork as an organism in itself, to robotic and software simulations of digital media art, to, more recently, artistic artifacts created in bioscientific contexts. Living Matter: Research as Creative Process ![]() Conservation as an Enhancing Factor in the Interpretation of Living Materials Artworks Part Four: Different Approaches and Responses.Building Communities and Conserving Living Matter in the Collection of the Museo Universitario Arte Contemporáneo, MUAC-UNAM, Mexico City When Installation Art Depends on Live Surroundings to Survive Research, Conservation, and Exhibition of a Contemporary Art Installation Containing Living Organisms as Part of the Creative Process Conserving Active Matter in Contemporary Design Conservation/Restoration of Biological Material in Contemporary Art The Life-Death Movement of Fruits, Tubers, and Vegetables in Nydia Negromonte’s POSTA Cross-Disciplinary Collaboration and Innovation in the Exhibition of Living Matter at the National Gallery of Zimbabwe Preserving Mortality through a Sacrifice for Your Country Some Survive, Few Are Conserved, Even Fewer Can Travel The Artist’s Body in the Age of Genomic Reproduction Can We Use the Concept of Programmed Obsolescence to Identify and Resolve Conservation Issues on Eat Art Installations? Biological Material Indeterminacy Rebukes the Social and the Artistic Part One: Living Matter in Contemporary Art.Keynote: In the Unpredictable Garden of Forking Paths.= as in LEHGC Version 1.0, (2) including multiple adsorbing sites and multiple ion-exchange sites, (3) using four preconditioned conjugate gradient methods for the solution of matrix equations, and (4) providing a model for some features of solute transport by colloids.Edited by Rachel Rivenc and Kendra Roth Table of Contents ![]()
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