Understanding digitalization processes not as representations of some material reality but as ontological repetitions, and analyzing the archive not only as an issue of memory but also of conformation of both the future and subjectivities, this work advances the emergence of a digital subject and theorizes that its constitution happens by assuming a “point of view” in the technological unconscious. The author hypothesizes that memes catalyze the creation of artifacts, which, in turn, act as instigators for memetic replication in the brain, and that microsound—sound at the edge of perception—may play a key role in instigation.These theorizations, which are part of the posthuman, are presented as the actual overcoming of modernism to show that the readymade as a medium is, at the same time, both one of the points of rupture and the key link to bring back new media and art theory as art at large. Thinking about these hypotheses yields creative deployment of microsound in primarily scored works.This thesis is based on a case study performed at the Symbiotic A Centre for Excellency in Biological Arts, supplemented by participant observation in numerous other contexts, including community laboratories, workshops, visits to exhibitions and conversations with practitioners of bioart, DIYbio and biology. The results of the research show that art can give nonspecialists an increased understanding of biotechnosciences and their impact on society, but also that artists are uncomfortable with focus on the of their art. The origins of this body of work lie outside of the established music institutions of academia and the mainstream popular music industry and practitioners are often associated with particular record labels including Mille Plateaux or Raster-Noton.
It is argued that these practices reflect a wider cultural shift away from the notion of “value” as something quantified, abstract and intrinsic, towards one concerned with the qualitative, contextual and extrinsic, and that these practices are forms of conceptual sound art that challenge both notions of “absolute” music and prevailing political-economic structures. Ph D Thesis, University of Surrey, United Kingdom, 2016.
In this dissertation, I utilize the philosophy of Gilbert Simondon to form a theoretical framework for making Bio Art.
Each year, in addition to being published in the database, a selection of abstracts chosen by a peer review panel for their special relevance are published annually in Top-rated Abstract Since the 1980s, bioart has emerged as an important art form alongside the transition to the 21st century, often described, both optimistically and ominously, as the “biotech century.” This doctoral dissertation studies artists’ engagements with wet biotechnologies, considering bioart in relation to the related approaches of DIYbio and biodesign.
The thesis navigates the tension between bioart’s topical and methodological relationship to biotechnology and its claims to some other aesthetic quality defining it as art.
Bio Art, for this research, means artwork that incorporates living, nonhuman organisms.
Simondon adopts a relational ontology to argue that individuation, or how things come to be, is ongoing and processual.
In this thesis, the author reframes the composting process as artistic material and collaborator, deploying a DIY/maker’s approach, connecting organic waste disposal, data collection and visualization as grist for sound art and music composition.
The key observable driving C[D]C is the heat generated by the compost.
I discuss the development of two different projects, one in the final stage and one in the nascent stage. This work proposes to consider that the actual overcoming of modernism comes along with the advent of the posthuman—tracing its origin to Marcel Duchamp and his invention of the readymade—and not with postmodernism, the theoretical consistency of which, at least in the artistic field, this research questions.
They offer both physical instantiations of the theories and arguments of my research, as well as objects of analysis through which I explore and expand upon Simondon’s philosophy. Katherine Hayles analyzed the process through which the conception of the liberal humanist subject led the way to the posthuman subject, a subject who lives in complete entwinement with the digital.