In , the molecular geneticist William Gelbart stated in his interview for Science, "The gene is a concept past its time. Irrespective of the emotional pole, both pose a lot of questions. Inasmuch as the techniques tested on the lamb and her numerous precursors allow for the production of clones of mature organisms although with multiple deviations in the course of pregnancy , the scientists came to the conclusion that in principle the techniques used can be applied to human beings. What is the difference between this art and, say, mass media or corporate cultural practices? Such stories are always accompanied by apocalyptic fears of certain powers willing to bring the whole of mankind under control, exercising all sort of "adjustments" and "reduplications" of people, altering their cultural values, and their psychological and physical structure. This does not mean, of course, that the audience will change in any way; what will change in the first place is the audience's attitude towards the perceived world, and the viewer will become an active character in the world of artwork and will gain a resource to alter it. At this level it is filled with implications, contents, and overtones befitting a magic power. Will mankind, after millenniums of dependence upon nature, take its fate into its own hands now? These biological achievements are sure to put an end to the long anticipation of the fundamental transformation of man's essence, and yield a breakthrough into the spiritual dimensions to freedom and equality… Such or nearly such is the pathos of general expectations.
Both journalists and scientists boldly asserted that now genetic diseases will be eradicated, mankind will win a victory over cancer and AIDS, and nothing will hinder the creation of vaccines for any possible disease… IV. Irrespective of the emotional pole, both pose a lot of questions. Leaving aside the exotic sci-art problems and summarizing, one can say that at the next turn of technological development the toolbox of contemporary art will be widened thanks to a large variety of art strategies which will, in turn, put forth a whole list of system requirements towards new technologies of perception. An integral component of the "life construction plan", under the scientists' own somewhat ironic definition, was contributed by a vast project on DNA sequencing the so-called 'genome decoding'. Thereby, the advent of the era of Life Sciences indicates a possibility of further dissolution of borders between different states of mind, between concept and construction, between understanding and realization of our everyday wishes. An odd mixture of Christianity and digital euphoria, some sort of computer-based piety brings together the heralds of the Wonderful New World. These biological achievements are sure to put an end to the long anticipation of the fundamental transformation of man's essence, and yield a breakthrough into the spiritual dimensions to freedom and equality… Such or nearly such is the pathos of general expectations. Even if the wave of emotions has been carefully kept high over the last couple of decades by some PR-strategists, even if this play is dominated by marketing and the struggle for power, we can not deny the fact that the development we are witnessing is the very biotechnological revolution so much anticipated by society at the end of the 20th century. It seems that once all of it was already promised to man - promised by Christianity. In , the molecular geneticist William Gelbart stated in his interview for Science, "The gene is a concept past its time. Considering that art at all times was concentrated on this and only this issue, we can hold that since a certain moment the dispute on the relation of "art" and "life" has been given a countdown, with this couple of words replaced by one notion - "Reality". For a long time now no one has dared to ask the unwanted question as to what is so contemporary about ambient "contemporary art"? In the long run, by repeatedly reproducing the border situation, the man rather ritually recreates the only verge, a reminder-verge, over which he - a being formed within the framework of his heredity flow - is initially denied possession of power. Today, man's biologization is ready to be picked up not only by the partisans of genetics who are optimistic about its progress, but also by those who are following it with concern, appealing to rude materialism as an argument: The audience's simultaneous existence in these realities proposed by the artist must develop a certain metanoia in the audience, a "creative schizophrenia," i. In addition, a peculiarity of the present time is that the advent of the era of "life sciences" heralds the possibility of removing the borders between art and non-art in general, through overcoming perhaps the major obstacle - the verge between the existence and non-existence of man, through overcoming death as such. We are witnessing today the once radical artistic practices poeticized in other words - hackneyed and replicated in culture and mass media. In the current environment of the genome culture the subject-matter of interest is focused on the artistic strategies aimed at the prohibition of the de facto art practices, and at transition from concern with the "long linguadiscourse" and the interpretation practices to direct operational activities, where technology is directly linked to the targeted state of the organism, and the whole complex of its mechanisms and the variety of the individual manifestations. Is it striving to become a trademark, or another type of service offered in the wide market of services of the "genome theatre" where sooner or later the three powerful "Cs" commerce, competition, and corporation will assert themselves? The other pole of the attitude to bio- and genetic engineering technologies results in placing them in the area of good, light and bright prospects. First of all, this means that today's society has entered a new, post-biological stage of development of science and technology, which is characterized by the fact that scientific research is now conducted at the nano-level. Indeed, the attitude towards bio- and genetic engineering technologies, however strange it may seem, bears much resemblance to Christian archetypes. At a certain moment, it became obvious against a background of tumult and outburst of pop culture that if the artist "produces" traditional art, skillfully manipulating the professional and marketable palette, he is not recognized as "a real" artist. This is clearly seen in samples of biotechnological themes - the works of genome kitsch have literally swept over television, exhibitions and the press, assuming functions rejected by art long ago. This is what myth is for - to be able to generate cultural and intellectual phenomena, and generally, forms of conduct - of most various aspects - that start operating as elements of the mechanism for the protection of borders which ensure that culture remains true to itself. In other words, the artistic community faces an advanced challenge of mastering one of the most important aggregate technologies for the creation of bio-temporal presentations of reality, namely - risk management technology.
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