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Team:Osaka
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In 1933, Alexander Fleming, who discovered penicillin in 1927, exhibited his ‘germ paintings’. It was the origin of “BioArt” that represents a crossover of art and the biological sciences with genes, proteins, cells and animals. Fleming’s early works were reductively evaluated as the terms of its aesthetic criteria, beauty. | In 1933, Alexander Fleming, who discovered penicillin in 1927, exhibited his ‘germ paintings’. It was the origin of “BioArt” that represents a crossover of art and the biological sciences with genes, proteins, cells and animals. Fleming’s early works were reductively evaluated as the terms of its aesthetic criteria, beauty. | ||
| - | In this year, our project consists of two interrelated themes. First, we try to create a new tool for “germ paintings” by integrating cell-to-cell communication with motility, color and other behavior such as fragrance. | + | In this year, our project consists of two interrelated themes. First, we try to create a new tool for “germ paintings” by integrating cell-to-cell communication with motility, color and other behavior such as fragrance. Second, using this tool, we try to draw not only patterns but also paintings. BioArt is still at the threshold of definition because of the lack of interdisciplinary work. Given such current condition, we will consider significance and prospect of BioArt through doing works and discussion with artist. |
| - | Second, using this tool, we try to draw not only patterns but also paintings. BioArt is still at the threshold of definition because of the lack of interdisciplinary work. Given such current condition, we will consider significance and prospect of BioArt through doing works and discussion with artist. | + | |
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Revision as of 07:04, 1 August 2009
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Preliminary project description
In 1933, Alexander Fleming, who discovered penicillin in 1927, exhibited his ‘germ paintings’. It was the origin of “BioArt” that represents a crossover of art and the biological sciences with genes, proteins, cells and animals. Fleming’s early works were reductively evaluated as the terms of its aesthetic criteria, beauty. In this year, our project consists of two interrelated themes. First, we try to create a new tool for “germ paintings” by integrating cell-to-cell communication with motility, color and other behavior such as fragrance. Second, using this tool, we try to draw not only patterns but also paintings. BioArt is still at the threshold of definition because of the lack of interdisciplinary work. Given such current condition, we will consider significance and prospect of BioArt through doing works and discussion with artist.
