Nora Vaage

Within biology and in society, living creatures have long been described using metaphors of machinery and computation: ‘bioengineering’, ‘genes as code’ or ‘biological chassis’. This paper builds on Lakoff and Johnson’s argument that such language mechanisms shape how we understand the world. I argue that the living machines metaphor builds upon a certain perception of life entailing an idea of radical human control of the living world, looking back at the historical preconditions for this metaphor. I discuss how design is perceived to enable us to shape natural beings to our will, and consider ethical, epistemological and ontological implications of the prevalence of this metaphor, focusing on its use within synthetic biology. I argue that we urgently need counter-images to the dominant metaphor of living machines and its implied control and propose that artworks can provide such counter-images through upsetting the perception of life as controllable. This is argued through discussion of artworks by Oron Catts and Ionat Zurr, by Tarsh Bates and by Ai Hasegawa, which in different ways challenge mechanistic assumptions through open-ended engagement with the strangeness and messiness of life.

Living artworks created with biotechnology raise a range of ethical questions, some of which are unprecedented, others well known from other contexts. These questions are often discussed within the framework of bioethics, the ethics of the life sciences. The basic concern of institutionalised bioethics is to develop and implement ethical guidelines for ethically responsible handling of living material in technological and scientific contexts. Notably, discussions of ethical issues in bioart do not refer to existing discourses on art and morality from the field of aesthetics. The latter framework is primarily concerned with how the moral value of an artwork affects its artistic value. The author argues that a successful integration of these two frameworks will make possible an ethics of bioart that is adequate to its subject matter and relevant for practice. Such an integrated approach can give increased depth to understandings of ethical issues in bioart, inspire new ways of thinking about ethics in relation to art in general and give novel impulses to bioethics and technology assessment. Artworks by the Tissue Culture and Art Project and their reception serve as the empirical starting point for connecting perspectives in art with those of bioethics, developing an ethics for bioart. The author suggests that consideration of the effect of these artworks is vital in validating ethically problematical applications of biotechnology for art. It is argued that the affective, visceral qualities of living artworks may spur the audience to adjust, revise or develop their personal ethical framework.

Speculative design is a subsidiary field of critical design practice. It generally involves developing scenarios based on a central object, often a prototype. Because it is concerned with alternative present and future states, many acknowledge the potential of speculative design for raising critical discussion and public engagement on science, technology, and society. In this article, we ask how the analogy of speculative design to thought experiments highlights or problematizes certain aspects of speculative design. Building on the work of Anthony Dunne and Fiona Raby, we answer this question through a comparative conceptual analysis of speculative design and thought experimentation as they are understood in their original contexts. We go on to create a theoretical framework applied to four cases: Metamorphism; Walden, a game; The Substitute; and GoatMan. We argue that understanding speculative design by analogy to thought experiments could help design practitioners better achieve the aim of public engagement, enabling a more inclusive and nuanced discussion about the form and style of speculative design.

Over the past decades, both wild and domesticated insect pollinators are in dramatic decline, which puts at stake the existence of species, ecosystem resilience and global food security. Globally, 87 of major food crops depend on animal pollination. Together these account for 35 % of the world food production volume. Pollinator mediated crops are indispensable for essential micronutrients in the human diet. Many ornamental plants as well as crops for fibre, fodder, biofuels, timber and phytopharmaceuticals also depend on insect pollinators. This article aims to map the current situation of pollinators worldwide, with a focus on the critical role of pollinators in the human food chain and ecosystem sustainability, their intrinsic and extrinsic value, as well as the causes of their declines and the interventions needed to conserve them, in order to develop an argument for the importance of conserving and restoring pollinator populations and diversity. The present pollinator crisis threatens global and local food security, can worsen the problems of hidden hunger, erodes ecosystem resilience, and can destabilise ecosystems that form our life support system. An integrated approach that simultaneously addresses the key drivers is needed. This includes creation and restoration of floral and nesting resources, a global phase out of prophylactic use of neonicotinoids and fipronil, improvement of test protocols in authorisation of agrochemicals, and restoration and maintenance of independence in regulatory science. The authors argue that an international treaty for global pollinator stewardship and pollinator ecosystem restoration should be initiated in order to systemically counteract the current crisis.

Book review of the book Inquiring into Human Enhancement: Interdisciplinary and International Perspectives (2015), edited by Simone Bateman, Sylvie Allouche, Jean Gayon, Michela Marzano and Jérôme Goffette. Closing the summary of the book's chapters, the reviewer asks: when imagining HE for the future, especially in utopian directions, might we not seek to increase human wisdom, for instance, rather than just human intellect? Why are human enhancement visions so often limited by egotistical, if well-intended, desires that might go horribly wrong, as in the story of Dr. Jekyll and Mr. Hyde?

The authors consider the relationship between knowledge and image, though multi-faceted, to be one of reciprocal dependence. But how do images carry and convey knowledge? The ambiguities of images means that interpretations do not necessarily follow the intention of the image producers. Through an array of different cases, the chapters critically reflect upon how images are mobilised and used in different knowledge practices, within certain knowledge traditions, in different historical periods. They question what we take for granted, what seems evident, what goes without saying. This approach spans across established categories such as «scientific imaging», «religious images» and «artworks», and considers how images may contribute meaning across such categories.