Carnal Light

摘要

Click to increase image sizeClick to decrease image size Notes 1 Jacques Derrida, ‘Force and Signification’ in Writing and Difference (Chicago: Chicago University Press, 1980), p.27. 2 Vivienne Baille Gerritsen, ‘The greenest of us all?’, Protein Spotlight (June 2001). < http://web.expasy.org/spotlight/pdf/sptlt011.pdf> [15/09/2012]. 3 Bijal P. Trivedi, ‘Introducing ANDi: The first genetically modified monkey,’ Genome News Network < http://www.genomenewsnetwork.org/articles/01_01/ANDi.shtml> [15/09/2012]. 4 David Whitehouse, ‘GM fish glows in the bowl,’ < http://news.bbc.co.uk/2/hi/science/nature/3026104.stm> [15/09/2012]. 5 Pimprapar Wongsrikeao, Dyana Saenz, Tommy Rinkoski, Takeshige Otoi & Eric Poeschla, ‘Antiviral restriction factor transgenesis in the domestic cat,’ < http://www.nature.com/nmeth/journal/v8/n10/full/nmeth.1703.html> [15/09/2012]. 6 Hsiao FS, Lian WS, Lin SP, et al. ‘Toward an ideal animal model to trace donor cell fates after stem cell therapy: production of stably labeled multipotent mesenchymal stem cells from bone marrow of transgenic pigs harboring enhanced green fluorescence protein gene’ < http://www.ncbi.nlm.nih.gov/pubmed/21705633> [15/09/2012]. 7 GFP's visual impact makes it a popular topic in interdisciplinary art and science education, with many students initially working with bacteria. For example, see Jennifer Willet's ‘Bioart: Contemporary Art and the Life Sciences’ < http://bioartwindsor.blogspot.com/2012/02/part-1-gfp-lab.html> [15/09/2012], William Ward's ‘Experiments with GFP – The Art and the Science’ < http://aesop.rutgers.edu/ ∼ dbm/11115433SpecialTopicsBiochem.html> [15/09/2012] and SymbioticA's ‘BioTech Art Workshop’ workshop program, which Lindsay Kelley was fortunate enough to participate in at University of California Irvine < http://www.symbiotica.uwa.edu.au/activities/workshops/SymbioticA_BioTech_art_workshop> [15/09/2012]. 8 George Gessert, Green Light: Toward an Art of Evolution (Cambridge, MA: The MIT Press, 2010). 9 An early version of this paper was given as a talk on the panel ‘Tranimals’ at ‘Zoontotechnics: Animality/Technicity,’ 14 May 2010. 10 An connection in which elements ‘form an ensemble, a physical or metaphysical whole, the existence or idea of one being included in the existence or idea of another’. Paul Ricoeur, Rule of Metaphor: The Creation of Meaning in Language (New York: Routledge, 2003) p.56. 11 ‘Metaplasm means a change in a word, for example by adding, omitting or transposing its letters, syllables or sounds… There is a biological taste to “metaplasm”… Flesh and signifier, bodies and words, stories and worlds: these are joined in naturecultures. Metaplasm can signify a mistake, a stumbling, a troping that makes a fleshly difference’. Donna Haraway, The Companion Species Manifesto: Dogs, People and Significant Otherness (Chicago: Prickly Paradigm Press, 2003) pp.20–21. 12 As a continuation of the GFP Bunny project, Kac transmitted ‘lagoglyphs’ into outer space. The Lagoglyphs are a rabbitographic form of language evoking dissection organs and bodily interiors; these compositions create ‘a visual language that alludes to meaning but resists interpretation’. The transmission was accomplished through satellite broadcasting equipment and a parabolic dish antenna. This art action translates Alba into frequency, power, bandwidth and polarity. Art, here, is vibrational, rhythmic. It is in this way that we want to suggest that Alba is resonant, dissonant and improvisational. < http://www.ekac.org/gfpbunny.html> [15/09/2012]. 13 Dorion Sagan, ‘Introduction: Umwelt after Uexküll’ in Jakob von Uexküll, A Foray into the Worlds of Animals and Humans: with A Theory of Meaning (Minneapolis: University of Minnesota Press, 2010) p.1. 14 See Nicole Shukin, Animal Capital: Rendering Life in Biopolitical Times (Minneapolis: University of Minnesota Press, 2009). 15 Alphonso Lingis, Phenomenological Explanations (Dordrect: Martinus Nijhoff, 1986) p.56. 16 Alphonso Lingis, Phe