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Biomedialne dane w rękach władzy politycznej. Aplikacje, bazy danych i biometria

100%
Celiński P.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2019
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vol. 104
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issue 1
15-23
EN
In this brief media study the author explores supervision and control practices implemented through digital media by referring to anthropology of media and theory of biopolitics. The text focuses on algorithmized, software-based biometrics and the resulting databases, and it looks into scenarios of political and consumer control and supervision. The theoretical context for these reflections is discussed with respect to the post-media situation which results in biomedia practices, digital media placed close to human body and its organic sensorium (particularly, the face) as well as reconstructions of cultural codes that are attributed to human body and its vital functions. In his analysis the author refers to mobile applications and their software systems, while pointing to social practices that begin to develop around them.
2
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Introduction and English Summaries

85%
Czarnecki J., Cech G. M.
Sztuka i Dokumentacja
|
2019
|
issue 20
138-143
3
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BIOmedia w Akademii Sztuk Pięknych w Gdańsku

80%
Klaman G.
Sztuka i Dokumentacja
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2019
|
issue 20
51-62
PL
Prowadzone zajęcia i projekty z obszaru bioartu miały początek w ASP w Gdańsku w roku 2005, kiedy w Pracowni Działań Transdyscyplinarnych powstała pierwsza praca z użyciem żywych bakterii pt. Żyrandol autorstwa Igora Duszyńskiego. Ta i kolejne powstające projekty wywoływały spory i dyskusje o sens zastosowania żywych organizmów w działaniu artystycznym, gdyż w obszarze akademickim natura mogła być wyłącznie martwa - na obrazie. Taką krytyczną pracą była jedna z pierwszych bioinstalacji, złożona z martwych much i tworząca biotapetę na ścianie mojej pracowni. Już w tej wczesnej pracy pojawiają się ważne wątki biopolitycznego spojrzenia na współczesną kulturę inspirowane myślą Michela Foucaulta.
EN
Classes and projects concerning bio art have been practiced at the Academy of Fine Arts in Gdańsk since 2005 when Igor Duszyński created his Chandelier – it was the first piece made with the use of living bacteria at the Studio of Transdisciplinary Activities. This and other projects triggered numerous arguments and discussions concerning the purpose of using living organisms as part of artistic activity; since at the academy life at the time could only be still – as in a painting. This critical aspect was employed by one of the first bioinstallations made of dead flies forming a biowallpaper on the wall of my studio. In this early piece, there already appear substantial issues of biopolitical outlook on contemporary culture inspired by the ideas of Michel Foucault.
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