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LABS 2017 Top-Rated LABSAbstracts 2017 526 tices through analysistices acritical of materials philosophical concerns relevant prac to these - terms. tend to critique work mainly intechnological into asingle unified genre, assessmentsthese practices have these made to coalesce been Plateaux or Raster-Noton. While attempts recordwith particular labels, including Mille industry, and practitioners are often associated andacademia mainstream the popular music of work lieoutside of established the music of noise, are prevalent. The body origins this of clicks,as digital glitches and bursts of white notals normally considered musical, such emerged 1990s inthe where sound materi - electronic music and sound-art practicesthat Ikeda are three practitioners representative of Yasunao Tone, Carsten Nicolai and Ryoji Collis Adam E a research path that brings relations between of understanding the of what BioArt can be: BioArt is, author the argues for an opening up than limiting people’s understanding of what underlying requirement of genre. the Rather fromcesses biotechnology the as the industry emphasizes only practices,tools the and pro- tion an eschews understanding of BioArt that approach to creating- BioArt. This disserta techno-aesthetics to and build amethod techno-aesthetics. The author Simondon’suses sideration and creation of BioArt, especially Simondon offers concepts critical forthe con - to context the of agiven of set relations. ing, technological, but psychosocial) specific across regimes all of existence (physical, liv- argues that his philosophy is generalizable and sustaining their environments. Simondon relations entities, between individuals between philosophy provides an understanding of the come to is be, ongoing and processual. His to argue that individuation, or how things isms. Simondon adopts arelational ontology that incorporates living, nonhuman organ- BioArt, for research, this means artwork theoretical framework for making BioArt. philosophy ofSimondon Gilbert to form a In dissertation, this author the the uses T Tyler Fox Tyler “ to the the to r st N a In contrast, thesis draws this out deeper oise” in in oise” a nsductive nsductive blishing blishing P r a ctices of of ctices C ontempor a P
r C a ritic xis in in xis Ya a l l sun a F ry ry B r ioArt a a S mework for the Appr the for mework o o ound Art with with Art ound T one, one, Ca rsten rsten and expands upon Simondon’s philosophy. of analysis through author the which explores arguments of research, the as well as objects physical instantiations of and theories the and one nascent inthe stage. offers Each both of two different projects, thestageone final in the developmentThis dissertation discusses humans between experiences and nonhumans. to understand how BioArt can foster shared organisms to fore. the This research seeks humans, and technology living, nonhuman structures. music and prevailing the political-economic thatart challenge notion the both of “absolute” practicesarethese forms of conceptual sound qualitative, contextual and and extrinsic, that and intrinsic, toward one concerned with the of “value” as something quantified, abstract culturala wider shift awayfrom the notion thesisThis arguesthat these practices reflect for aconsideration of of body work. this can provide aclearer philosophical framework ing” and Derrida’s critique of phonocentrism is that Heidegger’s notion of as “reveal truth - ings What and interviews. emerges from this including commercial releases, works, writ- produced by and about practitioners, these PhD thesis, University of Surrey, U.K., 2016. Adam Collis:
I ked a