Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2014 Meaningful Encounters: Creating a multi-method site for interacting with nonhuman life through bioarts praxis Donna Franklin Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Education Commons Recommended Citation Franklin, D. (2014). Meaningful Encounters: Creating a multi-method site for interacting with nonhuman life through bioarts praxis. https://ro.ecu.edu.au/theses/1574 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1574 Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2014 Meaningful Encounters: Creating a multi-method site for interacting with nonhuman life through bioarts praxis Donna Franklin Edith Cowan University Recommended Citation Franklin, D. (2014). Meaningful Encounters: Creating a multi-method site for interacting with nonhuman life through bioarts praxis. 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Declaration pages 1.0 Introduction ………………………………………………………………………….1-12 2.0 Background: Previous Bioarts Praxis 2003-2010………………………………13-28 3.0 Literature Review………………………………………….................................29-107 4.0 Methodology: Reflexivity and Praxis, Ethical Protocols………. ……………108-119 5.0 Production and Exhibition of Bioartworks……………………….. …………..120-149 6.0 Secondary Education Art-Science Course Bio-Tech Future Evolution: Future Engagement with the Nonhuman……………………………………………………………………….150-190 7.0 Curatorial Exhibition: Creatures of the Future Garden……………………...191-272 8.0 Conclusion……………………………………………………………………….273-275 9.0 Glossary of Terms……………………………………………………………....276-278 10.0 Notes……………………………………………………………………………..279-284 11.0 Appendices A-C……………………………………………………………….. .285-309 12.0 Exhibitions, Conferences and Publications…………………………………..310-314 13.0 References and Bibliography ………………………………………………....315-347 List of Documentation Material A. Curriculum Vitae documentation of previous local, national and international exhibitions i. Curriculum Vitae……………………………………………………………….2.0, p.11 ii. Documentation of previous bioartworks…………………..2.0, p. 11, 15, 19, 24, 26 B. Creative Praxis Artworks i. Documentation of work developed as a part of the research to provide visual context and detail……………………………………………………… 5.0, p. 121, 135 C. Secondary Education Course: Bio-tech Evolution Future Engagement with the non-human i. Exhibition Catalogue…………..……………………………………….6.4, p. 169-177 D. Curatorial Exhibition: Creatures of the Future Garden i. Exhibition documentation, Catalogue, Spectrum Facebook Link…7.5, p. 216-255 ii. WA Birds of Prey Centre Workshop………………………………….7.6, p. 256-267 Abstract This research advocates a multi-method approach to bioarts praxis, reflexively and critically questioning the contemporary contexts that frame our engagement with nonhuman life. In doing so, the research aims to generate further community engagement with nonhuman life and the environment, and engender critical discourse on the implications of developing biotechnologies. Hegemonic institutions influence the way culture is produced and how information is constructed and understood. Habermas (1987) suggests that these institutions will inevitably influence the individual’s lifeworld as they shape lived experience through the process of systemic colonisation. I assert that this process also shapes how individuals engage with or understand nonhuman life. Through the implementation of three major projects the research aims to develop the capacity of bioarts in challenging such institutions by providing the opportunity for hands-on life science activities and real-time interactions with nonhuman life. The research by employing such methods aims to counter-act the impact of urbanised living and indifference to environmental conservation. Each aspect of the creative praxis provides a reflexive case study to establish the research aims and answer the research agenda. This includes my creative bioartworks, an art-science secondary educational course and a curated group exhibition, symposium and workshop. This research provides an alternative communicative approach to hegemonic institutions such as the mass media, scientific biotechnological industries and traditional gallery spaces (Shanken, 2011). i USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. Acknowledgments In loving memory of my father Trevor, who passed so suddenly earlier this year; you are greatly missed by many. Thank you for all of your love, support and technical prowess during exhibition time. I am so grateful for all the happy times we have spent together. Endless thanks to my family and friends for all of your support, laughs and guidance especially my mother Nola, Aunty Daphne, Diane, David and Caitlin. A most heartfelt thankyou to my exceptional principal supervisor Dr Nicola Kaye, and knowledgeable and thoughtful co-supervisor Dr Lydia Edwards (2011-2014), superb co- supervisors Dr Dean Chan (2010), and Dr Christopher Crouch (2011), who have provided endless intellectual and creative inspiration, support and enthusiasm; It has been such a privilege to share this experience with you. iii Declaration I certify that this thesis does not to the best of my knowledge and belief: i. incorporate without acknowledgement any material previously submitted for a degree or diploma in any institution of higher education. ii. contain any material previously published or written by another person except where due reference is made in the text; or iii. contain any defamatory material Signature: Donna Franklin Date: 30.9.2014 iv 1.0 Introduction The research examines the communicative and pedagogical role my bioart praxis has in developing a critical creative engagement with nonhuman life in a biotechnological context. The research agenda aims to instil participants and viewers with further enthusiasm and wonder of the natural and scientific world through hands-on workshops, exhibitions and a symposium. As Hauser (2005) states ‘bioart’ is a “proliferating and mutant term…and cannot be nailed down” (p. 1). This description indicates that the art form constantly changes in response to developing biotechnologies and scientific practices. Its significance lies in the way the cultural practice explores questions and examines how biotechnologies re- define our understanding of what constitutes life. Equally important the arts praxis experiential implication of engaging with living materials provides a deeper connection with sentient life beyond representation. Following this position bioart involves practices that deal with the hands-on application of the life sciences or biotechnologies (Catts & Zurr, 2008; Da Costa, 2008; Hauser, 2008; Wilson, 2008). Implicit within this art form is the actual physical presentation of biological life or its processes known as “wet biological practices” (Catts, 2009, p. 1). These artworks can include, but are not limited to cell tissue culture, extracted DNA, bacteria, invertebrates, insects, fungi, plants and animals. For the purpose of this research, the focus covers the scope and diversity of the life sciences. This provides as varied an experience of the nonhuman through bioarts praxis as possible. The intention of re-locating the ‘wet biology’ of science into an arts context becomes a significant aspect of the research to present nonhuman life in real-time. This extends the artwork beyond a symbolic object to draw associations with contexts that frame the biological life itself. Further to this, Freeman (2011) contextualises the relationship of wet biology to bioart: “The use of the term ‘nonhuman’ though anthropocentric, reminds us of the qualities we share with animals and makes these practices all the more contentious” (p. 4). In this research, the term ‘nonhuman’ refers to the use of microbes, cells, invertebrates, fungi, plants, insects, fish, amphibians,