International Authors from Europe and Asia explain the impact of codes and cultures on society
Through the establishment of new creative cultures, enabled by digital media and global communication networks, new practices and ability profiles of artistic delineations and explorations are gaining new grounds. Furthermore, economic models are eager to create synergies with symbolic values of cultural and artistic programs to deal with the potentials of Â»creativityÂ«. At the present day it is difficult to predict which catalysts and draft programs can be put into effect for these creative innovation processes. In this book a detailed review from international artists, theorists, researchers and curators will be given on new vectors of creative and artistic coded and cultures departed from digital media related art projects and observation models on the intersection of disciplines like Art, Science, Technology and Design.
Our Common Flowers / Flowers Commons project is currently (and until March 2011) on display at the Z33 in Hasselt, Belgium as part of the fantastic Alter Nature exhibition.
Karen Verschooren, the shows curator, send us these pictures yesterday. The flowers seem to like to atmosphere there at Z33 and are sprouting vigorously; that the are even going to bloom is a very nice surprise. But we can not take credit for their blooming, as it all in the masterful green hands of Greet Clerx from the University of Hasselt. Many thanks, Karen. Many thanks Greet.
There will be a session on Coded Cultures, the Japan Media Art Festival and Common Flowers on Tuesday, 24th August from 15h until 16.30. The session code is P23, the place is L102. We are having our “own” 20-minutes session, because we are not only part of Coded Cultures and the Japan Media Festival, but we also submitted a paper on the project, and that’s why we have our “own” time. Come, if you are around.
Here are some exhibition pictures taken before the opening.
The Japan Times ran a story on Common Flowers on Saturday, July 31st 2010. Here are some excerpts.
Shiho Fukuhara of BCL explains, Suntory Flowers and the Moondust carnation represent the first commercially available genetically engineered consumer product that is intended purely for aesthetic consumption: ‘‘The media outcry wasn’t that huge since it was neither food nor developed from animals.’’
Fukuhara found it strange how relaxed the Japanese are about genetic engineering, the business behind it and the lack of a public dialogue about the topic.
‘‘Creating genetically manipulated plants for merely aesthetic purposes is a nice marketing strategy from somebody who wants to introduce the genetic engineering industry without being regarded as irresponsible,’’ Fukuhara says. ‘‘A product like flowers can slowly change our perception of genetically altered products. If it’s nice and beautiful with ‘Dream come true’ as a tag line, who cares how it’s made?’’
BCL’s process of cloning Suntory’s blue flower doesn’t sound that difficult. They buy the modified flowers and then bring them back to life using plant tissue culture techniques, a way of propagating plants in sterile conditions.
‘‘Basically, once a flower is cut, it is slowly dying. With plant tissue culture, plants are grown on a growth medium with the necessary nutrition. If the flower is reasonably fresh it will start growing again. This is what we mean by ‘reverse-engineering’ the plant,’’ says Fukuhara.