Even if the artistic impulse surges in insurrection opposed to daily fact, breaking via its confines, it makes pacts with that reality's crucial legislation and returns to it to modulate its experience. actually, it's via praxis that mind's eye and inventive inventiveness transmute the important issues of lifestyles, giving them human degree. yet whilst art's idea imbues lifestyles with aesthetic experience, which lifts human event to the religious. inside of those views paintings launches messages of particularly human internal propulsions, strivings, beliefs, nostalgia, yearnings prosaic and poetic, profane and sacral, sensible and perfect, whereas status on the fragile borderline of everydayness and imaginitive event. Art's artistic perduring constructs are intentional marks of the cultured importance attributed to the flux of human existence and replicate the human quest for repose. They mediate verbal exchange and participation in spirit and maintain the relative continuity of tradition and historical past.
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Additional resources for Art Inspiring Transmutations of Life (Analecta Husserliana, Volume 106)
I denounced censorship through the Internet and through (. ) the press. GFP Bunny became a global media scandal (. ). In 2001 I created ‘The Alba Flag’, a white flag with green rabbit silhouette, and started to fly it in front of my Chicago area house. The flag not only publicly signals the green bunny home, but most importantly stands as a social marker, a beacon of her absence. Continuing my efforts to raise awareness of Alba’s plight and to obtain her freedom, in 2002 I presented a solo exhibition entitled Free Alba!
20 As we see, bio art (or gene art, or transgenic art) manipulates the processes of life and indeed it is literally in vivo. 21 As it was already mentioned, bio art creates not just a new form of artistic objects but rather new artistic organisms or better to say—artistic subjects. And that is the main reason of diversity of controversies it generates. , crosspollination, social intercourse, cell interaction, interspecies communication) as much as the material and formal qualities THE ARTISTIC LIFE, THE ART ALIVE 35 of art (the shape of frogs, the color of flowers, bioluminescence, the patterns on butterfly wings).
By collapsing the metaphor of art as a mirror on life with life itself, by making art that mirrors biological processes and the network of commercial concerns that configure our dawning biological age, gene artists engage questions raised by their scientific/corporate/government counterparts: What does it mean to alter a natural evolutionary process millions of years old? How will people think of themselves, and their relation to others, once boundaries such as ‘plant’ and ‘animal’ have been eroded?