Science has been moving in complementary ways to art for centuries, including recently, with the introduction of biotechnology into the arts.
The mix of eastern/western and holistic/analytical-technocratic thinking contributed to a multi-angular approach to human nature.
The informatics that supports biotechnology became a craftsperson’s tool. According to Whitelaw, especially biotechnology involves technologies such as genetic engineering, tissue culture and cloning, while it produces results that are the source of inspiration for those occupied with the subject.
Bioart rather suggests that any future outcome for embodiment in the field of informatics should leave some space for the aesthetic processes of composition. The term bioart, an invention of artist Eduardo Kac for his work ‘Time Capsule’ in 1997, and its derivatives, such as biomusic, belong to what could be described as the next level of syncretic creativity. It is about a technoetic evolution, where the self comes to the forefront through generative arrangements and processes.
The self is shaped through new dimensions of consciousness.
Biomusic: The carrier, by Dimitri Batsis and Xenophon Bitsikas, Anastasia Georgaki, Angelos Evaggelou, Panagiotis Tigas. 2012.