Bergsono "Kūrybinė evoliucija" ir transgeninis menas
LTPastaraisiais dešimtmečiais sparčiai besiplėtojantys technologiniai ir biosocialiniai procesai vis labiau daro įtaką kultūrai, todėl iškyla naujų, itin prieštaringų meno reiškinių, tiesiogiai besisiejančių su Henri Bergsono seniai išsakytomis įžvalgomis ir jo programiniame veikale „Kūrybinė evoliucija“ plėtotais teoriniais konceptais. Šiame straipsnyje lyginamuoju aspektu aptarsime postmodernioje kultūroje iškilusio naujo transgeninio meno sąsajas su kai kuriomis esminėmis Bergsono veikaluose plėtojamomis meno filosofijos idėjomis. [Iš straipsnio, p. 201]Reikšminiai žodžiai: Artefaktinė evoliucija; Henris Bergsonas (Henri Bergson); Biomenas; Dirbtinė evoliucija; Estetika; Henri Bergsonas (Henri Bergson); Kūrybinė evoliucija; Transgeninis menas; Aesthetics; Artifact evolution; Artificial evolution; Bergson; BioArt; Creative evolution; Henri Bergson; Transgenic art.
ENThe subject matter of the article is focused on the new and very controversial form of art. That is transgenic art. This striking kind of art originated from the experiments of an early aesthetic selection, but now due to the progress of biotechnology is rising up with unpredictable speed. The foremost transgenic artist, well known founder of this new art, Eduardo Kac suggests a new paradigm for the conception of life processes and their manifestations in organic forms. As life became art, living organisms - the art material, and life processes - the field of aesthetics, the vista of organic being has substantially changed. The problem of the surveying of phenomena faced the lack of elaborated notions that could grasp the conditions and consequences of new live art. It is obvious that many difficulties in conceptualising the aesthetic qualities and values of live art frustrate each attempt to investigate it. Detailed scientific exploration or abstract philosophical reviewing of transgenic art crashes into the same problem - the discrepancy between the main compositions in the core of it. Does the transgenic art has on the same conceptual ground as the rest of art world? Where is the crucial link between art and life resulting in a transgenic creature? These and other questions form a new aesthetical universe involving a variety of aspects. If we are in search for the fundamental, we should not overlook one moment in the inheritance of philosophical thought. It is “Creative evolution” by French thinker Henry Bergson. It is possible to make an assumption that in this great philosophical work we can find and apply for the apprehension of the transgenic art the essential notion - evolution, because the main streams of Bergsonian thinking deals with surprisingly related matter in comparison to transgenic art. Exactly that notion provides a broader sense for the presumption of the meaning of trangenic art.In the issue of the transgenic art we deal with the matter of artificial evolution that consists of specifically modified evolutionary principles. If the transgenic artworks are objects designed precisely for aesthetical contemplation and avoid any pragmatical purposes, they cannot be conceived only within the confines of biology. An evolution, in its Bergsonian sense, lies between two fields - art and nature - and joins them in a specific way. It makes consensus between the structures of primordially different nature. Famous notions of Bergson - durėe and elan - could be accepted as an instrument for the thinking of transgenic art. The article asks not only whether reflects upon not only whatever the transgenic art is real art, but, more riskily, about the potentials of transgenic artworks to have a valid place in the evolution at all. So, attempts are made to foresee the directions of transgenic aesthetic towards new social relationships and their specific pragmatics and aesthetics in regard to the notion of the Bergsonian creative evolution. As a conclusion, the affirmation of values of the artificial evolution transgenic art is proposed. It means that live objects of the transgenic art are evolving specifically like a wholeness that should be understood as an alternative to natural evolution. In contrast to naturally developed organisms, transgenic art creates its chimeras. Therefore, it is clear that the so called artificial evolution, even using many forces of natural evolution, is a real fake of it. Artificial evolution falls in a vicious circle suggesting tight perspective and short trajectory. Otherwise, one aspect of artificial evolution involves an inherent danger of the aesthetic, opening the fascinating quality and the result of the esthetisation of the life - the evolutionary horror. Transgenic art is a peculiar way in resulting in a nodus embryo of aesthetical relationship within evolution itself.Finally, it is essential to deduce that transgenic art makes an attempt to transform natural evolutionary processes into artificial evolution that is possible to view and explore through the prism of the Bergsonian notion of the creative evolution. [From the publication]
