Eduardo Kac

Last updated
Eduardo Kac
Eduardo Kac - Genesis - Ars Electronica 99.jpg
Kac's installation Genesis, displayed at the 1999 Ars Electronica Festival
Born (1962-07-03) July 3, 1962 (age 62) [1]
NationalityBrazilian and American
Awards Ars Electronica Golden Nica
Website www.ekac.org

Eduardo Kac (born July 3, 1962) [1] is a Brazilian and American contemporary artist whose portfolio encompasses various forms of art including performance art, poetry, holography, interactive art, digital and online art, and BioArt. Recognized for his space art and transgenic works, Kac works with biotechnology to create organisms with new genetic attributes. [2] [3] [4] His interdisciplinary approach has seen the use of diverse mediums, from fax and photocopying to fractals, RFID implants, virtual reality, networks, robotics, satellites, telerobotics, virtual reality and DNA synthesis. [5]

Contents

Life

Kac was born July 3, 1962, in Rio de Janeiro, Brazil. [1] [6] He became fluent in English as a child. [7] He studied at the School of Communications of the Pontifical Catholic University of Rio de Janeiro, receiving a BA degree in 1985, [1] [8] and then at the School of the Art Institute of Chicago where he received an MFA degree in 1990. [1] In 2003 he received a doctorate from the Planetary Collegium at the University of Wales, Great Britain. [9] Kac is a professor of art at the School of the Art Institute of Chicago. [9]

Art career

Kac began his art career in 1980 as a performance artist in Rio de Janeiro, Brazil. In 1982 he created his first digital work and in 1983 he invented holopoetry, exploring holography as an interactive art form. In 1985 he began creating animated poetic works on the French Minitel platform. [10]

Throughout the 1980s Kac created telecommunications artworks, using media such as fax, television, and slow scan TV. In 1986 Kac created his first work of telepresence art, in which he used robots to bridge two or more physical locations. During the 1990s he continued to produce these works, expanding his practice with works of interspecies communications. [11]

Kac coined the term "bio art". [12] Kac also created various terms to describe his transdisciplinary art practice, including biorobotics (functional merger of robotics and biotechnology), plantimal (plant with animal genetic material or animal with plant genetic material), and transgenic art (the expression of genes from one species in another in an artwork). [11]

Early notable works include "Genesis" (1999), where Kac translated a Genesis line into morse code and subsequently into DNA base pair and "GFP Bunny" (2000), where an albino rabbit was genetically altered with a jellyfish gene, causing it to emit a green glow under specific light conditions. This piece ignited extensive debates on the ethical implications of altering life forms for artistic purposes. [12] [13] [14] [15]

Kac's focus on space art encompasses decades-long effort to complete "Ágora" (1986–2023), a project designed for deep space. Over the years, he has collaborated with both NASA and SpaceX. His collaboration with French astronaut Thomas Pesquet in "Inner Telescope" (2017) led to the creation of a sculpture in space. Another of his artworks, "Adsum", made its journey to the International Space Station in 2022, in preparation for its final flight to the Moon. Kac has been an active participant in events promoting the convergence of art and space exploration, such as those organized by the Space Observatory, an office of France's National Center for Space Studies. [13] [14] [15]

1980s

In 1980 Kac launched the Movimento de Arte Pornô (Porn Art Movement) on Ipanema Beach, in Rio de Janeiro, with the stated goal of subverting the logic of normative pornography at the service of activism and imagination. Working under the extremely conservative political climate of Brazil under a military dictatorship, Kac and other Movement members, such as Glauco Mattoso, Leila Míccolis, and Hudinilson Jr., developed the new body-centered aesthetics collectively until 1982. Kac was also a performer with the Gang, the performance unit of the Movimento de Arte Pornô; the Gang performed in São Paulo, Rio de Janeiro, and other cities. [16] [17] [18]

Beginning in 1982, Kac started to create digital works. [19] [20] [21] In 1983 Kac invented holographic poetry (which he also called holopoetry), the first of which was HOLO/OLHO, named after the Portuguese word for "eye". 23 holographic poems followed this first work, including Quando? (When?) (1987), a cylindrical work that could be read in two directions.

Around the same time, and drawing on his interest in experimental poetry forms, Kac began making animated poetry works with the French Minitel system that was then in use in Brazil. [22] In 1985 he contributed one such work, Reabracadabra, to the Arte On Line exhibition, organized by the Livraria Nobel bookstore in São Paulo. [23] [24] [25] Other Minitel animated poems by Kac include Recaos (1986), Tesão (1985/86) and D/eu/s (1986). [26] [27] In 1986, with Flavio Ferraz, Kac organized the Brasil High-Tech exhibition at the Galeria de Arte Centro Empresarial Rio in Rio de Janeiro. [28] [29]

From 1985 to as late as 1994, Kac did a number of telecommunications artworks that used Slow-scan television (SSTV), FAX, and live television, to create interactive exchanges between separate locations. [30] [31]

In 1986 Kac created his first telepresence artwork, using a robot to connect distant audiences. In 1988 he began work on his Ornitorrinco project, a telepresence artwork completed in Chicago, in 1989, in collaboration with Ed Bennett. The work brought together robotics, telecommunications technologies and interactivity to create a robot that was controlled remotely. The piece allowed viewers in one location to control the robot's camera and motion, creating a telepresent work and effecting the experience of viewers in the other location. [32] [33]

In 1989 Kac moved from Rio de Janeiro to Chicago, where he would complete his MFA at the Art Institute of Chicago the following year. [6]

1990s

In the 1990s, Kac continued creating telematic works, with Dialogical Drawing (1994) [34] and Essay Concerning Human Understanding (1994) both using networks to explore the viewer experience of an artwork mediated between two sites in real time. In the latter case, the artwork joined a plant in New York city and a live canary in Kentucky in conversation. [35] The inclusion of a bird and a plant as part of an interactive system is an early example of what Kac called interspecies communications. [36]

In 1996, Kac's space artwork Monogram was included in the DVD that flew to Saturn mounted to the side of the Cassini spacecraft. [4]

In Teleporting An Unknown State (1994), Kac built a system that allowed a plant to survive in a gallery, illuminated not by direct sunlight but by the action of local or remote viewers of the work. In practice, local or remote viewers of the work selected from a set of webcams facing the sky of distant cities. A video projector above the plant relayed the webcam images to the plant, thus enabling it to do photosynthesis with light transmitted remotely. As a result, the system transmitted light values (frequency and amplitude) from distant skies to a local plant. [37] [38] [39]

Kac coined the term "bio art" with his 1997 performance work Time Capsule. [40] [41] In Time Capsule, Kac implanted himself with an RFID chip originally designed for use in pets. A participant in Chicago then triggered the RFID scanned in the Brazilian gallery where Kac was performing, causing the scanner to display a unique code for the implant. Kac then registered himself on the pet database associated with the implant, becoming the first human to do so. Time Capsule was simultaneously live on television and the Internet. [42] [43] [44]

Maurizio Bolognini, Richard Kriesche, Mario Costa and Eduardo Kac, Artmedia VII (1999) Bolognini Kriesche Costa Kac ArtmediaVII 1999.JPG
Maurizio Bolognini, Richard Kriesche, Mario Costa and Eduardo Kac, Artmedia VII (1999)

By the late 90s Kac defined himself either as a "transgenic artist" or a "bio artist", [45] and was using biotechnology and genetics to create works that used scientific techniques and simultaneously critiqued them. [46]

Kac's next transgenic artwork, created in 1998/99 and titled Genesis, involved him taking a quote from the Bible (Genesis 1:26 – "Let man have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moves upon the earth"), transferring it into Morse code, and finally, translating that Morse code (by a conversion principle specially developed by the artist for this work) into the base pairs of genetics. The new DNA sequence was introduced into bacteria. [47] [48] Participants were then able to shine ultraviolet lights onto the bacteria containing the new DNA, thus altering it. So when Kac translated it back to English, it said something completely different. Through this work, Kac encourages audiences to consider the new interconnectedness between biology, technology, and meaning.

2000s

In one of his best known works, GFP Bunny, presented in 2000 in Avignon, France, Kac commissioned a French laboratory to create a green-fluorescent rabbit; a rabbit born with a Green Fluorescent Protein (GFP) gene from a type of jellyfish. Kac named the rabbit Alba. [49] [50] [51] [52] Under a specific blue light, the rabbit fluoresces green. GFP Bunny proved to be hugely controversial, in part due to the unprecedented nature of the artwork, [53] [54] [55] in part because of the general lack of familiarity with the safety of the process at the close of the twentieth century. [56] [57] [58]

Kac's original aim was for Alba to live with his family, but prior to the scheduled release of Alba to Kac, the lab retracted their agreement and decided that Alba should remain in the lab. [59] [57] Kac responded by creating a series of works that called for her freedom. [60] [61] [62] [63] Other works would follow, focused on celebrating her life. [64]

GFP Bunny appeared in Big Bang Theory, [65] Sherlock, [66] and Simpsons, [67] and in novels such as Oryx and Crake , by Margaret Atwood, [68] and Next , by Michael Crichton. [69]

His work Natural History of the Enigma (2003–2008) continued in the theme of bio art by merging his DNA with that of a petunia, creating a hybrid organism that Kac called a plantimal. [70] [71] The plant, also given the name Edunia (from Eduardo and Petunia), mimicked the flow of blood through human veins by mixing Kac's DNA only with the plant's genetic components that made the veins in its leaves red. [70] [71]

2010s

In 2017 Kac collaborated with French astronaut Thomas Pesquet to create an artwork in space called Inner Telescope, [72] an artwork conceived for zero gravity and made aboard the International Space Station. Kac worked with the French Space Observatory office, from the French Space Agency, to have this work made in space by the astronaut Thomas Pesquet. [73] [74] Following Kac's instructions, Pesquet cut and folded two pieces of paper into a sculptural form. Floating in zero gravity, the form could be read as the three letters forming the French word for me, M-O-I, or a stylized human figure with the umbilical cord cut. [75] [74]

2020s

Since 2019, Kac has been developing Adsum, an artwork for the Moon. Conceived in five phases, as of 2022 Kac had completed the first three milestones. Adsum is a glass artwork with four visual symbols internally laser-engraved in three dimensions and is meant to exist in the lunar environment. The four symbols that constitute the work are: an hourglass (representing time at a human scale), two circles (one large, representing the Earth; one small, representing the Moon), and the infinity symbol (representing time at a cosmic scale). [4] [76]

Controversy

Eduardo Kac's work has frequently been an object of debate. One of the most prominent instances arose from his artwork "GFP Bunny" in 2000. The piece centered around Alba, an albino rabbit that was genetically engineered by incorporating the green fluorescent protein (GFP) from a jellyfish into her genome. This resulted in the rabbit possessing the ability to glow green under blue light. Some critics and animal rights activists raised concerns about the ethical implications of such genetic manipulation purely for the sake of art. [49] [50] [53] [57] [52]

Kac's later project, "Inner Telescope", created inside the International Space Station (ISS), stirred debate of a different kind. The artwork, crafted from paper and designed to spell "Moi" (French for "me"), was a conceptual play on individual and collective self. The philosophical depth and utility of such an endeavor was questioned, particularly in the context of contemporary societal challenges. The project was also critiqued for potentially being an escape from the urgent issues on Earth, rather than addressing them head-on. [12] [13] [14] [15]

Permanent collections

Kac's work is included in the permanent collections of the Museum of Modern Art, New York, Tate Modern, London, Institut Valencià d'Art Modern in Valencia, Spain, Reina Sophia Museum, Madrid, Spain, Les Abattoirs Toulouse, France, and the Victoria and Albert Museum, London. Several of Kac's artist's books are included in the library of the Metropolitan Museum of Art, New York.

Awards

In 1998 he received the Leonardo Award for Excellence from ISAST. In 1999, he received the Inter Communication Center (Tokyo) Biennial Award in 1999. [16]

In 2002 he received the Creative Capital Award in the discipline of Emerging Fields. [77]

In 2008 he received the Golden Nica award at Ars Electronica for his project Natural History of the Enigma. [78]

Bibliography

Books by Eduardo Kac

Catalogues and monographs of Eduardo Kac's exhibitions

Books about the art of Eduardo Kac

Related Research Articles

Telepresence refers to a set of technologies which allow a person to feel as if they were present, to give the appearance or effect of being present via telerobotics, at a place other than their true location.

Digital poetry is a form of electronic literature, displaying a wide range of approaches to poetry, with a prominent and crucial use of computers. Digital poetry can be available in form of CD-ROM, DVD, as installations in art galleries, in certain cases also recorded as digital video or films, as digital holograms, on the World Wide Web or Internet, and as mobile phone apps.

Alba was a genetically modified "glowing" rabbit created as an artistic work by contemporary artist Eduardo Kac, produced in collaboration with French geneticist Louis-Marie Houdebine.

BioArt is an art practice where artists work with biology, live tissues, bacteria, living organisms, and life processes. Using scientific processes and practices such as biology and life science practices, microscopy, and biotechnology the artworks are produced in laboratories, galleries, or artists' studios. The scope of BioArt is a range considered by some artists to be strictly limited to "living forms", while other artists include art that uses the imagery of contemporary medicine and biological research, or require that it address a controversy or blind spot posed by the very character of the life sciences.

<span class="mw-page-title-main">Hélio Oiticica</span> Brazilian visual artist (1937–1980)

Hélio Oiticica was a Brazilian visual artist, sculptor, painter, performance artist, and theorist best known for his participation in the Neo-Concrete Movement, for his innovative use of color, and for what he later termed "environmental art," which included Parangolés and Penetrables, like the famous Tropicália. Oiticica was also a filmmaker and writer.

Telematic art is a descriptive of art projects using computer-mediated telecommunications networks as their medium. Telematic art challenges the traditional relationship between active viewing subjects and passive art objects by creating interactive, behavioural contexts for remote aesthetic encounters. Telematics was first coined by Simon Nora and Alain Minc in The Computerization of Society. Roy Ascott sees the telematic art form as the transformation of the viewer into an active participator of creating the artwork which remains in process throughout its duration. Ascott has been at the forefront of the theory and practice of telematic art since 1978 when he went online for the first time, organizing different collaborative online projects.

<span class="mw-page-title-main">Lygia Pape</span> Brazilian artist (1927–2004)

Lygia Pape was a Brazilian visual artist, sculptor, engraver, and filmmaker, who was a key figure in the Concrete movement and a later co-founder of the Neo-Concrete Movement in Brazil during the 1950s and 1960s. Along with Hélio Oiticica and Lygia Clark, she was an important artist in the expansion of contemporary art in Brazil and pushed geometric art to include aspects of interaction and to engage with ethical and political themes.

<span class="mw-page-title-main">Do-it-yourself biology</span> Biotechnological social movement

Do-it-yourself biology is a biotechnological social movement in which individuals, communities, and small organizations study biology and life science using the same methods as traditional research institutions. DIY biology is primarily undertaken by individuals with limited research training from academia or corporations, who then mentor and oversee other DIY biologists with little or no formal training. This may be done as a hobby, as a not-for-profit endeavor for community learning and open-science innovation, or for profit, to start a business.

<span class="mw-page-title-main">Hybrid art</span> Art that works with science and technology

Hybrid art is a contemporary art movement in which artists work with frontier areas of science and emerging technologies. Artists work with fields such as biology, robotics, physical sciences, experimental interface technologies, artificial intelligence, and information visualization. They address the research in many ways such as undertaking new research agendas, visualizing results in new ways, or critiquing the social implications of the research. The worldwide community has developed new kinds of art festivals, information sources, organizations, and university programs to explore these new arts.

Raul Mourão is an artist. His artwork includes the production of drawings, sculptures, videos, texts, installations and performances.

<span class="mw-page-title-main">Museum of Modern Art, Rio de Janeiro</span> Art museum in Rio de Janeiro, Brazil

The Museum of Modern Art of Rio de Janeiro is a museum located in northeastern Flamengo Park, in the city of Rio de Janeiro, Brazil. It is in the Centro district, west of Santos Dumont Airport, on Guanabara Bay.

Roberto Jacoby is an Argentine artist and sociologist. Known for his conceptual art and social activism in Argentine politics, most of his work is collaborative such as his displays in Experiencias and participation in Tucumán Arde.

The Porn Art Movement was a transgressive Brazilian avant-garde movement that started in 1980 and ended in 1982. The movement took place under a military dictatorship and pioneered the use of pornography both as a form of political resistance and as an innovative art medium. The movement was formally experimental, politically progressive and socially non-normative. It used the word “porn” deliberately but it did not produce conventional pornography. Rather, it rejected erotica, which was accepted by the dictatorship, and subverted the logic of pornography to create social, political and aesthetic alternatives that employed humor, scatology, surprise, poetry, performance, body politics and pansexuality. Organized and coordinated activities ended in 1982, but isolated performances were realized and publications came out until 1984. The book Antolorgia, published in 1984, was the last publication of the movement.

Anna Maria Maiolino is a Brazilian contemporary artist.

Waldemar Cordeiro was an Italian-born Brazilian art critic and artist. He worked as a computer artist in the early days of computer art and was a pioneer of the concrete art movement in Latin America.

Judith Lauand was a Brazilian painter and printmaker. She is considered a pioneer of the Brazilian modernist movement that started in the 1950s, and was the only female member of the concrete art movement based in São Paulo, the Grupo Ruptura.

<span class="mw-page-title-main">Ivan Serpa</span>

Ivan Ferreira Serpa was a Brazilian painter, draftsman, printmaker, designer, and educator active in the concrete art movement. Much of his work was in geometric abstractionism. He founded Grupo Frente, which included fellow artists Lygia Clark, Helio Oiticica, and Franz Weissmann, among others, and was known for mentoring many artists in Brazil.

Lenora de Barros is a Brazilian artist and poet. She studied linguistics at the University of São Paulo before establishing her artistic practice during the 1970s, and has remained committed to the exploration of language through a variety of media, including video, performance, photography and installation.

<span class="mw-page-title-main">Wanda Pimentel</span> Brazilian artist (1943–2019)

Wanda Pimentel was a Brazilian painter, based in Rio de Janeiro, Brazil. Her work is distinguished by "a precise, hard-edge quality encompassing geometric lines and smooth surfaces in pieces that often defy categorization as abstract or figurative. “My studio is in my bedroom,” Pimentel said in an interview. “Everything has to be very neat. .. I work alone. I think my issues are the issues of our time: the lack of perspective for people, their alienation. The saddest thing is for people to be dominated by things.”

Teresinha Soares is a Brazilian pop art artist who currently lives and works in Belo Horizonte, Brazil. She produced art during the 1960s and 1970s and was best known for her erotic artwork that explored femininity and pushed back against Brazil's oppressive government.

References

  1. 1 2 3 4 5 "Eduardo Kac – Brazilian American artist". Encyclopædia Britannica .
  2. Rose, Frank (23 March 2017). "A Space Odyssey: Making Art Up There". The New York Times .
  3. Miller, Maya (12 April 2017). "Art in Space Sparks Discussion on Technology, AI". WTTW.
  4. 1 2 3 Jacques Donguy (September 2022). Eduardo Kac's Space Art (PDF). Artpress. pp. 54–57.
  5. Eduardo Kac (published on the occasion of Kac's mid-career survey, curated by Ángel Kalenberg). Instituto Valenciano de Arte Moderno (IVAM), Valencia, Spain. 2007. ISBN   978-84-482-4740-9.
  6. 1 2 Richard Kostelanetz (13 May 2013). A Dictionary of the Avant-Gardes. Routledge. pp. 2–. ISBN   978-1-136-80620-9.
  7. "#ELRFEAT: Language's Uncertainty Principle: An Interview with Eduardo Kac (1999)". electronicliteraturereview. 2018-03-09. Retrieved 2024-03-25.
  8. "NewsByte – Duke Art, Art History and Visual Studies". web.duke.edu.
  9. 1 2 "ekac". School of the Art Institute of Chicago.
  10. "Eduardo Kac's Reabracadabra (1985) in the permanent collection of the Museum of Modern Art, New York".
  11. 1 2 Eduardo Kac (2005). Telepresence & Bio Art: Networking Humans, Rabbits, & Robots. Ann Arbor, Michigan: U Michigan P. ISBN   0472068105.
  12. 1 2 3 Haridy, Rich (2017-03-17). "Art in the age of ones and zeros: BioArt". New Atlas. Retrieved 2023-08-19.
  13. 1 2 3 Rose, Frank (2017-03-23). "A Space Odyssey: Making Art Up There (Published 2017)". The New York Times. Retrieved 2023-08-19.
  14. 1 2 3 Mattei, Shanti Escalante-De (2023-07-28). "Artist Eduardo Kac to Send a Hologram into Space". ARTnews.com. Retrieved 2023-08-19.
  15. 1 2 3 "For decades, artist Eduardo Kac has been laser-focused on sending hologram project into space - UPI.com". UPI. Retrieved 2023-08-19.
  16. 1 2 "Eduardo Kac (biography)". www.fondation-langlois.org.
  17. Simone Osthoff (2009). Performing the Archive: The Transformation of the Archive in Contemporary Art from Repository of Documents to Art Medium. Atropos Press. ISBN   978-0-9825309-0-0.
  18. "DOCUMENTING THE VISUAL: Building a Latin American Collection at the MoMA Library". 27 March 2018.
  19. Kastner, Jeffrey (2022). "Eduardo Kac: From Minitel to NFT".
  20. Giulia Rossi, Elena (19 June 2022). "Eduardo Kac: From Minitel to NFT".
  21. Ferran, Bronac (24 May 2022). "Eduardo Kac – interview: 'There is nothing on paper. All the works are experienced dynamically, with the glowing quality of functional displays'". Studio International.
  22. Eduardo Kac (2007). Media Poetry: An International Anthology. Intellect Books. pp. 276–. ISBN   978-1-84150-030-0.
  23. "Net Art Anthology: Reabracadabra". 27 October 2016.
  24. "When Net Art Outlives the Net: Eduardo Kac's Poetry for Videotexto". 3 November 2016.
  25. "Reabracadabra de Eduardo Kac, en la Net Art Anthology".
  26. Annmarie Chandler (2005). At a Distance: Precursors to Art and Activism on the Internet. MIT Press. pp. 290–. ISBN   978-0-262-03328-2.
  27. Eduardo Ledesma (2 November 2016). Radical Poetry: Aesthetics, Politics, Technology, and the Ibero-American Avant-Gardes, 1900-2015. SUNY Press. pp. 270–. ISBN   978-1-4384-6202-8.
  28. Net, Media Art (14 August 2018). "Kac, Eduardo: Reabracadabra". www.medienkunstnetz.de.
  29. Cronologia das artes plásticas no Rio de Janeiro: da missão artística francesa à geração 90 : 1816, mil oitocentos e dezesseis a mil novecentos e noventa e quatro, 1994. Topbooks. 1995.
  30. Zanini, Walter (2003). "A arte de comunicação telemática: a interatividade no ciberespaço". ARS. 1 (1): 11–34. doi: 10.1590/S1678-53202003000100003 .
  31. "Evanescent Realities". www.leonardo.info.
  32. Gabriella Giannachi (2004). Virtual Theatres: An Introduction. Psychology Press. pp. 82–. ISBN   978-0-415-28379-3.
  33. Michal Kobialka (1999). Of Borders and Thresholds: Theatre History, Practice, and Theory. University of Minnesota Press. pp. 282–. ISBN   978-0-8166-3090-5.
  34. World Art: The Magazine of Contemporary Visual Arts. G+B Arts International. 1996.
  35. Stephen Wilson (2002). Information Arts: Intersections of Art, Science, and Technology . MIT Press. pp.  145–. ISBN   978-0-262-73158-4.
  36. Maurizio Bolognini (2012). Machines: Conversations on Art & Technology. postmediabooks. pp. 89–. ISBN   978-88-7490-074-9.
  37. Sean Morey (19 November 2015). Rhetorical Delivery and Digital Technologies: Networks, Affect, Electracy. Taylor & Francis. pp. 267–. ISBN   978-1-317-40708-9.
  38. Association for Computing Machinery; SIGGRAPH. (1996). Visual proceedings: the art and interdisciplinary programs of SIGGRAPH 96 . Association for Computing Machinery. ISBN   978-0-89791-784-1.
  39. Flash Art. G. Politi. 1999.
  40. Natasha Lushetich (13 April 2016). Interdisciplinary Performance: Reformatting Reality. Macmillan International Higher Education. pp. 242–. ISBN   978-1-137-33503-6.
  41. David Banash (21 May 2015). Steve Tomasula: The Art and Science of New Media Fiction. Bloomsbury Publishing. p. 8–. ISBN   978-1-62892-369-8.
  42. Steve Tomasula (2003). (Gene)sis, in: Thurtle, Phillip and Robert Mitchell (eds.). Data Made Flesh: Embodying Information. pp. 249–252. ISBN   978-0-429-83939-9.
  43. Will Jackson (1 March 2012). Crisis, Rupture and Anxiety: An Interdisciplinary Examination of Contemporary and Historical Human Challenges. Cambridge Scholars. pp. 135–. ISBN   978-1-4438-3616-6.
  44. Artbyte. ArtByte, Incorporated. 2001.
  45. Solon, Olivia. "Bioart: The Ethics and Aesthetics of Using Living Tissue as a Medium". Wired.
  46. "Art world today will meet "Edunia," Eduardo Kac's genetically engineered 'plantimal'". 17 April 2009.
  47. "Eduardo Kac : Genesis 2". www.fondation-langlois.org.
  48. Annick Bureaud (2000). Eduardo Kac: Telepresence, Biotelematics, Transgenic Art. Association for Culture and Education, KIBLA Multimedia Center. ISBN   978-961-6304-02-3.
  49. 1 2 Cook, Gareth (17 September 2000). "Cross hare: hop and glow". The Boston Globe. p. A01 via Scribd.
  50. 1 2 Madoff, Steven Henry (26 May 2002). "The Wonders of Genetics Breed a New Art". The New York Times . p. 1.
  51. Yuval Noah Harari (2015). Sapiens: A Brief History of Humankind. Harper. p. 338. ISBN   978-0062316097.
  52. 1 2 Cat Hope; John Charles Ryan (19 June 2014). Digital Arts: An Introduction to New Media. Bloomsbury Publishing. p. 216–. ISBN   978-1-78093-321-4.
  53. 1 2 Cohen, Jeffrey (8 March 2007). "Are bioluminescent bunnies queer?". In The Middle.
  54. Kalenberg, Angel (June–August 2008). "Eduardo Kac. The Artist as Demiurge". Art Nexus 69.
  55. Simon Wilson; Jessica Lack (2008). The Tate Guide to Modern Art Terms. Harry N. Abrams. p. 37. ISBN   9781854377500.
  56. Onion, Amanda (7 January 2006). "Glowing Controversy". ABC News. Archived from the original on 2000-12-05.
  57. 1 2 3 Manier, Jeremy (24 September 2000). "Making the bunny glow". Chicago Tribune. pp. 1–4.
  58. Rifkin, Jeremy (14 January 2003). "Dazzled by the science". The Guardian.
  59. Cook, Gareth (17 September 2000). "Cross hare: hop and glow". The Boston Globe . p. A01 via Scribd.
  60. Kac, Eduardo (2001–2002). "Free Alba! photographs" via Kac Studio website.
  61. Kac, Eduardo (2001–2002). "Free Alba! drawings" via Kac Studio website.
  62. Kac, Eduardo (2000). "GFP Bunny – Paris Intervention" via Kac Studio website.
  63. Kac, Eduardo (2000–2004). "Alba Guestbook" via Kac Studio website.
  64. Kac, Eduardo (2000). "GFP Bunny" via Kac Studio website.
  65. "The 43 Peculiarity". Big Bang Theory. Season 6. Episode 8. 2012. CBS via WordPress.
  66. "The Hounds of Baskerville". Sherlock. Season 2. Episode 2. 2012. BBC One HD via YouTube.
  67. "Simpsorama". The Simpsons. Season 26. Episode 6. 2014. BBC One HD via The Infosphere.
  68. Margaret Atwood (2003). Oryx and Crake. London: Bloomsbury. ISBN   978-0385721677.
  69. Michael Crichton (2006). Next. New York: HarperCollins. ISBN   978-0060873165.
  70. 1 2 Anthony Dunne; Fiona Raby (6 December 2013). Speculative Everything: Design, Fiction, and Social Dreaming. MIT Press. p. 54–. ISBN   978-0-262-01984-2.
  71. 1 2 Gambino, Megan (22 February 2013). "The Story of How An Artist Created a Genetic Hybrid of Himself and a Petunia". Smithsonian Magazine.
  72. "Un grand pas pour l'art". Le Figaro. 17 November 2016.
  73. Gérard Azoulay (2021). Télescope intérieur. Observatoire de l'espace/CNES (in French and English). ISBN   978-2-85440-046-5.
  74. 1 2 Virgile Novarina (2018). Télescope intérieur: Une oeuvre spatiale d'Eduardo Kac (DVD with English subtitles). Observatoire de l'espace/CNES.
  75. Gérard Azoulay (2021). Télescope intérieur. Observatoire de l'espace/CNES. ISBN   978-2-85440-046-5.
  76. "Adsum, an Artwork for the Moon". ekac.org.
  77. "Investing in Artists who Shape the Future". www.creative-capital.org.
  78. Cyberarts. Springer. 2009.