Anna Hatziyiannaki - Academia.edu (original) (raw)

Papers by Anna Hatziyiannaki

THELAUNDRY, 2023

Babis Venetopoulos' work "TheLaundry" is a 3D animation from 2011, with a hidden narrative that u... more Babis Venetopoulos' work "TheLaundry" is a 3D animation from 2011, with a hidden narrative that unfolds on two levels of interpretation: In the foreground, three white forms, hung on a clothesline, dry in the summer breeze, casting their shadows on the concrete floor of the rooftop. Upon closer inspection, we realize that these white forms are three human male bodies, devoid of bones, organs, and blood, thoroughly washed in the laundry machine we can still hear working. A gruesome crime has occurred here. We search for the culprit nearby. In the background, monstrous apartment buildings, either completed or under construction, ominously raise their metal television antenna to broadcast passive news and entertainment within their interiors. The hill of the Acropolis, lower and drowned in concrete, as well as the barely discernible surviving neoclassical buildings, are crowned by the marvelous ruins of the Parthenon. The proportions and sizes have changed in the composition of the view we see: Cement encircles the sacred hill, and in the distance, the chapel of Saint George on Mount Lycabettus completes the circle, revealing the guilty party of the crime. It is the chilling memory of a slogan. The view of the insatiable contradiction, with the blue sky as a backdrop, the national alibi that is the ancient Greek wonder, the pilgrimage to the top of Lycabettus, screams in a shrill voice: "Greece, of Greeks, of Christians." During the dictatorship, the artist had not yet been born. However, the echo of the drying of life and the rage of violence did not cease with the transition to democracy. It lurks in the darkness of the mind, emerging to take matters into its own hands against undocumented immigrants, setting fires to claim land, callously tossing a speedy ferry passenger into the sea, and planting wind turbines in the scorched earth. I have been following Babis Venetopoulos' work since 2003 when he presented the installation "Chord" at the Koursoum Mosque in Larissa as part of a group exhibition. From that point on, his focus shifted to the suffering human body, being punished for a crime for which the perpetrator is nowhere to be seen in the frame. In "The Laundry," the perpetrator is revealed, and it is all of us, guilty of actions and omissions.

"AI MADE ME DO IT:OPHELIA" (artist:Gioula Papadopoulou), 2023

She describes it as "an experimental video created using artificial intelligence systems, a surre... more She describes it as "an experimental video created using artificial intelligence systems, a surreal, non-narrative animation where a classic character (Ophelia) encounters strange dreamlike transformations and unexpected futuristic scenes." The tragic heroine of Shakespeare, Ophelia, had also captured her attention in 2010 in her video work "Opheliax2." Now, she chooses to use AI (Dalle-2 for images, Melobytes for sound). She engages in a dialogue with the intelligent machine, with a brief text containing the words "Ophelia," "Water," "Flowers." AI recognizes these three elements in the painting "Ophelia" (19th century) by John Everett Millais (1829-1896). It is precisely this "Ophelia" that the artist wants to comment on regarding "social stereotypes, the aestheticization of female death, and the woman's dependence on men." She selects one of the four images suggested by AI each time, requesting further proposals from neural networks. Each time, she chooses and keeps the images that express the visual result she has in mind. The sequence of images does not aim for narration but for sensation. The flowers transform under the sound of water into colorful microscopic objects, and the versions of "Ophelia" keep their eyes closed but have not yet sunk. They gesture, protest, change identities: Woman, Transgender, Mannequin, Man, Juggler, a character of a children's hero, and back to a woman who opens her mouth without sound-is she drowning or unheard?-and everything ends with the chirping of birds. Papadopoulou ignored the ways of creating images with ready-made programs, experimented with the limits of the program, and then realized that she could create animated works with the images she ended up with. Thus, the playful title "AI made me do it" emerged.

Symmetry: Culture and Science, 2021

Abstract The object of this article is the ornate woven aprons of the folk bridal costume in t... more Abstract
The object of this article is the ornate woven aprons of the folk bridal costume in the area of Soufli, a town in Western Thrace (Greece). The Methodology of the approach is Interdisciplinary, as Ethnology and Gestalt Psychology meet Art History and Theory of Symmetry.
The complexity of the geometric motifs and their relations are analyzed using the Theory of Symmetry which is here the method to reveal overt and covert patterns. The simultaneous use of Gestalt Psychology's laws is revealed among the covert patterns, a schematic version of the Tree of Life. In the same way, is also formulated the hypothesis of patterns' chronological order of creation.
Finally, as it is shown that the common feature that governs overt and covert patterns here is the multiple Symmetries, it is documented through the ethnological bibliography that the creation of symmetrical decorative compositions is an Archetypal human tendency.

Keywords: Soufli, Pre-industrial Traditional Civilization, Folk Art, Woven Patterns, apron, Geometric Forms, Laws (or Principles) of Gestalt Psychology, Theory of Symmetry, Heraldic Pattern, Archetype, Chronological order, Original Mnemonic Model, Tree of Life, Law of Prägnanz.

"Zeugma", 2011

"Zeugma" is the title of the New Media and Mixed Media Art Project, inspired from the Hellenistic... more "Zeugma" is the title of the New Media and Mixed Media Art Project, inspired from the Hellenistic twin city Zeugma, now covered by the river of Euphrates. So, six Greek young Artists, traveled to Istanbul, also a twin city built on the two banks of Bosporus to experience a cultural zeugma, in such a way, that to implement it in contemporary artworks.

Pierre Restany, 1992

On sait que vous avez connu certains artistes grecs et écrit sur leur oeuvre. Voulez-vous me par... more On sait que vous avez connu certains artistes grecs et écrit sur leur oeuvre. Voulez-vous me parler de vous et de ces artistes ? Moi et les artistes grecs ? Alors, il faut bien vous dire qu'au delà les artistes grecs, j'ai deux approches, une qui est véritablement très personnelle, je dirais même liée à ma propre vie, à mon propre parcours existentiel et qui est un élément, de ce coté-là, un peu spécial. Par mon âge et par une série de combinaisons, surtout dû au fait que j'ai une équation professionnelle qui est double, qui est franco-italienne puisque je suis pendant quinze jours à Paris un critique d'art français et pendant quinze autres jours à Milan un critique d'art italien. Donc, par toute cette série de faits j'ai été en contact avec une certaine génération d'artistes grecs: ceux de la diaspora, c'est-à-dire ceux qui dans le fond, pour échapper au service militaire ont quitté la Grèce à la fin des années 50, entre 1957 et 1960, pour s'établir ou directement à Paris ou à Rome. Ces gens-là, je les ai vu ensuite et certains d'entre eux se sont rapprochés beaucoup de ce qui était le pôle de mon action à l'époque, c'est-à-dire le Nouveau Réalisme, ils sont arrivés jusqu'à moi à Paris au moment de la grande période militante chez moi de formation du groupe des nouveaux réalistes et certains d'entre eux, par affinités, étaient assez proches de ce mouvement. C'est pour ça que des gens comme Pavlos, Nikos, Kaniaris ont été des gens qui ont été très proches de moi. Il y a aussi, si vous voulez, toute une autre partie de cette diaspora qui m'a aussi beaucoup intéressé et dans le fond pour les mêmes raisons, c'est-à-dire Tsoklis, Takis bien sur et en Amérique, Chryssa. Ces gens-là, finalement gravitent d'une façon ou d'une autre autour de l'objet et de son appropriation et en même temps, disons de sa métamorphose, son recyclage. Ce sont des approches qui sont très proches des miennes et c'est pour ça que je les ai tout à fait intégrées à ma propre recherche théorique. Je dois dire d'ailleurs que j'ai été très lié à certains d'entre eux, surtout aux trois premiers et aussi à Takis que j'ai connu beaucoup plus tôt que les autres, dès 1953-1954. Takis avec qui j'ai eu beaucoup de contacts puisque c'est lui qui a persuadé Iris Clair ouvrir une galerie d'art et non pas une galerie d'antiquités, à l'époque cette galerie a joué un rôle énorme comme galerie-laboratoire. J'ai eu aussi avec Takis beaucoup de problèmes-entre Takis et Klein-et j'ai été très souvent l'intermédiaire entre A.H.-P.R.-1

In the time of social distancing, because of the COVID19 pandemic, the World Wide Web became the ... more In the time of social distancing, because of the COVID19 pandemic, the World Wide Web became the central neural system of the planet: Information, distance learning, shopping, entertainment and socializing, all occurred through the internet. The culture of quarantine that is manifested, among other things, by a rapid increase in traffic to virtual worlds, has the characteristic of immersion in virtual reality. This is the fundamental difference between video chat and virtual worlds. In the latter, users can feel present in the virtual environment.

There is an evolution gap in modern human that is, between his biological body and contemporary t... more There is an evolution gap in modern human that is, between his biological body and contemporary technology. Hence, the biological body has to be redesigned to respond to high technology and the prospect of its space habitation.
The artificial evolutionary step after Modern Homo Sapiens, is Transhuman, a transitory being with more powerful physical, intellectual and psychological abilities, having as a visionary target, the Posthuman. The bio-ethics issues arising from the prospect of Transhuman, touch on both the sphere of society, and also, the evolutionary stage of his consciousness.
Quantum Mechanics research into biophotonics leads us into the logical assumption that all biological systems on our planet are interactively interconnected, not only through the generally accepted food chain of biosystems, but also biologically, through a biophotonics’ network.
In an ideal, Planetary Civil Society, a possible counterweight to financial globalization may be a transcultural planetary network of minds, which will be connected in a non-hierarchical, and accessible by everybody, interactive network that combines the silicon technology with Biophotonics.
If the aim is the maturing of consciousness of contemporary Human, then Roy Ascott’s vision for Telenoia is of defining importance for the holistic redesign of life. This is where society, science and intercultural technologies meet in the spirit of a new Art, where the “post” prefix is not required to determine itself.

BIO ART : Ο ΣΧΕΔΙΑΣΜΟΣ ΤΗΣ ΕΞΕΛΙΞΗΣ ΣΤΗΝ ΑΥΓΗ ΤΗΣ ΒΙΟΤΕΧΝΟΛΟΓΙΚΗΣ ΕΠΑΝΑΣΤΑΣΗΣ BIO ART : THE DES... more BIO ART : Ο ΣΧΕΔΙΑΣΜΟΣ ΤΗΣ ΕΞΕΛΙΞΗΣ ΣΤΗΝ ΑΥΓΗ ΤΗΣ ΒΙΟΤΕΧΝΟΛΟΓΙΚΗΣ ΕΠΑΝΑΣΤΑΣΗΣ
BIO ART : THE DESIGN OF EVOLUTION

Η Bio Art, είναι η τέχνη της Βιοτεχνολογικής Επανάστασης και προσπαθεί να επανασχεδιάσει τη ζώσα ύλη, για να της δώσει τη δυνατότητα να ανταπεξέλθει στις απαιτήσεις του Μέλλοντος. Πρόκειται για ένα εξελισσόμενο, υβριδικό και διεπιστημονικό στην πράξη, επανασχεδιασμό της ζώσας ύλης, στο χώρο της γκρίζας ζώνης μεταξύ Τεχνών και Επιστημών της Ζωής, ένα Μέσο απαραίτητο στους καλλιτέχνες που δουλεύουν στην κατεύθυνση Transhuman/Posthuman Condition.
Οι πρώτοι πειραματισμοί στη «γκρίζα ζώνη» τέχνης και βιοτεχνολογίας έγιναν το 1980 (George Gessert, Joe Davis) αλλά χρειάστηκαν 27 χρόνια συνεδρίων, μελετών και πειραματισμών, για να καθιερωθεί το 2007 από το πρωτοποριακό Διεθνές Φεστιβάλ Ars Electronica η κατηγορία βραβείων Hybrid Arts όπου εντάχθηκε επίσημα η Bio Art. Εξακολουθεί να είναι ένα πειραματικό διεπιστημονικό γνωστικό πεδίο σήμερα (2014) και να χρησιμοποιείται τόσο από διάσημους καλλιτέχνες όπως ο Stelarc και η Orlan όσο και από ομάδες νεότερων που πειραματίζονται στην ίδια κατεύθυνση, που είναι η μετά το Δαρβίνο Εξέλιξη.
Ιστορικά, η Bio Art, αποτελεί προϊόν της εξέλιξης των Μέσων και της Επικοινωνίας:
Στα μέσα του 20ού αιώνα, η Επιστήμη της Κυβερνητικής (Cybernetics), που μελετάει τον έλεγχο και την επικοινωνία ανάμεσα στα βιολογικά συστήματα και τη μηχανή, τράβηξε το ενδιαφέρον των συγγραφέων και κινηματογραφιστών της Επιστημονικής Φαντασίας. «Είδαν» τον Άνθρωπο του κοντινού μέλλοντος ως πλάσμα υβριδικό, με ενσωματωμένες προσθήκες από έξυπνες μηχανές, ως ένα Cyborg (Cybernetic Organism). Η Κυβερνοπανκ Κουλτούρα και η γρήγορη διάδοση της χρήσης του Ίντερνετ κατέστησε γρήγορα ασαφή τα όρια ανάμεσα στις «Πραγματικότητες» της αντίληψης. Το Cyborg, φαντασιακό προϊόν της Τεχνολογικής Επανάστασης, είναι ο πρόγονος της Χίμαιρας και του Υβρίδιου, φαντασιακά προϊόντα της Βιοτεχνολογικής Επανάστασης αμφότερα, σε στάδιο πειραματικού σχεδιασμού προς το παρόν.
Τελικά, φαίνεται πως η έννοια που «ξεκλειδώνει» μια σειρά από ζητήματα στον πολιτισμό των αρχών του 21ου αιώνα, είναι ο όρος «υβρίδια»: Υβρίδια πολιτισμικά, ιδεολογικά, βιολογικά: Όσμωση ετεροτήτων, σε συνθήκες απρόβλεπτης κινητικότητας.

THELAUNDRY, 2023

Babis Venetopoulos' work "TheLaundry" is a 3D animation from 2011, with a hidden narrative that u... more Babis Venetopoulos' work "TheLaundry" is a 3D animation from 2011, with a hidden narrative that unfolds on two levels of interpretation: In the foreground, three white forms, hung on a clothesline, dry in the summer breeze, casting their shadows on the concrete floor of the rooftop. Upon closer inspection, we realize that these white forms are three human male bodies, devoid of bones, organs, and blood, thoroughly washed in the laundry machine we can still hear working. A gruesome crime has occurred here. We search for the culprit nearby. In the background, monstrous apartment buildings, either completed or under construction, ominously raise their metal television antenna to broadcast passive news and entertainment within their interiors. The hill of the Acropolis, lower and drowned in concrete, as well as the barely discernible surviving neoclassical buildings, are crowned by the marvelous ruins of the Parthenon. The proportions and sizes have changed in the composition of the view we see: Cement encircles the sacred hill, and in the distance, the chapel of Saint George on Mount Lycabettus completes the circle, revealing the guilty party of the crime. It is the chilling memory of a slogan. The view of the insatiable contradiction, with the blue sky as a backdrop, the national alibi that is the ancient Greek wonder, the pilgrimage to the top of Lycabettus, screams in a shrill voice: "Greece, of Greeks, of Christians." During the dictatorship, the artist had not yet been born. However, the echo of the drying of life and the rage of violence did not cease with the transition to democracy. It lurks in the darkness of the mind, emerging to take matters into its own hands against undocumented immigrants, setting fires to claim land, callously tossing a speedy ferry passenger into the sea, and planting wind turbines in the scorched earth. I have been following Babis Venetopoulos' work since 2003 when he presented the installation "Chord" at the Koursoum Mosque in Larissa as part of a group exhibition. From that point on, his focus shifted to the suffering human body, being punished for a crime for which the perpetrator is nowhere to be seen in the frame. In "The Laundry," the perpetrator is revealed, and it is all of us, guilty of actions and omissions.

"AI MADE ME DO IT:OPHELIA" (artist:Gioula Papadopoulou), 2023

She describes it as "an experimental video created using artificial intelligence systems, a surre... more She describes it as "an experimental video created using artificial intelligence systems, a surreal, non-narrative animation where a classic character (Ophelia) encounters strange dreamlike transformations and unexpected futuristic scenes." The tragic heroine of Shakespeare, Ophelia, had also captured her attention in 2010 in her video work "Opheliax2." Now, she chooses to use AI (Dalle-2 for images, Melobytes for sound). She engages in a dialogue with the intelligent machine, with a brief text containing the words "Ophelia," "Water," "Flowers." AI recognizes these three elements in the painting "Ophelia" (19th century) by John Everett Millais (1829-1896). It is precisely this "Ophelia" that the artist wants to comment on regarding "social stereotypes, the aestheticization of female death, and the woman's dependence on men." She selects one of the four images suggested by AI each time, requesting further proposals from neural networks. Each time, she chooses and keeps the images that express the visual result she has in mind. The sequence of images does not aim for narration but for sensation. The flowers transform under the sound of water into colorful microscopic objects, and the versions of "Ophelia" keep their eyes closed but have not yet sunk. They gesture, protest, change identities: Woman, Transgender, Mannequin, Man, Juggler, a character of a children's hero, and back to a woman who opens her mouth without sound-is she drowning or unheard?-and everything ends with the chirping of birds. Papadopoulou ignored the ways of creating images with ready-made programs, experimented with the limits of the program, and then realized that she could create animated works with the images she ended up with. Thus, the playful title "AI made me do it" emerged.

Symmetry: Culture and Science, 2021

Abstract The object of this article is the ornate woven aprons of the folk bridal costume in t... more Abstract
The object of this article is the ornate woven aprons of the folk bridal costume in the area of Soufli, a town in Western Thrace (Greece). The Methodology of the approach is Interdisciplinary, as Ethnology and Gestalt Psychology meet Art History and Theory of Symmetry.
The complexity of the geometric motifs and their relations are analyzed using the Theory of Symmetry which is here the method to reveal overt and covert patterns. The simultaneous use of Gestalt Psychology's laws is revealed among the covert patterns, a schematic version of the Tree of Life. In the same way, is also formulated the hypothesis of patterns' chronological order of creation.
Finally, as it is shown that the common feature that governs overt and covert patterns here is the multiple Symmetries, it is documented through the ethnological bibliography that the creation of symmetrical decorative compositions is an Archetypal human tendency.

Keywords: Soufli, Pre-industrial Traditional Civilization, Folk Art, Woven Patterns, apron, Geometric Forms, Laws (or Principles) of Gestalt Psychology, Theory of Symmetry, Heraldic Pattern, Archetype, Chronological order, Original Mnemonic Model, Tree of Life, Law of Prägnanz.

"Zeugma", 2011

"Zeugma" is the title of the New Media and Mixed Media Art Project, inspired from the Hellenistic... more "Zeugma" is the title of the New Media and Mixed Media Art Project, inspired from the Hellenistic twin city Zeugma, now covered by the river of Euphrates. So, six Greek young Artists, traveled to Istanbul, also a twin city built on the two banks of Bosporus to experience a cultural zeugma, in such a way, that to implement it in contemporary artworks.

Pierre Restany, 1992

On sait que vous avez connu certains artistes grecs et écrit sur leur oeuvre. Voulez-vous me par... more On sait que vous avez connu certains artistes grecs et écrit sur leur oeuvre. Voulez-vous me parler de vous et de ces artistes ? Moi et les artistes grecs ? Alors, il faut bien vous dire qu'au delà les artistes grecs, j'ai deux approches, une qui est véritablement très personnelle, je dirais même liée à ma propre vie, à mon propre parcours existentiel et qui est un élément, de ce coté-là, un peu spécial. Par mon âge et par une série de combinaisons, surtout dû au fait que j'ai une équation professionnelle qui est double, qui est franco-italienne puisque je suis pendant quinze jours à Paris un critique d'art français et pendant quinze autres jours à Milan un critique d'art italien. Donc, par toute cette série de faits j'ai été en contact avec une certaine génération d'artistes grecs: ceux de la diaspora, c'est-à-dire ceux qui dans le fond, pour échapper au service militaire ont quitté la Grèce à la fin des années 50, entre 1957 et 1960, pour s'établir ou directement à Paris ou à Rome. Ces gens-là, je les ai vu ensuite et certains d'entre eux se sont rapprochés beaucoup de ce qui était le pôle de mon action à l'époque, c'est-à-dire le Nouveau Réalisme, ils sont arrivés jusqu'à moi à Paris au moment de la grande période militante chez moi de formation du groupe des nouveaux réalistes et certains d'entre eux, par affinités, étaient assez proches de ce mouvement. C'est pour ça que des gens comme Pavlos, Nikos, Kaniaris ont été des gens qui ont été très proches de moi. Il y a aussi, si vous voulez, toute une autre partie de cette diaspora qui m'a aussi beaucoup intéressé et dans le fond pour les mêmes raisons, c'est-à-dire Tsoklis, Takis bien sur et en Amérique, Chryssa. Ces gens-là, finalement gravitent d'une façon ou d'une autre autour de l'objet et de son appropriation et en même temps, disons de sa métamorphose, son recyclage. Ce sont des approches qui sont très proches des miennes et c'est pour ça que je les ai tout à fait intégrées à ma propre recherche théorique. Je dois dire d'ailleurs que j'ai été très lié à certains d'entre eux, surtout aux trois premiers et aussi à Takis que j'ai connu beaucoup plus tôt que les autres, dès 1953-1954. Takis avec qui j'ai eu beaucoup de contacts puisque c'est lui qui a persuadé Iris Clair ouvrir une galerie d'art et non pas une galerie d'antiquités, à l'époque cette galerie a joué un rôle énorme comme galerie-laboratoire. J'ai eu aussi avec Takis beaucoup de problèmes-entre Takis et Klein-et j'ai été très souvent l'intermédiaire entre A.H.-P.R.-1

In the time of social distancing, because of the COVID19 pandemic, the World Wide Web became the ... more In the time of social distancing, because of the COVID19 pandemic, the World Wide Web became the central neural system of the planet: Information, distance learning, shopping, entertainment and socializing, all occurred through the internet. The culture of quarantine that is manifested, among other things, by a rapid increase in traffic to virtual worlds, has the characteristic of immersion in virtual reality. This is the fundamental difference between video chat and virtual worlds. In the latter, users can feel present in the virtual environment.

There is an evolution gap in modern human that is, between his biological body and contemporary t... more There is an evolution gap in modern human that is, between his biological body and contemporary technology. Hence, the biological body has to be redesigned to respond to high technology and the prospect of its space habitation.
The artificial evolutionary step after Modern Homo Sapiens, is Transhuman, a transitory being with more powerful physical, intellectual and psychological abilities, having as a visionary target, the Posthuman. The bio-ethics issues arising from the prospect of Transhuman, touch on both the sphere of society, and also, the evolutionary stage of his consciousness.
Quantum Mechanics research into biophotonics leads us into the logical assumption that all biological systems on our planet are interactively interconnected, not only through the generally accepted food chain of biosystems, but also biologically, through a biophotonics’ network.
In an ideal, Planetary Civil Society, a possible counterweight to financial globalization may be a transcultural planetary network of minds, which will be connected in a non-hierarchical, and accessible by everybody, interactive network that combines the silicon technology with Biophotonics.
If the aim is the maturing of consciousness of contemporary Human, then Roy Ascott’s vision for Telenoia is of defining importance for the holistic redesign of life. This is where society, science and intercultural technologies meet in the spirit of a new Art, where the “post” prefix is not required to determine itself.

BIO ART : Ο ΣΧΕΔΙΑΣΜΟΣ ΤΗΣ ΕΞΕΛΙΞΗΣ ΣΤΗΝ ΑΥΓΗ ΤΗΣ ΒΙΟΤΕΧΝΟΛΟΓΙΚΗΣ ΕΠΑΝΑΣΤΑΣΗΣ BIO ART : THE DES... more BIO ART : Ο ΣΧΕΔΙΑΣΜΟΣ ΤΗΣ ΕΞΕΛΙΞΗΣ ΣΤΗΝ ΑΥΓΗ ΤΗΣ ΒΙΟΤΕΧΝΟΛΟΓΙΚΗΣ ΕΠΑΝΑΣΤΑΣΗΣ
BIO ART : THE DESIGN OF EVOLUTION

Η Bio Art, είναι η τέχνη της Βιοτεχνολογικής Επανάστασης και προσπαθεί να επανασχεδιάσει τη ζώσα ύλη, για να της δώσει τη δυνατότητα να ανταπεξέλθει στις απαιτήσεις του Μέλλοντος. Πρόκειται για ένα εξελισσόμενο, υβριδικό και διεπιστημονικό στην πράξη, επανασχεδιασμό της ζώσας ύλης, στο χώρο της γκρίζας ζώνης μεταξύ Τεχνών και Επιστημών της Ζωής, ένα Μέσο απαραίτητο στους καλλιτέχνες που δουλεύουν στην κατεύθυνση Transhuman/Posthuman Condition.
Οι πρώτοι πειραματισμοί στη «γκρίζα ζώνη» τέχνης και βιοτεχνολογίας έγιναν το 1980 (George Gessert, Joe Davis) αλλά χρειάστηκαν 27 χρόνια συνεδρίων, μελετών και πειραματισμών, για να καθιερωθεί το 2007 από το πρωτοποριακό Διεθνές Φεστιβάλ Ars Electronica η κατηγορία βραβείων Hybrid Arts όπου εντάχθηκε επίσημα η Bio Art. Εξακολουθεί να είναι ένα πειραματικό διεπιστημονικό γνωστικό πεδίο σήμερα (2014) και να χρησιμοποιείται τόσο από διάσημους καλλιτέχνες όπως ο Stelarc και η Orlan όσο και από ομάδες νεότερων που πειραματίζονται στην ίδια κατεύθυνση, που είναι η μετά το Δαρβίνο Εξέλιξη.
Ιστορικά, η Bio Art, αποτελεί προϊόν της εξέλιξης των Μέσων και της Επικοινωνίας:
Στα μέσα του 20ού αιώνα, η Επιστήμη της Κυβερνητικής (Cybernetics), που μελετάει τον έλεγχο και την επικοινωνία ανάμεσα στα βιολογικά συστήματα και τη μηχανή, τράβηξε το ενδιαφέρον των συγγραφέων και κινηματογραφιστών της Επιστημονικής Φαντασίας. «Είδαν» τον Άνθρωπο του κοντινού μέλλοντος ως πλάσμα υβριδικό, με ενσωματωμένες προσθήκες από έξυπνες μηχανές, ως ένα Cyborg (Cybernetic Organism). Η Κυβερνοπανκ Κουλτούρα και η γρήγορη διάδοση της χρήσης του Ίντερνετ κατέστησε γρήγορα ασαφή τα όρια ανάμεσα στις «Πραγματικότητες» της αντίληψης. Το Cyborg, φαντασιακό προϊόν της Τεχνολογικής Επανάστασης, είναι ο πρόγονος της Χίμαιρας και του Υβρίδιου, φαντασιακά προϊόντα της Βιοτεχνολογικής Επανάστασης αμφότερα, σε στάδιο πειραματικού σχεδιασμού προς το παρόν.
Τελικά, φαίνεται πως η έννοια που «ξεκλειδώνει» μια σειρά από ζητήματα στον πολιτισμό των αρχών του 21ου αιώνα, είναι ο όρος «υβρίδια»: Υβρίδια πολιτισμικά, ιδεολογικά, βιολογικά: Όσμωση ετεροτήτων, σε συνθήκες απρόβλεπτης κινητικότητας.

by Anna Hatziyiannaki, Athanasia M Vidali - Soula, Polyxeni Mantzou, Myrto Korkokiou, Apostolos Loufopoulos, Vasilis Aronidis, Stavros Moutzourellis, Dalila Honorato, Evelyn Gavrilou, Chrissa Papasarantou, Philippos Theocharidis, Eleni Mouri, Simeon Nikolidakis, and papadimitropoulos panayotis

This edition (ISBN 978-960-7260-54-3) includes 20 out of 31 contributions accepted by the scienti... more This edition (ISBN 978-960-7260-54-3) includes 20 out of 31 contributions accepted by the scientific and artistic committee and presented in the two-day Symposium “Metamorphoses of Corporeality: Art – Body - Technology”, organized in Corfu, on the 16-17th May 2014 by the Department of Audio and Visual Arts of the Ionian University and the Ionian Islands Prefecture in the framework of the 8th Audiovisual Arts Festival.

With participants from seven countries (Greece, Italy, Germany, Portugal, UK, Denmark and USA) the Symposium included both theoretical contributions and art presentations, dedicated to subjects concerning the continuous development of human corporeal capabilities and their multifaceted effects in the understanding of the body.