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The argumental arc I have tried to defend is the shift from the transformation of art through research —in order to confront the complexity characteristic of our situation— to the creation of concepts that I believe are precise for analyzing the way in which these artistic practices deal with the fluidification of entities and circumstances. The point of support is the analysis of art with technology, especially that devoted to the investigation of life and biotechnology. If I took so-called bioart as an exemplary case, it is because I still believe that it holds keys to understanding the way in which the complexity of research in art unfolds.

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This book offers intriguing philosophical inquiries into biotechnological art and the life sciences, addressing their convergences as well as their epistemic and functional divergences. Rooted on a thorough understanding of the history of philosophy, this work builds on critical and ontological thought to interpret the concept of life that underscores first-hand dealings with matter and experimentation. The book breaks new ground on the issue of animality and delivers fresh posthumanist perspectives on the topics addressed.

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Only through a dubious analysis exercise can we think of humanity naked, stripped of all the technical mediations that have become confused with its skin. The technical is not an addition to the human but one of the means by which we open ourselves to alteration; it places and arranges us in different places to link us with the familiar, the unseen and that which cannot be understood without its mediation. In this volume, we discuss basic ontology concepts and traditional distinctions between art and artefact and analyse concrete artistic works.

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