quick and dirty “synethic” embryos ethics guide:

are they a living member of the human species? then they have a soul.

Contextual Statement

Chromato-Pores is a biohybrid garment that incorporates animal and plant attributes with a human form. The project explores concepts of posthumanism and new materiality as the garment is a form of bio-hybrid, whose physical form is produced by new speculative materials. The garment also addresses the idea of the Anthropocene, as Chromato-Pores has been forced to adapt their form to better survive in the deteriorating environment.

Posthumanism is a concept originating in the fields of “science fiction, futurology, contemporary art and philosophy that literally means a person or entity that exists in a state, beyond being human” (Posthuman, 2017). A posthuman is a being that has surpassed the definition of human, by enhancing their form, often through technological advancements. Roden (2014) explains that while many people believe these “enhanced people might live better lives; others fear that tinkering with our nature will undermine our sense of our own humanity”.

A bio-hybrid, also known as a Chimera, is a possible speculative posthuman. A biological hybrid is created by “combining the qualities of two organisms of different breeds, varieties, species or genera” (Hybrid (biological), 2018). Currently bio-hybridity is being studies for medical applications, such as incorporating both synthetic and biological materials to create artificial organs (Colton, 1996). Scientists at The University of Maryland have created a human-pig hybrid, by injecting human cells into a pig embryo (Blakemore, 2017). Again, this was done as a step towards lab-grown organs, however we speculate that it may not be long until bio-hybridity surpasses medical innovation and becomes a personal development tool.

There is a possibility that bio-hybridity may be needed to help species survive in what is left of the Anthropocene. Anthropology is the study of human behaviour and the Anthropocene is the period of time during which human behaviour has had a profound impact on the global environment. Wikipedia defines the Anthropocene as “a proposed epoch dating from the commencement of significant human impact on the Earth’s geology and ecosystems” (Anthropocene, 2018). Such impacts include mass extinctions of plant and animal species, polluted oceans and an altered atmosphere (Stromberg, 2013).

The term “Anthropocene’ was coined in 2002 by Paul Crutzen (2006), who suggested that we had left the Holocene because of global environmental effects of increased human population and economic development (Zalasiewic et al., 2008). He goes on to say that, since that start of the Industrial Revolution, Earth has endured changes sufficient to leave a global stratigraphic signature distinct from that of the Holocene or of previous Pleistocene interglacial phases. The exploitation of coal, oil, and gas in particular, has enabled planet-wide industrialization, construction, and mass transport, which has led to catastrophic changes to the Earth (Crutzen, 2006). In as interview, lead by Valero (2018), Joanna Zylinska suggests that the extreme changes and stresses we have placed on our planet will result in the collapse of our societies. To overcome this she proposed adopting “more collaborative ways of living with each other – and also with other species”, which is where bio-hybridity might become a possibility.

New Materiality is the developing idea of actualised materials, and active matter (DeLanda, 2015). Exploring materials relates to bio-hybridity as the combination of different materials and processes has the potential to create new symbolically hybrid materials. Emerging technologies are also creating new materiality. Innovative technologies such as machine knit and 3D printing have the potential to revolutionise the fashion industry, as does incorporating electronics. Automation through the use of circuits and actuators also allows us to develop our understanding of ‘active matter’.

We were inspired by the work of Rebecca Maxwell. She was studying at Massey in 2012 when she designed and entered her piece ‘Noor Reverie’ (pictured top left) into WoW. Her work has a unique and organic form with complex detailing that draws in the eye. The delicate nature of her patterns is reminiscent of ’Under the Microscope’’ themes, and her treatment of materials speaks to a form of new materiality, as she had restructured the materials natural form. This piece won her the WoW factor award. Ernst Haeckel was a German biologist, philosopher and artist, who spent many years studying and drawing animals and sea creatures (Ernst Haeckel, 2018). Many of his drawings were published in his 1904 text ‘Art Forms in Nature’, and his drawings of spumellaria in particular (pictured bottom left) caught our attention. They have beautifully structural forms, and cross a unique line between organic and engineered shapes, something we also hope to explore in our work.

‘Under the Microscope’ is the WoW category we chose to enter in. This category is about “defying the limits of our vision” (WOW, 2018). It provides us as designers with the opportunity to explore an unforeseen, invisible, or microscopic universe. Because of this cellular imagery, micro-organisms and close-up photos will have a large influence in our work.