What is life? What is water? What is sound? In Sounding the Limits of Life, anthropologist Stefan Helmreich investigates how contemporary scientists—biologists, oceanographers, and audio engineers—are redefining these crucial concepts. Life, water, and sound are phenomena at once empirical and abstract, material and formal, scientific and social. In the age of synthetic biology, rising sea levels, and new technologies of listening, these phenomena stretch toward their conceptual snapping points, breaching the boundaries between the natural, cultural, and virtual. Through examinations of the computational life sciences, marine biology, astrobiology, acoustics, and more, Helmreich follows scientists to the limits of these categories. Along the way, he offers critical accounts of such other-than-human entities as digital life forms, microbes, coral reefs, whales, seawater, extraterrestrials, tsunamis, seashells, and bionic cochlea. He develops a new notion of "sounding"—as investigating, fathoming, listening—to describe the form of inquiry appropriate for tracking meanings and practices of the biological, aquatic, and sonic in a time of global change and climate crisis. Sounding the Limits of Life shows that life, water, and sound no longer mean what they once did, and that what count as their essential natures are under dynamic revision.
The Routledge Companion to Biology in Art and Architecture collects thirty essays from a transdisciplinary array of experts on biology in art and architecture. The book presents a diversity of hybrid art-and-science thinking, revealing how science and culture are interwoven. The book situates bioart and bioarchitecture within an expanded field of biology in art, architecture, and design. It proposes an emergent field of biocreativity and outlines its historical and theoretical foundations from the perspective of artists, architects, designers, scientists, historians, and theoreticians. Includes over 150 black and white images.
After the atomic bombing at the end of World War II, anxieties about survival in the nuclear age led scientists to begin stockpiling and freezing hundreds of thousands of blood samples from indigenous communities around the world. These samples were believed to embody potentially invaluable biological information about genetic ancestry, evolution, microbes, and much more. Today, they persist in freezers as part of a global tissue-based infrastructure. In Life on Ice, Joanna Radin examines how and why these frozen blood samples shaped the practice known as biobanking. The Cold War projects Radin tracks were meant to form an enduring total archive of indigenous blood before it was altered by the polluting forces of modernity. Freezing allowed that blood to act as a time-traveling resource. Radin explores the unique cultural and technical circumstances that created and gave momentum to the phenomenon of life on ice and shows how these preserved blood samples served as the building blocks for biomedicine at the dawn of the genomic age. In an era of vigorous ethical, legal, and cultural debates about genetic privacy and identity, Life on Ice reveals the larger picture—how we got here and the promises and problems involved with finding new uses for cold human blood samples.
United States Imprints by R.R. Bowker Company. Dept. of Bibliography