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We would expect that if there was any moral outrage to have over the treatment of cultured neural tissue, it would occur in an art gallery. Something about an art gallery sensitizes us to the well-being of critters we might not usually care about - as in the case of Garnet Hertz's Cockroach Controlled Mobile Robot  (a three wheeled robot about half the size of R2D2, driven by a Madagascar hissing cockroach) - and to cry out over events that we might otherwise willfully ignore or even accept as routine - as in Guillermo Vargas's infamous “ You Are What You Read ,” (where a starving dog was taken off the street and brought into a gallery) [1].  Instead, when neural tissue is given a robotic body and placed on display (sometimes remotely) in an art gallery, most responses seem to focus on the ambiguous nature of the works.  Artist Stephane Dumas wrote, referring to MEArt (a drawing robot controlled by a culture of rat brain cells), that “the public can experience the drawi...

In his opening chapter of the biological art compendium “Signs of Life,”  Eduardo Kac  makes a particularly suggestive comment about the biological sciences in general.  I think this quote has even more significance to neuroscience specifically: “The extreme difficulty in dealing with very complex biological interactions leads to the simplified treatment of life processes as quantified data that exhibit statistical patterns.  In turn, this can lead to an objectification of life and a disregard for the subjects and their rights.”[1] From Zachary Weinersmith's Saturday Morning Breakfast Cereal This claim seems to echo Tom Wolfe's sentiment that scientific progress will lead to the death of the soul [2]: by reducing biological systems down to so many quantities and equations (all accurate within some statistical bounds), have we lost an important intuition about their intrinsic worth?  Is biology really just physical laws, with the same degree of moral importance ...

“Bioart” refers to the manipulation of living cells, tissues, or organisms (or their derivatives) for artistic purposes. While artists and biologists have collaborated for centuries to illustrate biological phenomena (you can see some fantastic modern examples of this tradition  here ), “Bioart” refers to the practice started in the early 1990’s of artists training in and performing techniques from the biological sciences, such as cell culture, genetic engineering , and surgery .  Artists have used these technologies to create novel living entities (such as a leather jacket grown in vitro ) or modify existing living entities (such as Stelarc’s third ear ).  These tools provided new options for aesthetic statements (the ability to radically sculpt living tissue to suit particular tastes), ethical statements (if we are growing a small, edible steak in a vat , should we continue to kill cattle for food?) as well as a novel flavor of irony (that “victimless” PETA-endorsed cul...