201 Mendell’s Meltdown Suzanne Anker 1 When we think of natural history, or the Origin of Species, Charles Darwin takes ﬂush and unabridged patrilineage. On the other hand, to whom or what do we grace with our co-evolved unnatural history, a saga of hereditary linkage incorpo- rating, and tampered by, illusory manipulative strategies? This biological matrix is seduced, sautéed and sanctioned by reason as its main ingredient. Genetic engi- neering can be looked at as a colloidal mixture, suspending the commodiﬁcation of the body with cyberreal ethics, where Frankenstein and The Terminator become the gloriﬁed residua of the cerebral imagination. In the name of fusion, we aptly combine seductive libidinal drive with its presumedly non-toxic mathematical and rhetorical other. Through the logic of biotech’s genetic engineering, and reprotech’s amnesia of ethical purpose, the reordering and redesigning of the future is ﬁgured in the ratio of even odds, speedily usurping destiny’s arrow for the perennial game of crapshoot. From transgenic species to germline alterations, from bio-rhythmic (dis)proportions, to anti-Classical taxonomies, we are being taken for more than a bit of a spin. Do we really need cigarettes that glow in the dark?2 For the artist, in contrast to the scientist, a chromosome is a little ﬁgure, a hair-like ﬁnger-puppet hard-wired to the species. A chromosome becomes “col- ored body,” whose name is derived from the laboratory technique of cell staining to reveal genetic matter under the microscope’s lens. When a chromosome is dis- assembled or broken...
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