나노 아트: 과학 연구실의 예술과 윤리의 문제 (Nanoart: Artistic Research and Ethics in Laboratory of Science)

나노 및 바이오 등의 융합 기술을 통해 생물체를 다루는 과학 연구실의 예술은 윤리 위원회의 개입을 받게 되는데, 이때의 근거는 예술의 실험성이나 미학적 측면보다 실용적이고 공리적인 분석에 의해서 다. 이 논��은 예술과 윤리 위원회 사이에 불가피하게 발생할 수밖에 없는 모순과 긴장의 관계를 밝히 고, 이 관계가 편중되지 않고 상호 역동적으로 행사될 수 있는 방법론으로 비판적 포스트휴머니즘의 간 학제적 비판과 N. 루만의 2차 등급 관찰을 제시한다.

The projects of artistic research, dealing with organisms through converging technologies such as nanotechnology and biotechnology in the ‘science laboratory,’ are intervened by ‘ethics committee’ related to the health and safety issues, environmental, and ethical problems. At this time, though art may object to the deliberation of the ethics committee or deliberately reveal the hypocrisy and contradiction of science, the main basis for the ethics committee to evaluate and determine the value of such artistic trials is not by the experimental or aesthetic aspects of art, but by the practical and utilitarian analysis of art projects. Therefore, there are inevitable tensions between art and ethics committees. This paper suggests an ‘interdisciplinary criticism’ proposed by Stefan Herbrechter as a methodology for this problem, which is not a trans-boundaries or a dialectical transcendence of disciplines, but a creation of ‘third space’ between the disciplines. In addition, the concept of ‘second order observation’ in Niklas Luhmann’s systems theory is introduced as a way to sustain the third space. Art criticizing science does not see its own blind spot. In order to see art that can not see its own blind spot, it should lead to a criticism of art criticizing science, that is, second order observation. In this way, art can reflect on the blind spot of art, and the same goes for science and ethics. It will be the ethical practice of art in the scientific laboratory to discover the conflicts and differences in ethics through the interdisciplinary criticism including such a series of second order observations, that is, a criticism of oneself criticizing the other.