EmailTwitterFacebookDiggStumbleUponGoogle+
Oron Catts’s most recent exhibition, Biomess, features a unique work of art. It’s a deconstructed incubator, inside of which live hybridoma cells — cells from distinct organisms that have been fused together by Catts and his longtime collaborator Ionat Zurr. The cells come from two different mice and, once fused, can only exist within the confines of the incubator. Outside, they will die. If Catts’s exhibit is reminiscent of Frankenstein, it’s no accident: Biomess was timed to coincide with the 200th anniversary of Mary Shelley’s novel. It is also only the latest instance in which Catts, an artist and researcher who works predominantly with tissue engineering as his medium, has forced uncomfortable questions about biology, technology, and the intersection of the two. I spoke with Catts about the challenges of tissue engineering, the false promises of ventures looking to commercialize lab-grown meat and leather, and how so much of this has to do with Silicon Valley’s unwillingness to come to terms with mortality. Our conversation has been edited for clarity and brevity.

More… “In Vitro Impossible”

Arvind Dilawar is an independent journalist. His articles, interviews, and essays on everything from the spacesuits of the future to love in the time of visas have appeared in NewsweekThe GuardianVice, and elsewhere

EmailTwitterFacebookDiggStumbleUponGoogle+
EmailTwitterFacebookDiggStumbleUponGoogle+

“Tonight is Prufrock,” I say. My friend and colleague, Em*, and I are sitting over cooling coffees in the Student Center.

Her nose scrunches in a way that says that maybe this isn’t such a good idea, “Are you sure you want to start with that one?” she says, “Prufrock is a tough poem. I’ve had some real disasters with Prufrock.”

My coffee is sludge, but I gulp it down anyway, “I’m going in,” I say, “Any last words of advice?” Em is a poet and a scholar of Modernist poetry and thus my go-to person for poetry pedagogy.

She leans forward over the table, all seriousness now, “Guide them through a close reading of the first couple of stanzas yourself before having them take a crack at interpretation. The first stanza seems to be where they get into the most trouble.” More… “The Love Song of Hey Prof”

Susan Lago teaches composition and literature at CUNY / Queensborough Community College. Her work has appeared, or is forthcoming, in publications such as Noctua Review, Adelaide Magazine, Pank Magazine, Per Contra, Monkeybicycle and Prime Number. She is currently at work on a collection of connected short stories. Visit her website at SusanLago.wix.com/susanlago or follow her on Twitter: Susan Ell (@SusanLago).

EmailTwitterFacebookDiggStumbleUponGoogle+