- 學位論文
人與動物之間：佩契妮妮的混種生物
Between Human Beings and Animals：Patricia Piccinini’s Queer Creatures
摘要
派翠西亞•佩契妮妮(Patricia Piccinini ) 的作品展現出當代基因科技介入生命創造的複雜度，以及科技與人文自然交織的思考。她的作品以科幻小說的語彙對人與混種生物關係進行重新描繪與詮釋。本文以佩契妮妮1997年到2008年的作品，主要探討部份為其作品中的混種生物－這種基因工程下的產物引發的思考方向，以及當這樣的混種生物出現時，所牽動的社會變化與思想變化。 本文主要思索面向有三，一為生物崁合體（Chimaera）為何？當代人如何看待真實世界中生物崁合體的誕生，如何將他們視為物與商品。而身為創造者的佩契妮妮又是如何看待與對待這些被創造物，給與其自治的權利與空間。 二為當代生物科技造成的界限挪移。哈洛威（Donna Haraway）與John Johnston的Cyborg論述彰顯了人、機器、動物間界線的不斷游移性質與對此界線破除的樂觀詮釋；佩契妮妮創作內容同樣觸碰並重新認知真實世界中不斷改變的界線，她以藝術創作再現與詮釋科技造成的改變，創造一個人與其他界域生物共同進化的模型，如何與Cyborg論述產生呼應。 三為創造者對創造物的責任。有缺陷的小寶寶大量的出現在佩契妮妮的作品之中，他們不具有一般嬰兒應有的正常樣貌也非具有經濟產值的生命，但卻是備受藝術家關愛的一群。佩契妮妮這種對於不完美的人類創造物所具有的情感，如何與翰斯•優納斯（Hans Jonas）對於生命的思考與科技責任的概念產生連結。
並列摘要
Patricia Piccinini’s works embody the ethical dilemmas that arise with increasing urgency during a time of DNA studies in science and medicine. Piccinini is a compelling story teller. In a science fiction sense, her objects are replete with narrative speculative fabulation. She focuses on the relationship between her critters and human beings. This thesis attempts to center on the artist's works from 1997 to 2008. The study discusses when the chimeras become real beings, how the society and the thoughts of the human beings would change? There are three aspects in this study. First, what is chimera？How might people in the contemporary world think about them？Could they be just consumer products in this world？ As the creator, Piccinini may regard her queer creatures as settlers, and she probably cultivates a practice of decolonizing responsive attentiveness. The second aspect is about boundaries. Contemporary biotechnology redefines the relationship between the artificial and the natural, human and nonhuman. Is it likely for us to live in a brand new world when these boundaries be broken？And how might Piccinini perceive a world like this？How would she delineate a vivid effective culture image about this world？ The last aspect of this study tries to talk about the creator’s responsibility for his/her creatures. There are a lot of vulnerable critters in Piccinini’s world. Whatever forms these critters take and however bizarre they may be, the artist appeals us that our creations cannot just be cast aside once we have given them life. Piccinini loves them just like a mother loving her kids. How does this respond to Hans Jonas’ concepts of ethics in the contemporary technoculture？