The conception of life in synthetic biology

The phrase 'synthetic biology' is used to describe a set of different scientific and technological disciplines, which share the objective to design and produce new life forms. This essay addresses the following questions: What conception of life stands behind this ambitious objective? In what relation does this conception of life stand to that of traditional biology and biotechnology? And, could such a conception of life raise ethical concerns? Three different observations that provide useful indications for the conception of life in synthetic biology will be discussed in detail: 1. Synthetic biologists focus on different features of living organisms in order to design new life forms, 2. Synthetic biologists want to contribute to the understanding of life, and 3. Synthetic biologists want to modify life through a rational design, which implies the notions of utilising, minimising/optimising, varying and overcoming life. These observations indicate a tight connection between science and technology, a focus on selected aspects of life, a production-oriented approach to life, and a design-oriented understanding of life. It will be argued that through this conception of life synthetic biologists present life in a different light. This conception of life will be illustrated by the metaphor of a toolbox. According to the notion of life as a toolbox, the different features of living organisms are perceived as various rationally designed instruments that can be used for the production of the living organism itself or secondary products made by the organism. According to certain ethical positions this conception of life might raise ethical concerns related to the status of the organism, the motives of the scientists and the role of technology in our society

Raw, roast or half-baked? Hogarth’s beef in Calais Gate

Scholars of human–animal studies, literary criticism and art history have paid considerable attention of late to how the visual representation of nonhuman animals has often and sometimes to great effect been used in the imagining of national identity. It is from the scrutinies of these several disciplines that the broad backcloth of this article is woven. Its focus is the neglected coupling of patriotism and carnism, instantiated here by its deployment in William Hogarth’s painting Calais Gate (1749). A pro-animal reading is offered of the English artist’s exhortation that it is in the nature of ‘true-born Britons’ to consume a daily dish of roast beef served with lashings of francophobia and anti-popery. The article suggests that alert contemporary viewers of Calais Gate would nevertheless have noticed that Hogarth’s painterly triumphalism ironically rekindles the repressed memory of English military defeat and territorial loss. Because the political and religious borders between England and France were so easily defaced and refaced, the accompanying air of uncertainty over national identity would also have infiltrated the perceived authenticity of English roast beef. The article draws on animal rights theory, on nonspeciesist green criminology and on green visual criminology in order to oppose the historical dominance of human interests over those of other animal species in discourses of abuse, cruelty and harm