Finally, Spirt Molecule placed the grandmother's potted plants on the scene, allowing people to watch the grandmother's potted plants directly and directly turning the audience into the protagonist of the first perspective: Do I also want to turn my deceased relatives into a plant? Or will I be willing to become a plant after death? In short, the author believes that bio-art is to create a "non-human" narrative method, to generate a contemporary medium, and to re-fry old-fashioned issues into a new look. For example, Spirt Molecule's "potted plants" "
As a material, it triggers whatsapp database the entangled reflection of "anthropocentric" and "non-human", and through symbolism, it embodies the issue both everyday and eerily, and finally allows the audience to integrate into the narrative space in a first-person way. Dialogue with the works, however, the only drawback may be that it is placed in the museum, with many works of different purposes, so it is easy to be ignored! Perhaps, this also allows us to continue the discussion. Bio-art not only needs more creators to discover more "inhuman" viewpoints, but also needs to rethink how to get works out of the form of art museums and trigger the most authentic audiences. dialogue.
For the definition of "narrative object" (Diegetic Prototype), please refer to the author's website "Speculatizen Speculatizen" on the website " The difference between narrative objects in science fiction and fantasy?" > one article.  Jonathan Ho collaborated with Joris Koene, Department of Zoology, VU University Amsterdam, for a detailed introduction to the work, please click here  Michael Sedbon collaborated with Raoul Frese of Hybrid Dorms ArtScience media lab of VU University Amsterdam. For details of the works, please click here  Emma van