 |
Art & Artificial Life International Competition | Home | Entry | Editions | References | Español | |
 |
|
The Relative Velocity Inscription Device Summary The Relative Velocity Inscription Device (RVID) is a live scientific experiment using the DNA of a multi-racial family of Jamaican descent. The experiment takes the form of an interactive, multi-media installation consisting of a computer-regulated separation gel (described below) through which four family members' DNA samples slowly travel. Viewer interactions with an early eugenic publication within the installation allows access to historical precursors of this "race," while a touch-screen display details the results of this particular experiment. The project merges contemporary DNA separation technologies with early 20th Century research in human genetics, particularly Eugenics. Concept & Background Information The most monumental life science project ever undertaken, The Human Genome Project, which has the goal of mapping every gene in human DNA, is nearing completion. It is important to reflect that today as in the early 20th Century, science is deeply embedded in the prevailing cultural value-system of its time. In 1929, Charles B. Davenport published Race Crossing in Jamaica. The three-year research project examined the "problem of race crossing" during the period when the new science of human genetics was strongly biologically deterministic and informed by racial separatist doctrines. The island of Jamaica was chosen for its isolated pockets of "pure-blooded negro, mulatto and White" of similar economic class. In 1960, my ("brown") mother emigrated to the US from Jamaica, and met my ("white") father. "Why is my skin color lighter than my sister's?" Recent studies posit that there are several genes responsible for such variance. The installation utilizes DNA samples extracted from the blood of Mother, Father, Sister and Brother (myself). The samples literally race against each other in a genetic separation gel, the winner of each race changes depending upon the particular region of the DNA from which the samples were obtained. My intention is not to actually 'map' the genetic differences, but rather: a. to question the veracity of this or other scientific spectacles; and b. to create a tension in regard to each viewer's relationship to this "genetic horse-race," in terms of their own sense of racial identity. Theorists, such as Paul Gilroy, have identified our current era as "post-biological" in part because contemporary science has focused upon molecular/computational (i.e. genomic) ways of identifying human differences rather than the anthropomorphic, epidermal and cellular traits used in the past. Since within any race there are more genetic (DNA) differences than between races, there is no genetic (DNA) basis for existing race categorizations. Optimists believe that such findings will put an end to the concept of race and thus racism. Pessimists note that science has always been used to maintain existing hierarchies and thus will be manipulated for new varieties of discrimination. RVID operates in this tense space between critical and utopian appraisals of contemporary genomics and the politics of race. It transfers the discussion of difference from the physical bodies of its subjects to their DNA, and ironically re-anthropomorphizes their DNA by inscribing value to its movements (through the gelatin) as if each sample were running a foot race to determine genetic fitness. Theorist Bill Egginton has succinctly described the RVID project as "a race about race in which the body has been erased." Description & Viewer Experience An amplified DNA fragment from each family member is placed in each one of four channels of a custom (much enlarged) sequencing tray containing standard sequencing gel. This tray is approximately 3 feet in total length by 8 inches wide. The tray has an electrical current applied to it that causes each family member's DNA to move through the gel at a unique rate. Each race can be tailored to run for two to three days. The samples glow when bathed with Ultra-Violet light and a camera above the gel tray relays the relative positions of the four samples to a computer. The computer keeps track of who (whose DNA) wins each race. A large computer projection behind the gel tray informs the viewers of the relative position of each sample. Additionally, viewers can page through a first edition of the 1929 Davenport text to contextualize the RVID experiment and use a touch-screen monitor to access the results of previous races. The final components of the work are DVD projections showing the participants (family members), and the processes used to extract their DNA. The overall aesthetic of the work is reminiscent of bio-medical apparatus and science-museum display, made more dream-like through the UV-light illumination, and a low, humming, ambient soundtrack created live by amplifying sounds produced by the electronic, scientific equipment. In this sense, even the sound-scape is emergent as the oscilating drones from power supplies, forescent uv-ballasts, computer, power-switcher, fluid pumps and cooling units create a complexly layered, feedback-driven, pulsating rhythm than changes throughout the exhibition. Formal and Technical Objetives & Components Explained 1. Genes and related biotechnologies as a medium. Through RVID, I was rephrasing the question, "how might comtemporary genomics change our conception of race ( especially given the role of previous anthropomorphic studies at the turn of the last century in reifying social herarchies)?" The obvious signifyingmedium for such an enquiry is genomic technology itself. 2. Live, scientific experiment (with unknown DNA behavior) as public spectacle. Several aspects of the work could not be perfomed live, including taking blood, extracting DNA from selected regions of skin color genes. The latter step was perfomed in the laboratory by Dr. Kelly Owen who invented several enzymes that are capable of amplifying DNA regions in these genes that different between family members. All other phases of the process take place live in the space of public display and none of the results were known prior to exhibitions. Gel Electrophoresis is an intringuing process since it uses amplified DNA fragments that when stained are visible to the naked eye. This technology was perfect for public display in that it is an electro-chemical process that it performed at a scale at which viewers witness: a) The experimental process itself (the DNA slowly moving though the polarized gelatin). B) its abstraction into data (the camera peridically grabbing images of the gelatin tofind the location of each sample and eventually to track wich sample crosses the finish-line first") Lastly, the viewer can access, via touchscreen, the results of all previous races— which are updated automatically as the experiment runs. Each of these processes take place live in the public arena. The gallery is not merely an incubation chamber in which a process is ocurring, nor is it merely adisplay space to post the results of this experiment, but an entire automated laqboratory where al the phases can be viewed and evaluated. 3. Integration and automation as essential technical aspects. The RVID is an assemblage of different processes that havenot previously been combined into a single apparatus in laboratory practice: Gel electrophoresis, UV florescence imaging, and Machine Vision. As previusly mentioned, Gel Electrophoresis is acommon laboratory procedure for both separating and sequencing DNA, which has been re-purposed in the RVID for racing DNA. Some of the challenges in re-purposing this tecnology for public display involved making the DNA visible to the viewer. Typically, a gel is "imaged" in a special, opaque cabinet that contains UV-light. The scientist then views the DNA bands through a camera (since the DNA glows orange when stained and bathed in UV-light, the camera blocks the harmful invisible uv-light from the eyes of the scientist.) The RVID is built from a combination of UV-emiting clear acrylic and UV-opaque clear acrilyc to alow the UV light to make the DNA glow as the experiment runs, while protecting the viewer from the harmful UV-radiation. Lastly, the computer-controlled camera periodically grabs images of the glowing DNA, and custom, machine-vision algorithms find each glowing sample. This last step is slightly difficult in the gallery context as backgroung light levels change, the DNA florescence diminishes over time and the coherence of a DNA band is reduced over long periods (2 days) in the gel. The machine vision algorithm runs as follows: First, search the camera image for pixels containing the highest intensity orange values. Then, sort these pixels into groups of adjacent pixels. Then, eveluate which of these groups have expected overall brightness, size andshape characteristics to determine the sample positions at all points in the race and the winning sample at the end of each race. A single Macintosh computer controls and moniotors the entire apparatus. This computer controls power to all of the electrophoresis equipment—turning on voltage, uv-lights, cooling fans, fluid circulation pumps, etc. It captures camera images and evaluates DNA positions. The computer updates the proyected image, within the installation, showing an enlarged image of the gel, and highlights the position ofeach sample. It also stores information from each race and makes it available to viewers via a touch-screen display. Funded by: New York State Council on the Arts Henry Art Gallery, Seattle, WA. Scientific Consultants: Dr. Mary-Claire King, Departments of Medicine and Genetics, University of Washington. Dr. Kelly Owens, Department of Genome Sciences, University of Washington. Dr. Robert Ferrell, Department of Human Genetics, University of Pittsburgh. Dr. Amos Dare, University at Buffalo Dr. Maria Marchetti, Roswell Park Institute Greg Fox, Owl Scientific Additional Contributors, Participants and Consultants: Dr. Evelyn Hawthorne, Howard University Dr. Donald Vanouse, SUNY at Oswego Melissa Vanouse, Harvard University Chris Coleman, University at Buffalo Caroline Koebel, University at Buffalo Clare Bunce, Archives, Cold Spring Harbor Laboratory Gary Nottingham, University at Buffalo |
