ABSTRACT
In this chapter, the author shall use the term “BioArt” as a polysemic placeholder that contains its own evolution, as Jens Hauser has put it. The author argues that BioArt depends as much on digital methods of dissemination and research as it does on the manipulation of organic material. Although the biological and the technological seem to be different branches of study, they are closely connected in the field of BioArt, and the digital humanities have a role to play when considering the development of this field of art production. Museums and galleries——as well as the contemporary art market——often overlook the significance of this type of art because of the difficulty of integrating it into traditional museum structures. Traditional and digital documentation techniques are an essential way to keep both the concept and the artwork alive. Large photographs illustrating BioArt are very common, and works also reach mass audiences through video documentation and online resources.
