of the biodiversity
Conserving life, natural as well as artificial, specially
the life of the most representative species of the threatened
habitats of Earth, should be the immediate goal of every modern
From the conflicts of the biósfera we have passed
to those of the infosfera: this will be the new scene of the
fight for survival.
The new ecology of information implies new responsibilities
for the conservationist task as well as for the biodiversity
amateur. The diverse forms of new artificial life will develop
in this ecosystem. But how can we define them? How can we
The posmodern writer and naturalist William Burroughs
affirmed that the word is literally a virus that has not been
recognized as one because it has obtained a relatively stable
state of symbiosis with its human carrier.
For the zoologist Richard Dawkins, the idea-genes
should be regarded as living structures, not only metaphorically
but technically. "When you plant a fertile idea in my
mind, you literally turn my brain into a parasit vehicule
for the propagation of that idea, in the same way that a virus
can parasite the genetic mechanism of a hoste’s cell."
God is a virus
For this english zoologist, author of
the book "The selfish gene", God truely exists,
although only like a pattern of brain’s structures and
reproduced by the minds of thousands of million people everywhere.
But this idea-genes are not only ones that propagate compulsively:
among the most known figures than felt attracted by the ideas
of Dawkins we can count the father of the nanotecnología,
Eric Drexler as well as Richard
Brodie. Brodie is indicated as the technical
assistant of Bill Gates and the author of the original version
of the Microsoft Word. We could
ask ourselves if the reproduction of this contagious piece
of information cpuld not be compares to a plague, moving to
other species and becoming prey of other may be smallest but
numerous predators as they are the computer viruses.
Art as reservoir of latent viruses
Although the communication is the natural
place for the infection of all artificial life, the dissimilar
evolution of each medium faces us with new challenges when
we approache the task of classifying the different species
and detecting those in danger. Which are the species promoted
by the television? Which ones, while threatened, hide themselves
in the Internet? Which merge like inoffensive species to disseminate
themselves freely through the cultural medium? Which ones
react to the censorship by untying their more virulent flank?
But in addition to direct infection (the brain to brain form)
there exists another form of propagation: the one that is
based on the reproduction beyond the human carrier. There
are pieces of information that lie asleep (like the Egyptian
glyphs), encripted, hidden in texts or images, hoping to being
reactivated to infect to future carriers.
Historically, the art has been the place chosen by the more
radical forms of life to surpass the limit that death imposses
to human carriers, death that should suppose the danger of
its own extinction.