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This article proposes investigating how the problem of chronic and deadly diseases and bodily injuries is explored in selected contemporary artistic projects based on biometric technologies and medical imaging. All of the projects that will be analysed use specific medical tools and methods (e.g., roentgenography or bio-tracking) to provide detailed, affective images of disability and illness. Nonetheless, these projects were created as pieces of art that combine visual and verbal elements: photographs, collages, and other illustrated stories (e.g., “biometric diaries” or open-source art). On the one hand, they show the “inner” and often invisible face of illness and suffering, but on the other hand they also raise questions related to algorithmic reductionism and politicization of such forms of representation of disease. This article will focus on artistic projects created by Diane Covert, Salvatore Iaconesi and Laurie Frick. It refers to the ‘ethos of health’ and the conception of ethopolitics (Nicolas Rose) to show the place in contemporary biopolitical society of illness (Thomas Lemke), which can be seen as an exceptional form of the body’s condition. Moreover, it considers the problem of the politicization of the biological body and affective experiences (Britta Timm Knudsen and Carsten Stage) and the category of untold histories explored by Joanne Garde-Hansen and Kristyn Gorton.

Celem artykułu jest przedstawienie neuronaukowych perspektyw badania filmu. W pierwszej kolejności zostają zarysowane podstawy rozwoju badań empirycznych i konceptualnych: teoria kognitywna, koncepcja ucieleśnionego poznania, neuroestetyka oraz szczególne modele kina (kino ucieleśnione oraz kino enaktywne). Następnie, odwołując się do ustaleń Vittoria Gallesego oraz Miguela Guerry, autorka tekstu wskazuje trzy główne perspektywy rozwoju neuronaukowych badań kina: 1) częściową reinterpretację teorii i historii kina przez pryzmat nowych narzędzi badawczych, 2) badania empiryczne dotyczące technik i strategii filmowych, 3) rozwój nowych form technologicznych implementowanych do przemysłu filmowego. W dalszej kolejności zostają zaprezentowane wybrane eksperymenty z zakresu neurobadań filmu, w tym pionierski eksperyment grupy badawczej Uriego Hassona oraz badanie dotyczące identyfikacji z postaciami filmowymi przeprowadzone na podstawie serialu Gra o tron (Game of Thrones, HBO, 2011-2019). Pojawia się tu również odniesienie do badań nad montażem filmowym prowadzonych głównie przez grupę Javiera Sanz-Aznara. Autorka przedstawia je w perspektywie krytycznej, uwzględniając problem neurorealizmu. Ostatnia część artykułu zawiera analizę założeń neurofilmologii będącej próbą centralizacji rozproszonych refleksji nad neurokinem (ujęcie Adriana D’Aloii i Ruggera Eugeniego oraz krytyczna perspektywa Marii Poulaki). Autorka tekstu uzupełnia ów namysł własnymi konkluzjami co do potencjalnych kierunków rozwoju neurobadań nad kinem.

The aim of the article is to present neuroscientific per-spectives on the study of film. First, the foundations forthe development of this type of empirical and conceptualresearch are presented: the cognitive theory of film, theconcept of embodied cognition, and the models of cine-ma that have been proposed in this area (embodied cine-ma and enactive cinema), as well as neuroaesthetics. Then,referring to the findings of Vittorio Gallese and MiguelGuerra, the author indicates three main perspectives forthe development of neuroscientific research on cinema: 1)partial reinterpretation of the theory and history of cinema through the prism of new research tools, 2) empiricalresearch on film techniques and strategies, 3) developmentof new technological forms implemented in the film indus-try. The article presents also selected experiments in thefield of film neuroresearch, focusing on those dealing withgeneral issues – including the pioneering experiment ofUri Hasson’s research group and a study on identificationwith film characters based on the Game of Thrones series(HBO, 2011-2019). The author also refers to research on filmmontage, conducted mainly by Javier Sanz-Aznar’s group,and presents it from a critical perspective, reflecting onthe potential of empirical research on film, taking into ac-count the problem of neurorealism. In the last part of thearticle, she presents the assumptions of neurofilmology aspresented by Adriano D’Aloia and Ruggero Eugeni and thecritical approach to the research perspective proposed byMaria Poulaki. The author of the article supplements thisreflection with her own conclusions regarding potentialdirections of development of cinema neuroresearch.

The article investigates various kinds of the strategies of technosensation in artistic project based on bio-parametrisation’s techniques. The category of technosensation is in the article referred to the considerations of Luciana Parisi and Marie-Luise Angerer to define the relationship between body affectivity and computational systems (primarily in relation to automated decision-making systems and machine learning processes). The context for these considerations is the reflection on “technological redlining” as a strategy for racial, gender, and (dis)ability profiling of computational systems, which generate social exclusion, inequalities and oppressiveness. In the article, the author considers (with reference to the considerations of Parisi, Bernard Stiegler, Yuk Hui and Gabbrielle M. Johnson) to what extent the algorithmic biases are the result of automation, and to what extent they result from the absorption of uncertainty, randomness and technodiversity. Technosensation strategies are considered in relation to the artistic practices of Zach Blas, Maja Smrekar, Marija Griniuk and others, pointing to subversive, critical and affirmative variants of technological functionality and agency. The presented projects prove that the functionality of computational technologies is not bipolar, but it is developing as a spectrum of nuanced mechanisms, both in the area of oppressive-exclusionary systems and emancipatory strategies

The article is an introduction that examines certain perspectives of new-materialist research on the ontological status of alternative universes in bio art projects with reference to the narratological concepts of possible worlds and the storyworld. In this context, it introduces the concept of \"strongly possible worlds\", which is a complementary concept to the Jan Alber's theory of impossible worlds. This methodological proposal is also presented in the article in reference to the latest study by Francesca Ferrando, in which the idea of \"posthuman multiverse\" was presented. The author also considers the role of non-human actors in the process of constructing such \"in the world stories\" (Bruno Latour). As non-human actors bacteria and living cells are understood, which have their own intentionality (goal-oriented behavior) and which are responsible for causal changes to the project; moreover, non-human actors are considered to be a force that affects the physical shape of storyworlds-with reference to Timothy Morton's category of hyperobjects. The article presents two types of experiments involving the process of creation of possible worlds in bio art. The first one is conducted by the artists working with living materials, mostly tissues and cells, as the duo Tissue Culture and Art Project, Alicia King and Guy Ben-Ary and Kirsten Hudson; the other one is so called bacterial art with Sonja Bäumel's \"Expanded body\", Pinar Yoldas \"Speculative biologies\" and \"Ecosystem of Excess\", as well as Anna Dumitriu's artistic vision \"The Romantic Disease: An Artistic Investigation of Tuberculosis\" and \"ArchaeaBot: A Post Climate Change, Post Singularity Life-form\" as special case studies. The (not only) religious beliefs about relics, the Guatemalan beliefs or the reflection on the post-evolution form of life, as well as and well-known records of tuberculosis or the philosophical thinking on arché have been converted into their performative and in the same time carnal and biological versions in the mentioned projects. Therefore, in all cases, certain contexts that are implemented in a filed of art as quite symbolic and abstract cultural and social discourses undergo signifi cant transformations-in relation to the different matter of the artistic work and the new receptive experience that it generates. As emphasizes Aloi, the most important \"concerns of new materialism are ontological in nature\".30 Works of art that use organic materials:

The article is an introduction that examines certain perspectives of new-materialist research on the ontological status of alternative universes in bio art projects with reference to the narratological concepts of possible worlds and the story world. In this context, it introduces the concept of “strongly possible worlds”, which is a complementary concept to the Jan Alber’s theory of impossible worlds. This methodological proposal is also presented in the article in reference to the latest study by Francesca Ferrando, in which the idea of “posthuman multiverse” was presented. The author also considers the role of non-human actors in the process of constructing such “in the world stories” (Bruno Latour). As non-human actors bacteria and living cells are understood, which have their own intentionality (goal-oriented behavior) and which are responsible for causal changes to the project; moreover, non-human actors are considered to be a force that affects the physical shape of storyworlds—with reference to Timothy Morton’s category of hyperobjects. The article presents two types of experiments involving the process of creation of possible worlds in bio art. The first one is conducted by the artists working with living materials, mostly tissues and cells, as the duo Tissue Culture and Art Project, Alicia King and Guy Ben-Ary and Kirsten Hudson; the other one is so called bacterial art with Sonja Bäumel’s “Expanded body”, Pinar Yoldas “Speculative biologies” and “Ecosystem of Excess”, as well as Anna Dumitriu’s artistic vision “The Romantic Disease: An Artistic Investigation of Tuberculosis” and “ArchaeaBot: A Post Climate Change, Post Singularity Life-form” as special case studies.