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The paper focuses on examining the notion of ethics and ethicality of scientific research in SF concerning synthetic biology as presented in representative works of the biopunk genre. It looks into the figure of a mad and at the same time brilliant scientist, and direct references to ethics. Ultimately, it questions the underlying ethical concerns of creating new human and non-human species. In doing so, the work also discusses human exceptionalism, ethical posthumanism, and public acceptance of scientific advances. I will argue that biopunk works are rich in ethical puzzles that raise awareness of the present and illuminate the path to the future of science. Članek se osredotoča na preučevanje pojma etike in etičnosti znanstvenega raziskovanja v SF v zvezi s sintetično biologijo, kot je predstavljena v reprezentativnih delih biopunk žanra. Obravnava lik norega in hkrati genialnega znanstvenika ter neposredne etične reference. Na koncu se sprašuje o temeljnih etičnih vprašanjih ustvarjanja novih človeških in nečloveških vrst. Pri tem delo razpravlja tudi o človeški izjemnosti, etičnem posthumanizmu in javnem sprejemanju znanstvenega napredka. Avtorica trdi, da so biopunkovska dela bogata z etičnimi ugankami, ki ozaveščajo sedanjost in osvetljujejo pot v prihodnost znanosti.

The paper focuses on examining the notion of ethics and ethicality of scientific research in SF concerning synthetic biology as presented in representative works of the biopunk genre. It looks into the figure of a mad and at the same time brilliant scientist, and direct references to ethics. Ultimately, it questions the underlying ethical concerns of creating new human and non-human species. In doing so, the work also discusses human exceptionalism, ethical posthumanism, and public acceptance of scientific advances. I will argue that biopunk works are rich in ethical puzzles that raise awareness of the present and illuminate the path to the future of science.

In Les Furtifs, Alain Damasio imagines a near future where cities are reduced to privatized, hyperconnected spaces dominated by the sense of sight. Creatures born of sound, haunting the blind spots of human vision, the furtifs offer a different relationship with the living. ey embrace human movements, communicate through their words, and imbue them with ambiguity, like a rhythmic power that acts within language. In this article, I would like to discuss the poetics of rhythm at work in Damasio’s novel and to what extent this poetics can be thought of as an ecopoetics, that is, an art of renewing our way of perceiving non human nature through work on language.

The paper analyses a contemporary Georgian novel – Zura Jishkariani’s Chewing Dawns: Sugar-free. The novel belongs to the sub-genre of bio-punk. The aim of the paper was to identify the defamiliarized and ironized socio-cultural processes taking place in the contemporary Georgian society, considering the narratological concept of alternative worlds and the theoretical framework of conceptual metaphor. The outcomes of the research would draw the cultural-intellectual orientations of contemporary Georgian society. Based on these two conclusions, the paper aimed to find an age-long similarity between the social-political challenges of the 1920s and the contemporary problems of the Georgian society. Research has proved that numerous systems of values have been deconstructed and carnivalized by means of a play with alternative worlds. The development of the world depends on the activation of the human brain capacity, which ensures the cognition of the “higher reality“. The literary text under analysis reflects current achievements in cognitive sciences. The mental trips reflect the capacity of the human brain. The text describes the protagonist’s aspiration towards manipulating and stimulating of the human brain. This is the only way to overcome the banality of life. The manner of narration and the idealization of the aim serve the purpose of description of the revolutionary spirit.

Transhumanism coexists with humanity. The present reflection analyzes the Biopunk, a countercultural movement that breaks with the traditional ways of investigating Big Science. That frames his investigative management in the DIYBio ethic —Do It Yourself, do it yourself—, enriching the technoscientific channels from the Small Science. Performing a tracking from the punk rock movement of the seventies, going through the Cyber and Cypherpunk, coming to Biopunk and the actions of biohackers, their ethical bases are contrasted with the autonomy, vulnerability and justice of bioethics. A field is identified which bioethics has not occupied; his encounter with Biopunk and the way he could make his approach to the mentioned countercultural movement.