There are tens of thousands of genes in the human genome: minuscule twists of DNA and RNA that combine to express all of the traits and characteristics that make each of us unique. Each gene is given a name and alphanumeric code, known as a symbol, which scientists use to coordinate research.

In mid-January, a group of computer scientists and biologists from the University of Vermont, Tufts, and Harvard announced that they had created an entirely new life form — xenobots, the world’s first living robots.

When biologists synthesize DNA, they take pains not to create or spread a dangerous stretch of genetic code that could be used to create a toxin or, worse, an infectious disease.

Genetic-ancestry tests are having a moment. Look no further than Spotify: On Thursday, the music-streaming service—as in, the service used to fill tedious workdays and DJ parties—launched a collaboration with AncestryDNA.

It was one of the very first motion pictures ever made: a galloping mare filmed in 1878 by the British photographer Eadweard Muybridge, who was trying to learn whether horses in motion ever become truly airborne. More than a century later, that clip has rejoined the cutting edge.

We have learned how to manipulate the code of life. Why this hasn’t received more attention is beyond me. Synthetic Biology is a multidisciplinary field that often defies definition. Yet despite its complexity, it is a remarkably easy field to apply once you’ve learned the science behind it.

In my life as a curator, only twice have a pair of eyes in an artwork ever really mesmerized me. The first pair gazed out from a painting by German surrealist Max Ernst called Human Form. The image wasn’t ‘human’ at all.

In the May 15, 2014, edition of the journal Nature, Floyd Romesberg’s chemistry lab at San Diego’s Scripps Research Institute published a paper titled “A Semi-Synthetic Organism with an Expanded Genetic Alphabet.

Even though it’s looking increasingly likely that humanity will find a way to wipe itself off the face of the Earth, there’s a chance that our creative output may live on.

Craig Venter reclines in his chair, puts his feet up on his desk and - gently stroking his milk chocolate-coloured miniature poodle, Darwin, asleep in his arms - shares his vision of the household appliance of the future.

Human genome pioneer J. Craig Venter announced plans Tuesday to sequence the gene maps of 40,000 volunteers in a bid to crack the secrets of healthy human aging.

In the late 1980s, scientists at Osaka University in Japan noticed unusual repeated DNA sequences next to a gene they were studying in a common bacterium. They mentioned them in the final paragraph of a paper: “The biological significance of these sequences is not known.”

A team of researchers led by Melba Ketchum, a Texas veterinarian, claims to have not only conclusively proven the existence of Bigfoot through genetic testing, but also that the mysterious monster is a half-human hybrid, the result of mating with modern human females about 15,000 years ago.

Hilary Rose is a prominent feminist and sociologist and is currently a Visiting Professor at the London School of Economics. Steven Rose is a neurobiologist at the Open University and the University of London.

Where Will The Next Pandemic Come From? And How Can We Stop It? | Popular S

On the 5th of October I took part in the ASAP/4 ‘Genres of the Present’ Conference at the Royal College of Art. In collusion with Zara Dinnen, Rob Gallagher and Simon Clark, I delivered a paper on The Thing, as part of a panel on contemporary ‘Figures’. Our idea was to perform the exhaustion of the Zombie as a contemporary trope, and then suggest some alternative figures that might usefully replace it. Our nod to the ‘Figure’ was inspired, in part, by this etymological diversion from Bruno Latour’s book, On the Modern Cult of the Factish Gods: To designate the aberration of the coastal Guinea Blacks, and to cover up their own misunderstanding, the Portuguese (very Catholic, explorers, conquerors, and to a certain extent slave traders as well) are thought to have used the adjective feitiço, from feito, the past participle of the Portuguese verb “to do, to make.” As a noun, it means form, figure, configuration, but as an adjective, artificial, fabricated, factitious and finally, enchanted. Right from the start, the word’s etymology refused, like the Blacks, to choose between what is shaped by work and what is artificial; this refusal, this hesitation, induced fascination and brought on spells. (pg. 6)

My paper is a short ‘work-in-progress’, and will eventually make-up a portion of my thesis. It contains elements of words I have splurged here before. The paper is on, or about, The Thing, using the fictional figure as a way to explore possible contradictions inherent in (post)human ontology. This synopsis might clarify/muddy things up further: Coiled up as DNA or proliferating through digital communication networks, nucleotides and electrical on/off signals figure each other in a coding metaphor with no origin. Tracing the evolution of The Thing over its 70 year history in science-fiction (including John W. Campbell’s 1938 novella and John Carpenter’s 1982 film), this paper explores this figure’s most terrifying, absolute other quality: the inability of its matter to err. The Thing re-constitutes the contemporary information paradigm, leaving us with/as an Earthly nature that was always already posthuman. You can read the paper here, or download a PDF, print it out, and pin it up at your next horror/sci-fi/philosophy convention.

I can take it no more. I wanted to dig deeper into the good stuff done by the ENCODE consortium, and have been working my way through some of the papers (not an easy thing, either: I have a very high workload this term), but then I saw this declaration from the Electronic Frontier Foundation.

On September 19, the Ninth Circuit is set to hear new arguments in Haskell v. Harris, a case challenging California’s warrantless DNA collection program. Today EFF asked the court to consider ground-breaking new research that confirms for the first time that over 80% of our DNA that was once thought to have no function, actually plays a critical role in controlling how our cells, tissue and organs behave.

I am sympathetic to the cause the EFF is fighting for: they are opposing casual DNA sampling from arrestees as a violation of privacy, and it is. The forensic DNA tests done by police forces, however, do not involve sequencing the DNA, but only look at the arrangement of known variable stretches of repetitive DNA by looking at just the length of fragments cut by site-specific enzymes; they can indicate familial and even to some degree ethnic relationships, but not, as the EFF further claims, “behavioral tendencies and sexual orientation”. Furthermore, the claim that 80% of our genome has critical functional roles is outrageously bad science.

This hurts because I support the legal right to genetic privacy, and the EFF is trying to support it in court with hype and noise; their opposition should be able to easily find swarms of scientists who will demolish that argument, and any scientifically knowledgeable judge should be able to see right through the exaggerations (maybe they’re hoping for an ignorant judge?). That conclusion, that 80% of the genome is critical to function, is simply false, and it’s the notorious dishonest heart of ENCODE’s conclusions.

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Broadcast (2011) If you have ever wondered what would happen in your own home if you were taken away and everything inside was left to rot, the answer is revealed in this programme which explores the strange and surprising science of decay. For two months, a glass box containing a typical kitchen and garden was left to rot in full public view within Edinburgh Zoo. In this resulting documentary, Dr George McGavin and his team use time-lapse cameras and specialist photography to capture the extraordinary way in which moulds, microbes and insects are able to break down our everyday things and allow new life to emerge from old. Decay is something that many of us are repulsed by, but as the programme shows, it's a process that's vital in nature. And seen in close up, it has an unexpected and sometimes mesmerising beauty.

Digital information is accumulating at an astounding rate, straining our ability to store and archive it. DNA is among the most dense and stable information media known. The development of new technologies in both DNA synthesis and sequencing make DNA an increasingly feasible digital storage medium.

lecture by Craig Venter Life is code, as you heard in the introduction, was very clearly articulated by Schrodinger as code script. Perhaps even more importantly, and something I missed on the first few readings of his book earlier in my career, was as far as I could tell, it's the first mention that