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In the past century, a number of technological projects have been undertaken as grand solutions to social problems. In the so called century of biology, this technological world view focuses on biomedical advances. The President of the United States, who once called for nuclear weapons and space exploration, now calls

In the past century, a number of technological projects have been undertaken as grand solutions to social problems. In the so called century of biology, this technological world view focuses on biomedical advances. The President of the United States, who once called for nuclear weapons and space exploration, now calls for new biotechnologies, such as genomics, individualized medicine, and nanotechnology, which will improve the world by improving our biological lives. Portrayed as the Manhattan Project of the late 20th Century, the Human Genome Project (HGP) not only undertook the science of sequencing the human genome but also the ethics of it. For this thesis I ask how the HGP did this; what was the range of possibilities of goods and evils imagined by the HGP; and what, if anything, was left out. I show that the Ethical, Legal, and Social Implications (ELSI) research program of the HGP was inscribed with the competencies of the professional field of bioethics, which had lent itself useful for governing biomedical science and technology earlier in the 20th century. Drawing on a sociological framework for understanding the development of professional bioethics, I describe the development of ELSI, and I note how the given-in-advance boundaries between authorized/unauthorized questions shaped its formation and biased technologically based conceptualizations of social problems and potential solutions. In this sense, the HGP and ELSI served both as the ends of policy and as instruments of self-legitimation, thus re-inscribing and enacting the structures for these powerful sociotechnical imaginaries. I engage the HGP and ELSI through historical, sociological, and political philosophical analysis, by examining their immediate context of the NIH, the meso level of professional/disciplinary bioethics, and the larger context of American democracy and modernity. My argument is simultaneously a claim about how questions are asked and how knowledge and expertise are made, exposing the relationship between the HGP and ELSI as a mutually constitutive and reciprocally related form of coproduction of knowledge and social structures. I finish by arguing that ELSI is in a better position than bioethics to carry out the original project of that field, i.e., to provide a space to elucidate certain institutionally authorized questions about science and technology. Finally, I venture into making a prophecy about the future of ELSI and bioethics: that the former will replace the latter as a locus for only formally rational and thin ethical debates.
ContributorsCarvalho, Tito (Author) / Robert, Jason S (Thesis advisor) / Ellison, Karin D (Committee member) / Hurlbut, James B (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT The participatory and interactive nature of the "Hearing in Color" project unites people from different walks of life. My interest lies in creating a space for people to explore their creativity, think critically, and hone their own voice in a safe and collaborative environment. I have discovered that all

ABSTRACT The participatory and interactive nature of the "Hearing in Color" project unites people from different walks of life. My interest lies in creating a space for people to explore their creativity, think critically, and hone their own voice in a safe and collaborative environment. I have discovered that all art forms: movement, voice, visual or digital, stimulate possibilities for expression and enable people to move forward in new directions. To this end, my project fused multiple avenues of engagement, innovative dance technology, and alternative or site-specific locations to create a community-based project aimed at promoting dialogue and enhancing ties between several groups in the Phoenix area. In this paper, I argue that a multi-layered approach to community-arts and the use of advanced technology builds bridges for diverse populations to come together to participate and learn from one another. I also maintain that community exists among all communities involved in a process of community arts, not just the participants and facilitator. When community engagement and awareness are prioritized, a multi-layered approach creates the possibilities of growth, honesty, and understanding for all people involved.
ContributorsBritt, Melissa (Author) / Fitzgerald, Mary (Thesis advisor) / Vissicaro, Pegge (Committee member) / Mitchell, John (Committee member) / Woodson, Stephani (Committee member) / Arizona State University (Publisher)
Created2010