I think it is important to note, in case anyone isn’t already aware of it, but the man himself, Eduardo Kac, coined the neologism, Bio-art, in 1997. In terms of what the hyphenated neologism represents, I think its representation is apparent when one defines the punctuational significance of a hyphen – a mark used to signify that the two words it joins have combined meaning and are linked together.
Having said that, however, there is an essential component to Kac’s neologism that he didn’t include. The essential message of Kac’s work, such as the Time Capsule and Genesis, is to convey “the bio-impact of digital technology”  in a post-digital world. What is missing from Kac’s neologism is the reference to the technology used to accomplish the creation of bio-art or the digital element responsible for its exhibition and collective, creative-participation from the global online community of viewers.
Perhaps, Kac should have called it “Bio-digi-art” or “Bio-tech-art” because, according to Kac, the biological and the digital are intertwined in Genesis and Time Capsule. According to Kac, materially speaking, there is no fundamental separation between digital and biological because “both processes can occur in a similar manner in both environments, in both media”.
Referring to Genesis, Kac claims the process involved in this artwork was built upon the fundamental, functional model of IT – the Input-Process-Output Model. Genesis involved encoding digital information into a living organism, changing it, and retrieving it.
Similarly, with Time Capsule, Kac deconstructs the biological-digital divide by inserting a biocompatible glass microchip into his body, which allows biological tissue and microchip to unite, to come together. The reason Kac self-inserted a microchip into his body was in order “to confront the changing world of memory as everything becomes digital.”
With this in mind, I think the answer to the question, “Do you think this phenomena of ‘bio-art’ has any relevance to our thinking about ‘digital art’?,” is a resounding ‘Yes’ simply because, in my opinion, the digital component of Bio-art, is a functional aspect responsible for creating, influencing, structuring and exhibiting the artwork. If the message of ‘digital art’ is to demonstrate the impact of the virtual on the real, the digital on the physical and the blurring of the lines between both then Bio-art is relevant to ‘digital art’ discussion. Bio-art echoes the message of digital art by conveying that the biological – what we associate to be natural or real – impacts on the creation of the digital, and vice versa. In the eyes of Kac, both biological and digital are indistinguishable – materially and philosophically. Therefore, in the light of Kac’s view, bio-art is digital art if both are amalgamated like in Time Capsule and Genesis.
With regard the implications of Bio-art, the effects of linking the biological to the aesthetic raise both bioethical and moral issues and concerns because the artist (or, Sci-artist) is not dealing with an object. They are dealing with life itself and “empathy and responsibility are paramount,” as Kac observes.
There are two sides to the debate over the controversial genetic engineering of Alba, the GFP bunny. On one side of the debate, there are those who perceive Kac’s actions to be unethical and immoral because of his tampering with nature or the laws of nature for not scientific – not for the greater good of mankind – but instead mere aesthetic purposes. I think this is one of the reasons why a certain section of society interpreted Kac’s bio-art as unethical. If it was for scientific or medical instead of aesthetic purposes then it would be perceived as more excusable by society because science ‘matters’.
On the other side of the debate, some Animal Rights groups see the message and method in Kac’s madness, which is that the artistic visibility of Alba publicises her plight as a lab animal used for scientific experimentation. As Kac affirms, lab animals have a “cognitive and emotional life that must be acknowledged in a social space”.
Kac justifies his creation of Alba by saying that “no single life force has a decision to come into the world” because “it is a decision of our parents,” which explains why Kac, as a parent of “a life form that didn’t exist before” felt morally obligated to take Alba home. What is morally and ethically wrong about a transgenic creature, like Alba, from Kac’s perspective is not their unnatural or artifical creation, but their treatment after creation up to the point of death.
With Kac’s view in mind, Bio-art now makes perfect sense because it is not some wacky artist with a Dr. Frankenstein complex tampering with nature for the aesthetic fun of it. Instead, as Marshall McLuhan claims, “the medium is the message”  and Kac amalgamates biological and digital media to convey his aesthetic message to the world.