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.CRITICAL ART ENSEMBLE... Txt: Annamaria Monteverdi Recombinant Theatre è la definizione data dal collettivo statunitense Critical Art Ensemble al proprio lavoro performativo. Nato nel 1987 a Talahasse in Florida il Critical Art Ensemble founded by Hope and Steve Kurtz, Steve Barnes, Dorian Burr, Beverly Schlee , who has worked extensively Beatriz da Costa, calls itself a collective of artists devoted to exploring the intersections between art, technology, political activism radical and critical theory. actions and those of the installations CAE related tactical media, with the theme of plagiarism, the boycott and the creative and subversive reappropriation of media; recombinant is a word dear to the generation of media activists and can be explained the value of new functions and semantic détournement situationist. Their texts including Electronic Civil Disobedience (with the famous motto Cyber \u200b\u200bRights Now!) Emphasize the fact that an alternative might emerge from a techno-organized movement (the tactical media movement) and a real process of socialization of knowledge and technology "interventionism" (a word that the team prefers to "commitment"), for "Digital Resistance". But what will the CAC recombinant theater? A theater tecnoattivista joining the practice of guerrilla theater, social theater, the latest technology for transmitting information and operations of electronic sabotage, strike net, sit in a virtual . Their last performance on biotechnology and establish why some real mobile laboratories for challenging the conditions of current research in biology and the excesses of the experiments relating to recombinant DNA human, plant and animal, denouncing the economic speculation by the multinational pharmaceutical and large chains of food distribution. In this form of "theater-science", the viewer is confronted with scientific conferences and real test of in vitro fertilization and genetically modified organisms. Of these themes the book is about Molecular Invasion published by Autonomedia in copyleft e liberamente scaricabile dal loro sito (da poco tradotto e pubblicato anche in Italia). In Free Range Grains viene allestito un open lab per verificare se alcuni prodotti alimentari distribuiti nei grandi magazzini e portati dal pubblico in occasione della performance, contengono o meno OGM. Perché «il processo scientifico non appare mai pubblicamente, appaiono solo i suoi miracolosi prodotti. Vogliamo portare i processi di routine della science to the public. Get him to see and touch. " Recently CAE is turning its attention to the devastating effects of historical bacteriological experiments in the programs of British and American war. In Germs of Deception (2005) reproduces the EWC (in ways not obviously harmful to the environment and the public) the terms of a bacteriological experiment made by the U.S. in 1949 when a group of soldiers trained released into the air a beat Serratia marcescens with the aim of completely contaminate the surrounding environment. Identical simulation Marching Plague, referring instead to the British experiments to test the bacteriological plague as a weapon in the island of Lewis in 1952-1953. In GenTerra the Critical Art Ensemble encourages the public to create new forms of genetically modified bacteria such as "e-coli" but completely harmless, release them into the air or take them home. The goal is to "demystify the whole process of genetic engineering to try to alleviate the fear transgenic inappropriate for science and redirect attention to the political implications of research." Steve Kurtz as a result of an investigation into non-toxic bacterial cultures found in his home after his death by heart attack of his young wife Hope, is first accused of mail fraud and bioterrorism. The well-known story is explained by the collective in this interview: a federal cause of action against terrorism (the infamous Patriot Act promoted after September 11, 2001 which prohibits the possession of "any biological agent or toxin in a quantity not justified from a prior search, protective or other peaceful purposes " ) Kurtz likely now 20 years in prison. The international art community has been mobilized and opened a website where you can join the campaign of international solidarity. Anna Maria Monteverdi: The members of Critical Art Ensemble call themselves tactical media practitioners. Can you explain what you mean by this term and how did you start using this model of cultural production? Critical Art Ensemble: Tactical Media is a term that originated in Holland in the mid 90s. The "tactics" of the term derives partly from the theories of everyday life of Certeau. The tactical media is anti-monumental, deterritorializing and self-defined. Do not try to colonize sites of meaning. E 'ephemeral, rapidly emerging to create ideological subversion, will start to melt very quickly. The "average" of the term refers to the fact that CAE does not work with some vehicles in a specific manner. We use instruments or combinations of media that will respond best in a given situation. This is one of the reasons we work collectively, so we will have a different set of skills to our projects. CAE always works in this way, even before we had a term to describe it. We use because the method seems to produce the most democratic culture. Anna Maria Monteverdi: Much of your last job and your many books are directed to electronic or digital resistance. Strikes on the network, online and virtual activism are the new forms of communication and performance. What is the philosophy behind your performance and what are the goals of those actions? Critical Art Ensemble: Il filo comune del lavoro del CAE é stato quello di mostrare come gli strumenti dell'oppressione possano essere usati per la liberazione. Alla fine degli anni '80 fino alla metà degli anni '90 eravamo molto interessati a dimostrare come ci si poteva appropriare delle nuove informazioni e delle tecnologie comunicative attraverso la resistenza culturale, usate poi in modi per i quali esse non erano state designate o create. Attualmente stiamo cercando di mostrare come la scienza della vita possa essere utilizzata per scopi di resistenza. Questo compito è molto più difficile poiché il livello di persone alienate da questi strumenti è molto più elevato. Le persone tendono ad essere molto scettiche e paurose delle biotecnologie perché a differenza di un computer non sono molto adatti ad interagire con queste tecnologie. Allo stesso tempo, essi possono vedere quanti danni questa tecnologia sta causando all'ambiente e alla sfera sociale. Molti dei nostri recenti scritti e progetti sono stati concepiti per abbassare questo livello di alienazione e farle conoscere alla gente, per farli sperimentare con la tecnologia. Noi non possiamo permettere che questi strumenti di potere diventino di sola proprietà militare e delle corporazioni. Anna Maria Monteverdi: Ci sono precedenti modelli teatrali/estetici che hanno influenzato il collettivo? Critical Art Ensemble: Non ci sono recenti modelli che sono esattamente like us, because we had to adjust to a different and newly emerging technosphere, but there are some with whom we shared a cultural DNA and that have influenced our way of thinking such as the San Francisco Diggers , Augusto Boal and Theater of the Oppressed, elements of Living Theater, and some of the performance art that emerged in the feminist movement of the 70s. In general Diggers, the Situationists and Provos have had great influence on us, were among the first to notice that the action had a cultural value and cause a political movement that is not resistant (or revolutionary thought they) could occur without a parallel culture. Certainly one of the historical apogee of this type of modeling is adventurous in Italy in the 70's, and fortunately we're at the point where this model can fully bloom for a global movement against neoliberal economies and cultures. Anna Maria Monteverdi: Your latest works are true examples of theater-Science (or as GenTerra Free Range Grains) and your performance is linked to biology contestazionale. The debate on the socio-political manipulation Genetics is ripe. But how can a performance show specific aspects of scientific research? We can do an example from your work? Critical Art Ensemble: That's the beauty of digital quality. You can get a flood of information available in a fun package that arranges them in a "digestible." The trick is to make sure that the participants want to watch it. This means that we must quickly convince them to participate in the issue we are presenting. In projects like Free Range Grains Molecular Invasion or we can bring people to have a great discussion of all rather easily, because the project has to do with the food and everyone has to eat. With a project like GenTerra , in which CAE seeks to discuss methods on risk assessment of genetically modified organisms, the problem is more difficult. In this case we need to create a "threat" less than asking people to release genetically modified bacteria that we have created ourselves. The beat is completely harmless to the environment and living things, but it seems very scary. People become very interested in evaluating the risk when they are confronted with the choice whether or not to release the bacteria. Anna Maria Monteverdi: The mobile laboratories are apparent in the CAE designed to raise awareness about social issues concerning the environment, transgenic, reproductive technology and biological guerrillas. What do you hope that people bring with them when they see one of your projects? Critical Art Ensemble: Hopefully in a few things: first, that the technology will be demystified, and secondly that a participant will have a more reasonable relationship (rather than emotional) social criticism to publications on biotechnology, and thirdly, that through experience of participation, will realize the weight that they will have on a particular publication, both individually and socially, and eventually the experience will encourage them to become politically active with regard to certain conclusions. Anna Maria Monteverdi: What is the audience reaction when you ask the members to perform as "organic" or as "human guinea pigs"? Use specific intervention strategies for these actions? Critical Art Ensemble: Most people do not hesitate. The strategy is to perform in places where people expect to attend an event. It may be in a natural history museum, a market of a farm or a local bar: or at any place when people go there to do something and not just something to watch. Anna Maria Monteverdi: New developments in the life sciences offer potential positive or pose the greatest threats? And also, how do you merge the documents artistic, political and scientific performance? Critical Art Ensemble: The development of the science of life can not be stopped but can be driven. If a product or process is a threat or a chance to be examined case by-case basis. There is a general position. The main problem is not usually the lack of knowledge of their product, but the way it is used according to the current political and economic currents. Given the predatory nature of capitalism, almost anything can be a threat: the system is what needs to be changed and not science. hybridization is a simple process because it is the permanent state of becoming, we are all a part. All objects and processes have elements of science, politics and art in it or connected to each other. We attract only the attention to all elements in various proportions that make up this mixture, rather to ignore certain categories and encourage others. Anna Maria Monteverdi: Usually you exhibited in museums or theaters on issues involving the natural sciences or digital media. Have you ever been invited to theater festivals? Do you think the theater is a traditional form because retrograde island every hybridization with technology? Critical Art Ensemble: We were invited to theater festivals and conferences. Not many, but happened. At the events we attended presentations tend to be pretty standard, but I found that the producers of the events are ready to submit only something that we proposed at the time of the call. The theaters tend to have some of the best technological tools available for performance, it's just that usually are not used for any purpose or for radical experiments. The theater in general is undoubtedly the technophobic. Anna Maria Monteverdi: You have been accused of "bioterrorism" Can you tell us more about the tragic event that involved Steve Kurtz? Critical Art Ensemble: The traumatic experience of Steve was one of the tragedies suffered as a result of the policy of the neoconservatives and the rapid growth of American security function supported by the 911, which includes the policy of "preventive justice". On 11 May 2004 Steve and his wife twenty CAE member, Hope, died of a heart attack at their home in Buffalo. Steve called 911. The Buffalo police responding to emergency calls together was alarmed by the presence of this artwork in their home, which had been exhibited in museums and galleries across Europe and North America. Convinced that these materials - which consisted of a petri dish containing numerous forms of bacteria nocivi, e apparecchiature scientifiche per testare cibi geneticamente modificati - fossero il lavoro di un terrorista, la polizia chiamò l'FBI. Il giorno successivo mentre Steve stava andando al funerale di sua moglie fu arrestato e illegalmente detenuto per 22 ore dagli agenti dell'FBI e dalla Task Force anti terrorismo, i quali lo informarono di essere sotto inchiesta per “bioterrorismo”. Nel frattempo, agenti provenienti da numerosi enti governativi di giustizia federale piombarono a casa di Steve con tute antibatteriologiche . Circondando un isolato e mezzo intorno alla sua casa, facendo la cernita di gatto, cane, computers manoscritti, libri, attrezzatura e perfino del corpo di sua moglie. A week later, only after the commissioner of public health of New York had analyzed samples taken from the house and announced that there were no threats to public safety, he was allowed to return home and recover the body of Hope. Now he and Robert Ferrell , CAE collaborator for a long time (the first chairman of the Department of Genetics at the University of Pittsburgh Graduate School of Public Health) face charges of tax fraud, grazie all'Usa Patriot Act, con cui rischiano una possibile sentenza di 20 anni, lo stesso peso che avrebbe avuto l'iniziale “bioterrorismo”. Il caso minacciò di creare precedenti molto pericolosi intaccando il confine tra diritto civile e criminale e criminalizzando coloro che osavano giudicare la politica governativa. Se il Dipartimento di Giustizia avesse vinto questo caso, avrebbe sicuramente raddoppiato il potere del Governo Federale. A causa di questo caso, molti dei produttori indipendenti che un tempo fornivano amatori o hobbisti scientifici non lo avrebbero più fatto per paura di possibili vertenze. Quindi il caso minaccia di interrompere la ricerca indipendente e danneggia seriamente la capacità Public criticism of corporations and the military, which will have a more limited control of scientific knowledge. (For more information on the case and how you can to help, you can visit our website www.caedefensefund.org ) Anna Maria Monteverdi: What other groups are working in a way similar to yours in the U.S. and Europe? Critical Art Ensemble: As far as I know there are many groups working on theater and science. SubRosa is one of the few. However, there are all over the world there are many groups working on tactical media - I nstitute for Applied Autonomy, The Yes Men, Carbon Defense League, Finishing School, Temporary Services, Preemptive Media Collective, My Dad's Strip Club, Space Hijackers, Conglomco . org, irational.org, Bureau of Inverse Technology , and so on .. Anna Maria Monteverdi: Have you ever been in Italy for your work, and have received invitations for the future? Critical Art Ensemble: They wrote about us Italian magazines, newspapers and other publications, and most of our books have been translated into Italian, but unfortunately CAS has never been required to do a project in Italy. www.critical-art.net www.ecn.org / thingnet / reviews / cae_int.html

What Do Those Colorful Bracelets Mean

Under Surveillance
The theater of the electronic control
Anna Maria Monteverdi

anyone remember the movie Public Enemies William Wellman and starring Will Smith, Gene Hackman, disturbing story of a man drawn from video cameras, radio frequency detectors, electronic bugs recorders, satellite, high-sensitivity microphones that chased him in his every move. Film in addition to others that have addressed the issue of control, wiretapping, data security and espionage satellite: Coppola's The Conversation, Violence Wenders, Listening Giacomo Martelli.
On stage he recently occupied a U.S. company, The Builders Association directed by Marianne Weems specializes in theatrical and richly equipped with digital technology and big screens in 2003 has led to the award-winning RomaEuropa Alladeen , history is not so fairytale of employees at a call center in Bangalore, also won an Obie Award.



Supervision their latest production had its first toured in England, Australia and the United States. There are three stories about the invasion of privacy and control and real-time monitoring of free citizens without their authorization: lives that are transparent from the beginning by economic transactions and movements made by them, who arrives from the salary in their bank, by daily shopping, in their meetings in public space surveillance. Marianne Weems depicts stories of ordinary piracy figures in post-privacy era , tied to the wire (or file ...) of their common identity Personal information has become branched, uncontrollable, separate from the physical body and traveling thousands of processors in a space-invisible data. People who live in
white noise of constant dial-up, travelers stuck at the border crossing because of controls with personal information strictly those of the 'AIDC (Automatic Identification and Data Capture). Marianne Weems (who worked as dramaturg and assistant director Elizabeth LeCompte, Richard Foreman) has given visibility and concreteness to these palpable databodies , this intangible infosphere through impressive architecture made of a wide screen, projection multiple video real time, animazioni computerizzate e un sistema di motion capture.
E' ormai prassi ricevere telefonate al nostro cellulare da parte di ditte in possesso del nostro numero che non fanno mistero di sapere a quale gestore telefonico siamo abbonati e quali siano i nostri costi, e che si dimostrano pronti a offrirci un miglior abbonamento.
Le carte di credito, i telepass personali, le tessere magnetiche, le schede SIM dei cellulari, le e-mail, la navigazione su Internet, la frequentazioni di siti web: la prima schedatura personale comincia da qua, attraverso programmi studiati per carpirci password, login, ID, codici di accesso.
Telecamere di sorveglianza, cimici web (sorta di invisibili cookies usati dalle aziende pubblicitarie per tenere track the movement of visitors, to analyze the habits, and selling the information to commercial companies), biometric techniques that allow for the recognition of the individual by identifying specific characteristics of the body, RFID (Radio Frequency Identification) tracking of objects and people through a microchip.





Today, there are detectors the size of a grain of rice, enough to be inserted under the skin and turn us into living locators. Sensational was the campaign in the United States to boycott Benetton announced the introduction of RFID tags in clothing for Aim logistics and marketing strategies (That would have resulted not only unwanted tracking United Colors of sweaters but also of those who wore them ...).
Among the artists working on computerized surveillance should be mentioned the Preemptive Media, U.S. media group which recently added artist Beatriz De Costa, leaked from the Critical Art Ensemble.



In Zapped! promote workshops to learn about RFID technology and learn how to build their own craft detector visual or auditory (in the form of a bracelet or keychain) to detect the presence of TAG. Finally, the Surveillance Camera Player: since 1996 build a theater allegations against performance-signs with slogans and silent actions in front of surveillance cameras located in different cities, to expose and denounce the presence of the reality of social control.
The group has drafted a real map regularly updated and published on the Internet and created a web application I-see, which allows anyone to calculate their own paths without Locchi fighter video. Look at Mark Deseriis:

What makes us a man who wears a mask of death in front of a surveillance camera? States, of course. The difference is that he knows to be an actor, while passers-by are just extras involuntary. Se � vero che ogni telecamera d� vita a un potenziale set, l'estensione della video-sorveglianza moltiplica anche gli spazi urbani dell'azione... Usando come palcoscenico le stazioni della metropolitana o gli spazi di Manhattan pi� transitati, le performance dei SCP si rivolgono a due pubblici diversi: da una parte, i passanti, �controllati�, monitorati dall'estesa rete di videosorveglianza; dall'altra i �controllori� i soli beneficiari dello spettacolo su schermo. In alcuni casi i monitor hanno anche output pubblico e quindi gli attivisti dei SCP possono riprenderli a loro volta per poi mettere a confronto la soggettiva del controllore e quella del controllato.

(M. Deseriis e G.Marano, Net art. The art of connection , Milano, Shake, 2003)

Toiletry Bag Electric Toothbrush

June HAMLET 'FOR YOU TUBE

Written by Anna Maria Monteverdi

TUBE TO TUBE OR NOT. THE TUBE is the network, or rather to YouTube, the most popular platform of the Web became a mass phenomenon without precedent where to upload, download and share free streaming video. Going down the tube there is a surprising amount of theatrical material. Perhaps too, I agree, but also locates some memorabilia and some digital video clips funny. Hamlet: living in a box The box is now familiar TV-like interface that reigns on MySpace and YouTube full of Broadcast Yourself! those that upload? Obviously, anyone, if they're registered: a few students to the final school project , budding filmmakers. Mostly it comes to home video, amateur, kind of crazy, maybe shot with the phone, set up a micronarratives (1 or 2 minutes maximum), without editing and without pretense, at best, or extracts of evidence shows . Some are actual video clips, artwork, creations of some value. Very often these are fragments of popular movies, TV serials or cartoons, taken with impunity by the TV or some digital channel and re-allocated on the page of your "User profile" in the hope of ending up in playlist of "favorites" for any browser. Certainly the issue of copyright movies available on YouTube was the sore point of the company in the past, but we're at a turning point if the same NBC Universal has decided to distribute their own material through this channel, visited more than twenty million Internet users. A simple search engine on the thematic procedure on the basis of descriptive tags left by the same authors or holders of the video ("Hamlet" or "Shakespeare Hamlet" or "theater Hamlet") once the commercial brand of cigarettes and Hamlet clip homonymous band from Madrid, gives some hilarious results, a sign of the times rather than transgressive, I would say mildly irreverent. Re-read by the young Prince Hamlet "My Media Generation" Harry Potter becomes, Schwarzenegger, a Marvel superhero, a reggae singer, a fighter ninja, a pirate or a samurai ... Ofelia drinks beer and has an appearance similar to Christina Aguilera horribly animated 3D graphics or a transvestite. Empire a bit 'cartoonish look everywhere and desinéé bands, but also the trash, fetish, pop. Quotations from the sitcom's most famous film series and B are wasted and the titles are often the most fun video: a tribute pizza connection with the Mafia Hamlet, science fiction with Star Wars Hamlet, to the horror genre with Vampyr Hamlet and Hamlet on Ice musical with . Most rated version of Hamlet is clearly a Simpson. HamLego is a version made in stop motion with the characters of Lego. The duel with Laertes becomes a clash between Hamlet and DragonBall Iperuranio or Godzilla, or a settling of accounts between gangs of rappers on the street, on the benches of the school canteen or soccer fields or baseball. The encounter with the ghost of Hamlet's father reached unimaginable levels of dementia, with lenzuolame flowing between the walls of the dining room of the house. Il liquido velenoso è una Seven Up in lattina versata sull’orecchio di Amleto padre, mentre questi è appoggiato sulla tazza del water. Carmelo Bene faceva un hommelette di Hamlet, ma il palato di oggi, assuefatto ai Big Mac preferisce un Hamburger for Hamlet . In mezzo, clip dagli Amleti di Kenneth Branagh e dalle versioni della BBS. E poi, strano ma vero, un estratto dallo spettacolo Hamlet Machine di Dominik Barbier, uno dei più complessi progetti di teatro multimediale ideato dal videomaker francese in collaborazione con Heiner Müller, prima della morte del drammaturgo della DDR. Il tutto in un mare di spazzatura video-amletica e di pure idiocy media. Stuff just by pulling down the tube .

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The theater scene technological Catalan

Interview Konic and THTR Marcel.lì Antunez Roca (with a note of Carles Canellas-Rocamora Teatre)
Anna Maria Monteverdi

The land Catalan has a special charm: even the most experimental art, technological, there seems at his best. Who does not know the global event Sonar dedicated to techno music and the so-called media art, "an odd joint," as it reminds me Ennio Bertrand of Otolab, "between club culture and the world of radical experimentation"? Or the performance "mechatronic" of Marcel.lì Antunez Roca, or megalomaniac performances by La Fura dels Baus, including those made in their Naumon ship docked at the port of Barcelona?
Catalunya But it really is the Mecca of the technological research play? We asked three artists living in Barcelona (Carles Canellas, and Alain Baumann Marcel.lì Antunez Roca and Rosa Sanchez of Konic Thtr) to give us their personal image of the city and the region and some indication of the places and protagonists of the "new scene Catalan, even the alternative and underground. It is showed a less exciting, because subsidies to culture and the recent economic contributions of the Government of Generalitad not fully meet the demands of new spaces of artists, production houses and even though they are still a significant first start of a process of openness to experimentation and promotion of the theater to which the whole of Europe looks with interest.

Can you describe the "Catalan scene" today in reference to the scene of research and technology specific to the theater? It 's more lively than in other countries? Is there really a "Catalan Renaissance"?

Carles Canellas I personally have my doubts che si possa parlare di un “rinascimento catalano”. A parte alcuni artisti, autori e gruppi molto specifici e ormai noti (dalla Fura dels Baus a Calixte Bieito, da Marcel•lí Antúnez a Sergi Belbel), il settore rimane in una siccità totale di creatività, perché non va solo ripetendo schemi, ma anche rimontando spettacoli vecchi di vent’anni, solo che ora alcune compagnie hanno un appoggio economico pubblico e privato più forte che mai. Con il nuovo governo della Generalitat (governo autonomo catalano) - passato da centro destra a un’unione di tre partiti di sinistra e centro sinistra -, l’ammontare delle sovvenzioni si è moltiplicato per tre in quattro anni (ma erano così basse che has not been a great effort!). The downside is that, as expected, the money is not used to triple the amount of activity and subsidize artists, but to duplicate that already incorporated large quantities, the usual ....

KONIC THTR The scene in particular English and Catalan is quite active at this time in the field of experimental theater. We work in a very specific context that the creation connected with the theater and new technologies. In this kind of artistic events, however, Spain has a more recent history when compared with other European countries like Germany, Austria, England ol'Olanda. At the same time, This artistic trend is strongly rooted and is present in the universities with the creation of master and being trained every year young artists specializing in these languages.

Marcel.lí Antúnez Roca Konic Both companies are like me with a rather long history beginning in the nineties in Barcelona. We shared programmers, engineers, and probably have experienced similar issues. But companies are not young or new investigators are artists, pioneers with broad curriculum. I am not aware of technological developments in Barcelona in reference to groups, but my impression is that most of the drama is interested in new technologies such as drama motion picture or drama and little "sistematurgia (ndt," drama influenced by computer systems). But this is an opinion that comes from a very special and my perception may be that it is wrong. From the perspective of institutional support has had a change of parameters in a way that facilitate patterns of production and distribution of works. The Department of Culture of the Generalitat of Catalonia has had a change of sign compared to our previous model, and just 3 years encouraged through economic aid, research, production and distribution of works. But much remains to be done.



Quali sono i luoghi della ricerca teatrale e i festival che normalmente ospitano lavori tecnologici?

CARLES CANELLAS A Barcellona a dire il vero in questi ultimi dieci anni sono apparsi nuovi spazi “alternativi” di distinto formato che sempre in grande precarietà accolgono proposte di ogni genere, molte delle quali al di fuori dei circuiti e delle programmazioni dei teatri commerciali, come “L’antic teatre” http://www.lanticteatre.com, “la nau ivanow” http://www.nauivanow.com, “cincomonos” http://www.cincomonos.org, “almazen” http://www.almazen.net, “conservas” http://conservas.tk and others. But also spaces of creation, old factories that are resistant (some of the artists in) the demolition promoted by real estate speculation in place, but unfortunately its days except in those where popular pressure has forced the city to go back, check permits granted, and in some cases to buy the property to preserve all or part as industrial heritage. Here we find "hangar" http://www.hangar.org, "the escocesa" http://www.laescocesa.org.
But other outside Barcelona as "nau auger" http://www.naucoclea.com
The two large public theaters in Barcelona have new and "young" directors artists from the old "alternative": Sergi Belbel the Teatre Nacional http://www.tnc.es, Alex Rigola the Teatre Lliure http://www.teatrelliure.com.
The great structure of the "Mercat de les Flors" http://www.mercatflors.org has become a space for dance and movement arts, and history Teatre Romea http://www.teatreromea.com, by some years managed by Focus, one of the largest manufacturers of commercial and musical theater (entertainment) had until recently, as a matter of public image, under the direction of Calixto Bieito, works of great size and avant-garde (now is a bit 'changing its arts policy and management).
With regard to private rooms - both with strong public funding - distributing productions of little artistic and cultural interest, played by actors and actresses in the popular Catalan television. A similar thing happens in the old salt alternatives in commercial theaters have become realities of small size, which are the most extraordinary thing as playwrights and directors in Latin America.
international productions will get some, but only within some large festivals such as the http://www.barcelonafestival.com Grec in Barcelona or Girona http://www.temporada-alta.net Temporada Alta.
Then, new festival but just stuff. Just would notice that the Grec Festival, organized by the city of Barcelona, has a new artistic director, Ricardo Szwarzer, Argentina Buenos Aires resident in London, bringing with it a great theatrical experience (former Director of the Teatro Colon in Buenos Aires) trends and new stage. After an initial transition year we'll see if he can do all the major projects he has in mind.
For companies whenever it is more difficult to work abroad because costs have gone up very much and the Festival must measure the costs. But this is an international phenomenon that affects us all. It is true that some artists have the help of the Catalan Institute of Culture "Ramon Llull" for their foreign travel

KONIC THTR In Barcelona there are many festivals showing work related to technology. The most interesting were: Art Futura (www.artfutura.org/v2/) Festival and the IDN (International Festival of Dance and New Media) organized by Nu2 (www.nu2s.org/idn/).

Marcel.lí Antúnez Roca The situation of the Catalan region, in particular the city of Barcelona, \u200b\u200bin contrast to the trend of providing financial support, now is a little room for drama with a different, it has good theaters for drama in Catalan and good space for dance and drama of the movement. There is however an area where they regularly show the work of the companies. We are organizing to solve this problem. The festival of Barcelona NEO focus on this type of drama but not sure it can continue. A few festivals and some space technology shows occasional programs such as Art Futura, sometimes SONAR el'Escorxador Teatre of the city of Lerida, etc.. Sonar is an event clearly related to commercial techno music with a section of media art, but with almost zero interest for sistematurgia drama and technology. Other areas of production are Hangar (www.hangar.org) and CASMA (www.centredartsantamonica.net). The area of \u200b\u200bthe Animal Creation (www.lanimal.org) The Esquena to show some sensitivity to the issue. In any case, the picture is very positive.



Do you have a stable place in Barcelona for experimentation and dialogue with other artists?

KONIC THTR We do not have a stable place in which to develop our work in Barcelona, \u200b\u200band this is a serious problem especially when you work with technology because it means we have to carry around and set materials, technological equipment very sensitive whenever that work to a new work, a new layout, this is a problem for most of the artists who work in this area that leads each of us to go out looking for residencies in different production areas around the city and also out in international sites. To noi è un problema in più proprio perché abbiamo deciso di fare ricerca, sviluppo e innovazione come produttori indipendenti quali di fatto siamo, volendo portare nuovi linguaggi sulla scena contemporanea. Questo implica una costante negoziazione con le amministrazioni pubbliche, che non sembrano vedere il contributo culturale che questo tipo di progetti può portare e si assumono ben pochi rischi.

Il nostro progetto di ricerca ‘The Augmented Stage’ (ndt: “tecnologie per il trattamento in tempo reale di informazioni multimediali e per la mediazione tra performer e computer”) ha il supporto della Regione della Catalogna, e ci permette di aprire nuove linee di intervento nella sperimentazione dei linguaggi interactive, integrating work in artificial life and development programs in collaboration with English Higher Council for Scientific Research, the Artificial Intelligence Research Institute of the Universidad Autonoma de Barcelona. E 'in this research is developed our latest show Nou_ID although initially was related to the setup project interactive "multi user" entitled e_motive , shown as part of the art and science of the Gallery Metronom Barcelona. Since 2004, however, we have a direct connection to the center of creation The Animal al'Esquena in Celrà (Catalonia), as artists in residence, where we can do research and creation workshops. We are currently participating as invited artists, the three-year project called intereuropeo Absent Interface (2007-2010). We have also established cooperative relations with various Catalan universities to develop portions of work and research processes in which we are involved.

Marcel.lí Antúnez Roca I have my family and my studio in Barcelona, \u200b\u200bBarcelona is an easy city in many respects, but too much travel for others. There is a tendency in Europe as the rest to please an audience and to defend the bourgeois political correctness, the new religion of European culture. I have my team here, working in my studio and try to show my work in a global, worldwide. Barcelona certainly has good communication thanks to tourism and a certain pride in the city of the people (Catalonia), the climate is better than Paris and London, but it is not the Mecca of technology. On the other hand, emphasize the sense that when there are local networks like the Internet?



there a network or a collaborative platform for independent productions?

KONIC THTR Catalonia is a region where the association is very strong and there are emerging networks at both Barcelona and throughout Catalonia who are trying to give more space for new forms artistic expression that involves research in the arts and unconventional forms of art live stage. Hopefully we can put pressure on politicians to change the situation and to provide better working conditions for artists.

Marcel.lí Antúnez Roca Recently the association has been created by artists from the scene that should bring together all the proposals for technology scene, movement, image, but is still being defined.

What do you think are currently the most significant experiences in the field of electronic arts and theater technology?

KONIC THTR Marce.lì Antunez, Sergi Jordà although there are few choreographers who have a permanent establishment here, I could cite some artists: Cesc Gelabert, Toni Mira, Angels Margarit carrying out projects in collaboration with interactive artists, it is not so rapid a change because the value of the text in Catalan theater is very strong and then the theatrical conventions prevent a rapid pace.

Marcel.lí Antúnez Roca Here's a list: Marcel • lí Antunez Roca www.marceliantunez.com), Antoni Abat (www.zexe.net), Konica Thtr (http://koniclab.info/), Reach Table / Sergi Jorda (www.iua.upf.es/ ~ sergi /), Alain Wergifosse (www.experimentaclub.com / data / alain_wergifosse). These are the collective of artists who use la tecnologia in forma preponderante: Straddle (http://straddle3.net/), Telenoika, (www.telenoika.net), Riereta (http://riereta.net/tiki2007/tiki-index.php). (quadratino nero)

Carles Canellas , nato a Barcellona nel 1954, è considerato dalla critica europea uno dei protagonisti del Teatre de Marionetes i Titelles catalano contemporaneo, ovvero il teatro di marionette e burattini. Nella sua carriera ha partecipato a più di 200 festival e rassegne di teatro distribuite per 12 paesi in 3 continenti. Figlio di un fabbro, allievo di Harry Vernon Tozer, il più famoso marionettista anglo-catalano, Canellas è stato il fondatore del Col.lectiu d’animaciò nel 1978 e dello Els Rocamora historical group, and joined the project of the foundation of Circ Cric - which gathered the best circus artists and street in Barcelona. One of the most requested "virtuous" puppet reading a thread, now a teacher at the School of Dramatic Arts, Carles Canellas was a renewal of the genre: an active member of the Movement of Titellaires indipendentes the mid-seventies has supported a battle - in part overcome by the creation of a national network, the UNIMA - the artistic recognition of the puppet theater. Info: www.rocamorateatre.com

Founded in 1985 by Rosa Sanchez and Alain Baumann, Konic Thr has specialized in projects artist who combines interactive technology, multimedia, music, dance and theater. I am from Barcelona and are considered the pioneers of interactive art, for example, among the first investigators of motion capture systems used in theaters to elaborate choreography. Artists residing in the major international centers of creation, have presented their work at Ircam and the Centre Pompidou in Paris, Madrid, Barcelona, \u200b\u200bBilbao, Glasgow, Mexico City, involving universities, polytechnics and research centers for Artificial Intelligence. Their last show NOU I_D places on the sidelines of the so-called "supermodernity" built from software for voice recognition e gestuale dei performer di loro concezione Terra I Vida , ha avuto un’unica data italiana, nel novembre scorso a Catania, nell’ambito di Cultania Festival. Lo sviluppo del software Terra I Vida emerge nell’ambito del progetto di ricerca The Augmented Stage che Kònic Thtr ha intrapreso durante il 2006 al medialab di Metrònom a Barcelona in collaborazione con Martí Sánchez Fibla, ricercatore allo English Higher Council for Scientific Research. Info: http://koniclab.info

Nato a Majà in Spagna nel 1959, co-fondatore e coordinatore artistico dal 1979 al 1989 della Fura del Baus, gruppo di teatro di “rianimazione” catalano, con cui ha presentato le macro-performance Accions (1984), Soz / O / Suz (1985) and Tier Mon (1988), Marcel.lì Antunez Roca has created installations and robotic performance "mechatronic" (as mechatronics is "an integrated discipline Using technology mechanics, electronics and information technology "). The body "in-machine" is at the center of his artistic work, from epizootic to Requiem for Aphasia (1998) and Pol Transspermia until the last show (2004) and lecture-demonstration Protomembrana (2006). The interest in robotics and biology is reflected in both physical interfaces (dresskeleton) that allow the performer to control the robot movement sounds and images and music, both in interactive installations that cause the public to intervene in the artist's body, and finally Biosculture. He has just finished a movie about his long career tecnoartistica entitled El Dibuixant (design) . Info: www.marceliantunez.com