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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