Critical Art Ensemble ::: Article

CAE [Critical Art Ensemble] is a collective of five tactical media practitioners existing since 1987. CAE focuses on the exploration of the intersections between art, technology and critical theory. They have published several books on cultural and political analytics, incl. "The Electronic Disturbance" (1994), "Electronic Civil Disobedience and Other Unpopular Ideas" (1996), "Flesh Machine" (1998), "Digital Resistance: Explorations in Tactical Media" (2001), "The Molecular Invasion" (2002). Their exhibitions and presentations took place in such world-wide museums and centres as the New Museum (New York, 1989), the Memphis Contemporary Art Center (Memphis, 1990), the Hirshhorn Museum of Art (Washington, 1991), the San Francisco Art Institute (San Francisco, 1992), the Institute of Contemporary Art (Boston, 1992), Musee d'Art Moderne (Paris, 1994), the Museum of Applied Arts (Vienna, 1996), the Kiasma Museum of Contemporary Art (Helsinki, 1997), ZKM (Karlsruhe, 1999), the National Center for Contemporary Art (Grenoble, 2001), the Museum of Contemporary Art (Chicago, 2002). CAE works are in the collections of the Whitney Museum, the Museum of Modern Art (New York), the Tate Gallery (London) and many others. CAE participated in various contemporary art festivals, incl. the European Media Art Festival (Osnabrueck, 1995), the Leeds International Film Festival (Leeds, 1995), the Transmedia Festival (Berlin, 1997), Documenta X (Kassel, 1997), etc. The collective delivers lectures; its members conducted a lot of presentations and workshops at the universities of USA, Great Britain, Finland, Austria, Germany, Holland, Switzerland, France, Australia.


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I. LABORATORY: science and technology

Svetlana Borinskaya. Genomics and Biotechnology: Science at the Beginning of the Third Millennium.

Mikhail Gelfand. Computational Genomics: from the Wet Lab to Computer and Back.

Irina Grigorjan, Vsevolod Makeev. Biochips and Industrial Biology.

Valery Shumakov, Alexander Tonevitsky. Xenotransplantation as a Scientific and Ethic Problem.

Abraham Iojrish. Legal Aspects of Gene Engineering.

Pavel Tishchenko. Genomics: New Science in the New Cultural Situation.
II. FORUM: society and genomic culture

Eugene Thacker. Darwin's Waiting Room.

Critical Art Ensemble. The Promissory Rhetoric of Biotechnology in the Public Sphere.

SubRosa. Sex and Gender in the Biotech Century.

Ricardo Dominguez. Nano-Fest Destiny 3.0: Fragments from the Post-Biotech Era.

Birgit Richard. Clones and Doppelgangers. Multiplications and Reproductions of the Self in Film.

Sven Druehl. Chimaera Phylogeny: From Antiquity to the Present.
III. TOPOLOGY: from biopolitics to bioaesthetics

Boris Groys. Art in the Age of Biopolitics.

Stephen Wilson. Art and Science as Cultural Acts.

Melentie Pandilovski. On the Phenomenology of Consciousness, Technology, and Genetic Culture.

Roy Ascott. Interactive Art: Doorway to the Post-Biological Culture.
IV. INTERACTION CODE: artificial life

Mark Bedau. Artificial Life Illuminates Human Hyper-creativity.

Louis Bec. Artificial Life under Tension.

Alan Dorin. Virtual Animals in Virtual Environments.

Christa Sommerer, Laurent Mignonneau. The Application of Artificial Life to Interactive Computer Installations.
V. MODERN THEATRE: ars genetica

George Gessert. A History of Art Involving DNA.

Kathleen Rogers. The Imagination of Matter.

Brandon Ballengee. The Origins of Artificial Selection.

Marta de Menezes. The Laboratory as an Art Studio.

Adam Zaretsky. Workhorse Zoo Art and Bioethics Quiz.
VI. IMAGE TECHNOLOGY: ars chimaera

Joe Davis. Monsters, Maps, Signals and Codes.

David Kremers. The Delbruck Paradox. Version 3.0.

Eduardo Kac. GFP Bunny.

Dmitry Bulatov. Ars Chimaera.

Valery Podoroga. Rene Descartes and Ars Chimaera.
VII. METABOLA: tissue culture and art

Ionat Zurr. Complicating Notions of Life - Semi-Living Entities.

Oron Catts. Fragments of Designed Life - the Wet Palette of Tissue Engineering.

Dmitry Prigov. Speaking of Unutterable.

Wet art gallery





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