469:. On the morning of 11 May 2004, he woke to find that his wife Hope had died in her sleep. He called 911. Police became suspicious after noticing his biology lab which he kept in his own home. They contacted the FBI and Kurtz was detained for 24 hours before being interrogated and his house searched for biohazardous materials. The house was given the all clear, yet a week later, Kurtz's CAE collaborators were ordered to appear before a grand jury to investigate possible violations of the law regarding biological weapons. The jury met in July 2004 and cleared Kurtz of all "bioterrorism" charges, however the FBI continued to press charges against the artist and the case dragged on for four years. The case was widely covered in the US and international press, and sparked outrage among artists and scientists worldwide. A website was created for people to donate money to help Kurtz pay his mounting legal fees. The case was dismissed in 2008. According to Nicola Triscott, the FBI 'thought they had a situation out of which they could manufacture a terrorism case, which potentially brought great personal rewards', based upon the 'Lackawanna Six Sleeper Cell' case where six Yemeni Americans were convicted of supporting al-Qaeda
298:. In her writings about the CAE, she states that their participatory theatre 'aims to involve the public in the processes of biotechnology in order to contribute to the development of an informed and critical public discourse on contemporary bioscience'. This provides people with knowledge of how science can be interesting and that it can be misused if in the wrong hands. Their works have ranged from genetically modified food, the Human Genome Project (CoNE), reproductive technologies, genetic screening and transgenics. The way they approach this style is through directly engaging with the science and presenting techniques generally unknown to the public in a performative way.
386:(Glyphosate). They successfully grew these crops in their exhibit however once the plants were fully grown they applied an enzyme inhibitor that was reverse engineered to the plants that eradicating the protection that these crops had against the pesticide. The plants quickly died. Though CAE has been showing visualized traces of criticalized artworks that shows paradox of modern agriculture systems, CAE's been tried to make stance that they do not have general position whether if CAE is for or against genetically modified organisms(GMOs).
20:
417:
harmful or not in a game of 'genetic
Russian roulette'. Triscott states through her own experience of participating in the performance that members of the audience were given the opportunity to grow and store their own bacteria, with full instructions and guidance. With the aid of a spinning machine, bacteria were spun with only one of ten chambers holding active bacteria. The purpose of
431:
opportunity to show off their individual strengths and weaknesses, the risk of conflict and mistrust is reduced. They do not believe in equality; rather that every member has 'a voice in the production process ; however the member with the greatest expertise in the area has authority over the final product'.
290:
In its performances, CAE creates various performative identities, such as that of a group of scientists or a corporation. Instead of using fancy, high-tech machinery they use 'high school lab equipment as well as common household supplies and groceries', which brings the scientific difficulty down to
416:
which raised issues surrounding ethics and safety in performative science. This was done through an investigation into creating transgenic life forms and seeing the consequences of potentially releasing them into the environment. It was the audience members who had to decide whether the bacteria was
403:
taken from a blood sample. CAE spliced the genome and inserted it into yeast, which was then placed into host wafers and beer given to audience members who were willing to participate. The genome from the donor is intended to represent a 'New Eve… a sacrosant
Messiah'. The project also offers public
369:
and the difficulties it presents in terms of focusing a group effort against one authority as opposed to a singular hacker, fiddling with code. An important distinction is made that when rebellious acts are carried out by an individual as opposed to a group in singularity, that the dissenter is seen
38:
practitioners of various specializations including computer graphics and web design, film/video, photography, text art, book art, and performance. For CAE, tactical media is situational, ephemeral, and self-terminating. It encourages the use of any media that will engage a particular socio-political
430:
CAE attributes the collective's longevity to their structure which has contributed to positive attitudes throughout the group. The number of members, ranging from three to eight and known as a 'cellular structure' has managed to be sustained without members feeling alienated. As each member has the
276:
Free Range Grain was a performance-based project which tested foods to contest the global food trade system. The project used basic molecular biology techniques over a 72-hour period to test foods that others deemed suspicious of "contamination" even when the authorities were guarding against them.
49:
Its work has been covered by art journals, including
Artforum, Kunstforum, and The Drama Review. Critical Art Ensemble is the recipient of awards, including the 2007 Andy Warhol Foundation Wynn Kramarsky Freedom of Artistic Expression Grant, the 2004 John Lansdown Award for Multimedia, and the 2004
42:
Since its formation in 1987 in
Tallahassee, Florida, CAE has been frequently invited to exhibit and perform projects examining issues surrounding information, communications and bio-technologies by museums and other cultural institutions. These include the Whitney Museum and the New Museum in NYC;
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is to 'introduce bioproducts to the audience, and demonstrate the practical applications of such research, such as disease treatment and xenotransplantation'. As CAE wear lab-coats and appear as professional scientists, they simulate actual biotechnology corporations, emphasizing their intentions
71:
and Steve Barnes began a collaboration to make low-tech videos with students. They credited each person who contributed to the productions under the signature of
Critical Art Ensemble. During the summer of 1987, the group transformed into a broad-based artist and activist collective with six core
264:
The group has exhibited and performed at diverse venues internationally, ranging from the street, to the museum, to the internet. Museum exhibitions include the
Whitney Museum and The New Museum in NYC; The Corcoran Museum in Washington D.C.; The ICA, London; The MCA, Chicago; Schirn Kunsthalle,
439:
CAE has also stated that amateurs have the ability to see through dominant paradigms, are more free to recombine elements of paradigms thought long dead, and can apply everyday life experience to their deliberations. Most important, however, amateurs are not invested in institutional systems of
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a level at which the public can understand and engage with because the worlds of science and technology in the modern world are 'increasingly privatised'. This playful style, however, contrasts with the groups numerous books and manifestos which have an analytical focus.
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as a vandal instead of a protester. The article mentions that resistance in the form posters, pamphleteering, street theater and public art have been useful in the past but now that the public is electronically engaged one must bring their resistance methods online.
365:. They demolished the idea that power cannot corrupt and co-opt network and hypertext technologies, that such technologies have a predetermined and manifest destiny of freedom. CAE goes on to observe that occupation theory itself is challenged by
307:
As part of their critical objectives, they target their attention on private corporations unknown in the public sector who misuse biotechnology. This tactical response is what the CAE have termed 'Fuzzy
Biological Sabotage' (or FBS if
43:
the
Corcoran Museum in Washington D.C.; the ICA, London; the MCA, Chicago; Schirn Kunsthalle, Frankfurt; Musée d'Art Moderne de la Ville de Paris; the London Museum of Natural History; Kunsthalle Luzern, and dOCUMENTA 13.
928:, Surrey, Ashgate Publishing Limited, Chatzichristodoulou, M., Jefferies, J., and Zerihan, R. (eds.), 'Performative Science in an Age of Specialization: The Case of Critical Art Ensemble', pp. 151–166.
394:
In 1999, CAE began a new project to draw attention to the ways in which scientific discourses surrounding biotechnologies drew upon promissory religious rhetoric. This participatory performance was titled
116:
was developed in
Indiantown, Florida, with local migrant workers; addressing Floridian agricultural labour relations. CAE produces an Easter fiesta platform to show the works. In 1992, the group produces
133:
publishers. In 1993, the group is invited to perform their first appearance in Europe at the Audio/Visual
Experimental festival in the Netherlands. They complete the associational documentary series
503:
313:
Using harmless biological species including plants, insects and reptiles, they make sophisticated pranks 'to operate in the grey, in-between spaces as yet unregulated by institutional regimes'
76:
and Hope Kurtz. In 1987, the group's first multimedia exhibitions were held at Club Nu in Miami and Pappy's Lounge in Jackson, Mississippi. In 1988, the group's first events are produced:
361:
the power of the elite has become mobile to the extent that it is difficult for a dissident to directly confront the authority, comparing the untrackable, elusive mobility to that of the
481:
277:
This performance sought to explore biotechnology and the science behind it, as the artists felt it was "one of the most misunderstood areas of production in the cultural landscape".
522:
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448:'Since 2006, CAE has changed the focus of its work towards a critique of US defense policy, and has moved away from its interrogation of biotechnology'.
100:, a multimedia event in Tallahassee, Florida, which critiques U.S. policy on HIV. In 1990, the group collaborated with Prostitutes of New York to create
39:
context in order to create molecular interventions and semiotic shocks that collectively could diminish the rising intensity of authoritarian culture.
122:
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Critical Art Ensemble is the recipient of awards, including the 2007 Andy Warhol Foundation Wynn Kramarsky Freedom of Artistic Expression Grant
92:. In 1988-89, CAE begin to release their books of plagiarist text poetry (of which there are six in all). In 1989, the group collaborated with
478:
214:
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Wardrip-Fruin, Noah, and Nick Montfort. "Nomadic Power and Cultural Resistance." The New Media Reader. Cambridge, Mass.: MIT, 2003. Print.
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In correlation to CAE's work "Molecular Invasion (2002)," the collective hosted an exhibit about genetically modified crops. They planted
23:
Critical Art Ensemble in Halle/Saale, Germany performing "Radiation Burn: A Temporary Monument to Public Safety", October 15th 2010.
399:(or CoNE when abbreviated) and included a "communion" using a random library of the entire genome of the first female donor to the
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knowledge production and policy construction, and hence do not have irresistible forces guiding the outcome of their process…'.
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and the German translation is published by Passagen. The group's street action occurs in Sheffield, UK, with the performance of
1064:
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Critical Art Ensemble, (1998), Flesh Machine: Cyborgs, Designer Babies, and New Eugenic Consciousness, New York, Autonomedia.
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The work of the CAE continues to entertain, inform and show the public how biotechnology can be demonstrated via performance.
153:
project is performed as street action and launched online. The concept of electronic civil disobedience is introduced at the
593:
500:
Rhizome | [Leonardo/ISAST Network] Leonardo/ISAST gives New Horizons Award for Innovation to Critical Art Ensemble
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Perini, Julie (2010). "Art as Intervention: A Guide to Today's Radical Art Practices". In Team Colors Collective (ed.).
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249:(CoNE) and is premiered at St. Clara Hospital in Rotterdam, The Netherlands. A new book project is begun, entitled
854:
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The collective has written 7 books, and its writings have been translated into 18 languages. Its books include:
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Sholette, G., 2005 summer, 'Disciplining the avant-garde: The United States versus the Critical Art Ensemble',
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548:
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Critical Art Ensemble, (1996), Electronic Civil Disobedience and Other Unpopular Ideas, New York, Autonomedia.
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Critical Art Ensemble, (2006), Marching Plague: Germ Warfare and Global Public Health, New York, Autonomedia.
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is toured, premiering in Vienna and closing in Helsinki at Kiasma Museum of Contemporary Art in summer 1998.
73:
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Critical Art Ensemble, (2001), Digital Resistance: Explorations in Tactical Media, New York, Autonomedia
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and online preaching, baptisms, communion, sacred theological and cosmological texts and prophecies.
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382:'s genetically modified seeds that were designed to be immune to Monsanto's commercial pesticide
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Uses of a Whirlwind: Movement, Movements, and Contemporary Radical Currents in the United States
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Frankfurt; Musée d'Art Moderne de la Ville de Paris; and The London Museum of Natural History.
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conference in London. In 1995, the concept of the data body is introduced in lectures at the
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The collective has written 7 books, and its writings have been translated into 18 languages.
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Critical Art Ensemble, (1994), The Electronic Disturbance, New York, Autonomedia/Semiotext.
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Formed in 1987, CAE's focus has been on the exploration of the intersections between art,
8:
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and the German anthology of CAE's writings on electronic media is published by Passagen.
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in Kassel, Germany to begin the editing and conceptualizing process for the book
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Disciplining The Avant-Garde, The United States versus The Critical Art Ensemble
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Critical Art Ensemble, (2002), The Molecular Invasion, New York, Autonomedia.
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is premiered at Rutgers University in the student cafeteria. Work begins on
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The International Campaign for Free Alcohol and Tobacco for the Unemployed
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Flesh Machine: Cyborgs, Designer Babies, & New Eugenic Consciousness
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149:. CAE projects begin to appear in both real and virtual forms as the
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Presentation by Steve Kurtz at the Cyprus University of Technology
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Critical Art Ensemble, (2012), Disturbances, London, Four Corners.
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members: Steve Kurtz, Steve Barnes, Dorian Burr, Beverly Schlee,
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Sholette 2005, p.52. cited in Critical Art Ensemble 2001, p.9.
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which premiered at Window on Gaines in Tallahassee, Florida.
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UB Art Professor "Strange Culture" Case Goes to Court | WBFO
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Calendar | The Humanities Project | University of Rochester
498:, and the 2004 Leonardo New Horizons Award for Innovation.
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Critical Art Ensemble, 2000 winter, 'Performing a Cult',
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Electronic Civil Disobedience & Other Unpopular Ideas
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publishes the French anthology of CAE's writings titled
161:. The group tours around Europe with the performance of
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CAE's work has been covered by art journals, including
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Critical Art Ensemble, 'Performing a Cult', pp.167-173
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Critical Art Ensemble, 'Fuzzy Biological Sabotage',
357:, in which CAE argues that with the creation of the
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Interview with Steve Kurtz of Critical Art Ensemble
942:Digital Resistance: Explorations in Tactical Media
336:Digital Resistance: Explorations in Tactical Media
259:Digital Resistance: Explorations in Tactical Media
251:Digital Resistance: Explorations in Tactical Media
207:README: Ascii Culture and the Revenge of Knowledge
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910:Critical Art Ensemble, 2000 winter, 'Timeline',
145:and construction begins to create CAE's website
617:Critical Art Ensemble, 'Timeline', pp. 132-135.
67:, technology, and political activism. In 1986,
488:, the 2004 John Lansdown Award for Multimedia
280:
951:, Vol. 44, No. 4, pp. 167–173 MIT Press.
921:, No. 112, pp. 50–59 Circa Art Magazine.
914:, vol. 44, No. 4, pp. 132–135 MIT Press.
749:The New Media Reader. New York: The MIT, 2003
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353:CAE is noted for having written the article
50:Leonardo New Horizons Award for Innovation.
944:, New York, Autonomedia, pp. 9, 70-73.
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191:Flesh Frontiers and Shareholder's Briefing
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209:at Hybrid Workspace. The performance of
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1060:Arts organizations established in 1987
1055:American artist groups and collectives
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783:Critical Art Ensemble 2000, pp.167-173
737:, 11-30. New York: Autonomoedia, 1994.
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1035:Nomadic Power and Cultural Resistance
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355:Nomadic Power and Cultural Resistance
237:publishes the Italian translation of
197:publishes the Italian translation of
1023:Interview with Critical Art Ensemble
825:Critical Art Ensemble 2001, pp.70-73
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185:), and research begins for the book
121:as a series of works developed for
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294:Nicola Triscott is the founder of
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855:"The Artists in the Hazmat Suits"
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713:Sholette 2005, p. 52. cited in
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112:In 1991, a body of work titled
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759:Critical Art Ensemble (2002).
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554:Institute for Applied Autonomy
549:Electronic Disturbance Theatre
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346:(2006), and the project book
239:Electronic Civil Disobedience
179:Electronic Civil Disobedience
74:Ricardo Dominguez (professor)
1100:American performance artists
937:, 2009, accessed 2010-02-17.
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281:Works and artistic approach
189:. In 1997, the group tours
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763:. Autonomedia. p. 3.
735:The Electronic Disturbance
324:The Electronic Disturbance
219:La Resistance Electronique
199:The Electronic Disturbance
183:The Electronic Disturbance
143:The Electronic Disturbance
127:The Electronic Disturbance
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34:) is a collective of five
926:Interfaces of Performance
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78:Political Art In Florida?
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1090:Internet-based activism
1085:Politics and technology
653:"Critical Art Ensemble"
628:"Critical Art Ensemble"
594:"Critical Art Ensemble"
181:(the companion text to
949:The Drama Review 1988-
912:The Drama Review 1988-
88:in collaboration with
80:in collaboration with
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924:Triscott, N., (2009)
897:Triscott 2009, p.165.
877:Triscott 2009, p.154.
695:Triscott 2009, p.151.
267:Critical Art Ensemble
147:Critical Art Ensemble
135:Apocalypse and Utopia
28:Critical Art Ensemble
22:
843:Triscott 2009, p.166
804:Triscott 2009, p.164
704:Sholette 2005, p.52.
683:Sholette 2005, p.51.
426:Collective structure
401:Human Genome Project
201:. The group goes to
125:. They also propose
457:Steve Kurtz's Trial
397:Cult of the New Eve
390:Cult of the New Eve
247:Cult of the New Eve
86:Frontier Production
16:Artists' collective
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934:Molecular Invasion
761:Molecular Invasion
722:2010-01-22 at the
716:Molecular Invasion
494:2006-11-19 at the
484:2011-07-24 at the
374:Molecular Invasion
340:Molecular Invasion
151:Useless Technology
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1080:Political artists
1016:Gregory Sholette
569:Internet activism
296:The Arts Catalyst
286:Performance style
98:Cultural Vaccines
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255:Autonomedia
253:. In 2000,
241:. In 1999,
223:Autonomedia
221:. In 1998,
203:Documenta X
175:Autonomedia
139:Autonomedia
137:. In 1994,
131:Autonomedia
96:to release
69:Steve Kurtz
1049:Categories
905:References
864:2009-03-06
663:2010-05-06
638:2010-05-02
604:2010-05-06
515:Kunstforum
435:Amateurism
367:cyberspace
257:publishes
225:publishes
177:publishes
163:Body Count
141:publishes
419:GenTerrra
363:Scythians
272:2003–2004
173:In 1996,
169:1996–2000
108:1991–1995
102:Peep Show
94:Gran Fury
59:1986–1990
720:Archived
528:See also
511:Artforum
492:Archived
482:Archived
414:GenTerra
408:GenTerra
380:Monsanto
359:internet
350:(2012).
342:(2002),
338:(2001),
334:(1998),
330:(1996),
326:(1994),
544:Biopunk
384:roundup
215:L'Eclat
54:History
994:
767:
539:BioArt
517:, and
473:Awards
84:, and
919:Circa
580:Notes
1025:PORT
992:ISBN
765:ISBN
129:to
32:CAE
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