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Dominguez, Ricardo

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Digital access to this material is pending artist's approval. Materials may be viewed onsite at the Goldsen Archive, Division of Rare and Manuscript Collections, Kroch Library, Cornell University.

The idea for *b.a.n.g* lab started in 1986 when I first read The Engines of Creation: The Coming Era of Nanotechnology By K. Eric Drexler. When I became a member of the Critical Art Ensemble (1987 - 1995) nanotechnology became part of the what we called the "performative matrix" that would emerge during the 90's. The "performative matrix" was divided into 3 stages of analysis, critique and aesthetic intervention: stage one, Digital Capitalism; stage 2, Genetic Capitalism; stage 3, Particle Capitalism (nanotech driven economies) by the end of the 90's. Each stage called for a different type of aesthetic interventions. As a new media performance artist I focused on Electronic Civil Disobedience during the mid and late 90's with my group the Electronic Disturbance Theater and the Digital Zapatista movement; meanwhile the rest of Critical Art Ensemble pursued the development of biointervention art; by the end of the 90's I attempted to develop work around nanotechnology but was never able to find support for the work - specifically around the issue of nanotoxicology and the unregulated use of primitive nanocarbons and nanotubes in a wide number of mass market products - that was at the core of the performative intervention I was seeking to stage.

 
 
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