critical recombinatory ensemble art

first of all, i think that the term "wetware" is really awsome.
Ok, that's out of the way. Something interesting i learned about the electrical engineer Claude Shannon was that he discovered a fractal pattern for transmitting data on the noisy channel. it had something to do with the fact that bursts of static noise when measured against time are self-similar and so by studying the bursts for a short period of time one could predict when the line would be clear enough to send a signal.
CAE's idea about Duchamp's too-far-ahead-for-his-time artwork strikes me as interesting. While theirs is not a unique assesment of his theory, it has sparked interesting discussions between me and other people. Regarding computer programming as an essential part of the creation of digital music, i feel that breaking down a piece of music to its fundamental machine-language level can be paramount to understanding the true creativity and inspiration of the piece. Like it says in the chapter, "order comes from order".
An apparently chaotic piece of music by Schoenberg becomes quite organized when it is broken down into individual cells and matrices consisting of tones, rhythms, instruments, dynamics, and the like. Likewyse, when one sees the intricate architecture in the orchestral score for Xenakis' "Metastasis", the aurally abstract glissandi become immediately apparent as beautiful recombinations of visual media.
The Critical Art Ensemble's agenda of "street theater" contain many elements that i hope to incorperate into my own art. The idea of setting up a temporal situation where communication can occur is very important to my belief that art should be interactive. Temporal situations are vital because they so unique and cannot be replicated. In this sense, the idea of "street theater" seems more like a lifestyle than it does an art movement.
I do not understand why CAE warns of the risks in the failure of experimental theater. They point out that any experiment has its own inherent risks, but i see the risks of their everyday theater as being part of the experiment. if an experimental actor becomes victim of authoritarian culture, doesn't the fact that the theater caused a reaction mean that the "performance" was successful?