New technologies are rapidly shaping our understanding of reality, identity and environment. It is therefore important for the arts to evaluate these potential futures, as they will inevitably impact upon sociological and cultural awareness. As reiterated by Catts & Zuh 2004, "Modern biology as part its art making and as its main subject of concern, is undeniably art of this time, dealing with the topical issues of the day while raising profound and timeless questions about life". It emphasises the "impact scientific discourses on social relations, and the social forms that technology takes" (Fantone & Catts, 2002).

Our relationship to technology can be described as "the 'post human' condition," Where the products sue as make-up and surgery, drugs, mobile telephones (Farren & Hutchison, 2004) have become so integrated with our everyday lives that they become "technological extensions of our biological bodies" (ibid). We are so comfortable and familiar with these technologies that they have "become normalised" (ibid). The development of biotechnologies takes technological integration beyond the mere mechanical to a real visceral level. With these new biological textile techniques, the Micro 'be' project will prepare the garments to be documented and taken out of the laboratory and into the public sphere.

This will then act as a catalyst for debate and an invitation to engage/be confronted with the biotechnologically fermented clothes and the cultural issues this raises.

Clothing embodies the sociological constructs of cultural identity. These may include gender, race, sexuality and class. As discussed in Shilling 1993, "socio-biology, consider the body as a pre-social, biological basis on which superstructures of the self and society are founded". A garment therefore is a tool of silent communication. Clothing is used both to reinforce and break conventions (O'Mahony, 2002).

Following the theory of the "garment as an information medium, that extends the function of the skin (McLuhan, 1964) - the Micro 'be' garment will not only rupture the meaning of traditional interactions with body and clothing; but also raise questions around the contentious nature of bacterial biotech processes themselves. This would be what Virilio, 2004 terms presentative art "to outdo mere representation by offering the very presence of the event".