Claudia O’Steen

Transcripts: 2/5

It’s snowing right now. I’m on the way to the beach in Little Compton. It’s snowing and my windshield wipers are not working.

I originally came here because I was interested in documenting the lighthouse everyday. I was interested in this because it’s a structure that is operated by one person. It is a form of communication across a vast space—the sea. It is a type of communication where you don’t know who you are reaching out to, and you never actually come in contact with the person.

I’ve been bringing my binoculars out every day to look for the lighthouse and to write notes about it, because I thought that I could see it in the distance. Then, one day I got lost coming out here because my phone wasn’t working. I met a man on the beach named Tom (his dog is named Max). He showed me around the city a bit and told me where the lighthouse actually is (so I’m not sure what I’ve been looking at).

Is this us (I’m looking for the turn)?

I think part of what has been exciting about this process is that every time I get to the sea it’s completely different than the time before. I never know what to expect.


Sometimes I get there and it’s beautiful and pleasant, and sometimes it’s freezing with hurricane winds.

Something else that has been interesting about this process is that not only does it change when I’m there, but the process of getting there changes, and the way that I feel while driving changes.

It’s a long drive with lots of back roads, and I had to use my GPS the first several times I drove here (until I got lost). It was because of this that I was forced to learn my way. Now when I drive here I zone out and just end up there. I know the curves of the road. I know the sounds my car makes when I go around the curves—how it responds.

We’re getting closer now. I realize that I need to be alone during this process, because when I’m not, I’m more aware of how long it takes to get here. The drive is a period of reflection. I think about what will happen when I get there, why I’m doing this and what I’ve discovered.

When I’m not alone I lose that.


Visible Limit of the Sea

Dan Chen

It’s not every day that you get to be affectionate around something, it just doesn’t happen that often. —Larry David1

It is because of the above that I treasure every moment of affection that I get. Robot-stimulated affection might just be something that we can use to ease in and out of real affection toward another human being.

Whatever love you can get and give, whatever happiness you can filch or provide, every temporary measure of grace, whatever works.
—Boris Yellnikoff2

Happiness and love are sometimes hard to come by. If the robot makes a person happier than a real person, we shouldn’t deprive them of it. Having said that, whatever works doesn’t mean it works the best, or is the best solution.

If you tell the truth about how you’re feeling, it becomes funny.
—Larry David3

The truth is that this device is a placebo device duplicating the act of comfort. It does in fact comfort, but it is also nonsense at the same time.

Every relationship is just so tenuous and precarious. – Larry David4

If this is true about human relationships, in many aspects it is no different than relationships people have with robots or pets.

1“Larry David.” Xplore Inc, 2012. 2 May. 2012.
2“Boris Yellnikoff” Whatever Works (2009) – Memorable quotes, 2012. 2 May. 2012.
3“Larry David.” Xplore Inc, 2012. 2 May. 2012.
4“Larry David.” Xplore Inc, 2012. 2 May. 2012.
File > Save As > Intimacy

Stephen Cooke

D+M students think about how technology is used in practice. Our students are interested in the social implications of technology, or why technology is affecting our lives.  Why should we use technology? Why shouldn’t we use technology? Our students ask those questions, as opposed to just considering technology another material.

Vivian Charlesworth


This is my model of the universe: macrocosmos alive within microcosms, paradise in a simple natural gesture, forever in a moment, and a moment in forever. Words, these symbols on paper, these guttural sounds that squeeze through the human throat, capture the vast beauty and tragedy of the earth as well as that which lies beyond.


This thesis is an attempt to write the sweetest song I have ever heard, to capture the deepest depths of sorrow, to take the reader into the middle of my narrative, to inhabit with me the place of my broken heart, the ecstasy of summer’s day, and the constellations of my own perceived universe.

In the end, the path diverges into the history books, challenging us to try to discern what is fact and fiction, what is important and what is superfluous.

The Transformation of Things

Sophia Brueckner

Singing Code

Inspired by John Baldessari singing the instructions of Sol Lewitt, I sang the instructions that I knew: C++ code. C++ is made up of two files, the header file and the body file. This simple C++ program layers the videos of me singing the C++ files.


Enraptured && Encoded

Mueller Brothers

In our opinion, D+M was the only interdisciplinary department at RISD. It brought many different departments together to have a conversation about technology. It was a place where other departments could take technology and apply it to their own practice.

For us, it was a place where we could dive deeper into technology and learn from people around us and their different approaches and disciplines.

Laura Swanson

Homemade Bull

Homemade Bull is a dwelling space that gives its child Other owner a powerful, unassailable “super-shell” body that protects her when she wants to read critical theory, express herself through art, or sleep and dream without the anxiety of social oppression. Using an imagined narrative of a child Other who is conscious of her own alterity and seeking to understand social injustice in order to become intellectually liberated, Homemade Bull is part of a series of surrogates and private refuges I created to assist her in this process. The viewer is not allowed to go inside the bull, but can get a glimpse of the hidden bedroom by looking through one of the nostrils.

Laura Swanson: Homemade Bull

Laura Swanson: Homemade Bull

Laura Swanson: Homemade Bull

Lucas Roy

I live next to Coffee Exchange, a small coffeehouse on Wickenden Street.

It is a place where many people start their days, getting cups of coffee and then sitting down for a few minutes to talk to friends or co-workers. Sometimes the line went straight out the door. It was one of the more popular places on Wickenden Street, but even so, after two weeks the employees knew my order—medium dark roast with cream. I began feeling a connection with the place and the people who were a part of its culture. It was not uncommon for someone to start a conversation with me and every time I returned, that employee or patron remembered my name and we started up where we had left off.

My connection began with the coffeehouse, but soon extended to the people I ran into. Most people were quite willing to talk to me and soon I began hearing stories—about the area, about when they grew up and their feelings about Providence, Rhode Island. I realized I was experiencing a small part of the culture of the city.

When I think of the ways in which culture is created in an area, and how people develop sense of place, I think of my time at the coffeehouse. I developed relationships with the people I ran into, even if we simply exchanged greetings. I begin to get an idea in my mind of what that place felt to me. “If space is where culture is lived, then place is a result of their union.”1 It seemed with each conversation I had, each instance of interacting with the community developed my personal relationship with the area.

1Lippard, Lucy R. The Lure of the Local: Senses of Place in a Multicentered Society. New Press, 1998. Pg 10.

The River in My Mind

Joseph Hocking

There wasn’t so much a single common thread in our methodologies and interests, so much as a bunch of separate but overlapping circles.

Mark Cetilia

Technology is not only changing the world around us but the ways in which we relate to our surroundings. My goal is to create physical environments that use technology to give viewers the ability to directly engage with aspects of their surroundings that would otherwise be hidden from their perception. I am interested in utilizing projected sound and video to elicit physiological responses, as well as finding ways to use the body itself as an instrument for learning. It is important to me that the experiences of those who enter my installations are capable of being defined on an individual basis. Rather than creating work that is didactic or overtly politicized, I strive to create contemplative environments that allow for exploration and discovery. My work ultimately lies in the creation of physical spaces that allow access to experiences outside of human perception via tangible, physiological responses to projected sound and light.