Lili Maya

I began mixing traditional/physical art forms with digital media because I needed the contact with the physical act of drawing and making. It is how I think and orient myself. What I once thought was a desire to mix these worlds was really a necessity if I was to continue working with digital media.

Over time, I stopped making a distinction and I think of my work as art that incorporates different materials and processes. Expanding on that notion, my practice is now an interdisciplinary collaboration involving sound, performance, site-specific installation and music.

Laura Alesci

Please Watch Over Me

March 8 2010_Alesci_TECH_Thesis

I was waiting for you. You were running late. You were out on patrol and just received a call to be on desk duty. I have to be on desk duty tonight.

I head out of my apartment to meet you. I get on the bus and it drops me off in front of the main station. As I am walking in I hear a knock on the window, I turn around to see if it was you. It wasn’t.

I walk into the station and tell the women at the front desk that I was there to meet you. Just wait a moment.

A bulletproof glass panel divides the reception area and the seating area for civilians. After a few minutes of waiting, you notice me and signal me in. The receptionist buzzes me into the restricted area.

You show me where you go to clear your mind.

It’s Quiet Here No One Bothers You Here

The next night I return to the docks on my own. I take an image and plan to give you a print of it the next time we meet.

Once in the main hallway, I wait outside another door. You come open the door for me. We walk into the main headquarters office. It is divided into three separate rooms that open into each other.

The middle room contains two rows of cubicles, each cubicle space has a computer. Glass window panels separate the adjacent rooms on either side. To left is the chief’s office and to the right is the desk duty station along with the reception area.

The reception area is where individual complaints and reports are taken. The receptionist was busy. She was talking to a woman in the waiting area I was in minutes before.

We walk over to the desk that you are assigned to for the night.

The chief needs to speak to me, I will be right back.

It’s a gray office, fully carpeted with blue borders running along the floor. I wait at our desk.

When you return, you tell me about report procedures. Part of desk duty is approving and merging reports. All reports must be reviewed. Once approved the report enters a record system through a process called merging. Once the report is merged with this system it is ready for distribution and available to the public.

I ask if I can approve one. You are not sure at first. After a couple of minutes you let me approve one.

Three other officers walk in. They gather around the desk for a quick talk. One of them speaks to you. Looking to go downtown tonight? I am working out. Have to keep up with the younger guys.

I comment on his jacket, Where did you get that?

He names a place quickly. He tells me how I can get a coat just like it, It looks just like the other coats that are required for all the officers to wear. You know you can even get your numbers sewn in with gold.

 

Please Watch Over Me

Jeanne Jo

I use the computer as a tool that is explored in relation to a nexus of artistic practices.

In particular, my work embodies elements of sculpture, performance, video art, photography, and abstracted needlecraft. My embrace of the computer as a critical tool in the process of art making is, in part, a result of witnessing the explosion of information and technological advances that occurred with the Internet. I make sense of the rapid advance of technology through both digital and analog processes.

The history of computing is linked to the art of weaving. Charles Babbage, an English mathematician and engineer, used the Jacquard Loom as a model to develop the first programmable computer, collaborating with Ada Lovelace as its first programmer.

Yarn work carries associations of domesticity and the comforts of home. Online, “home” is relocated into an abstract, nonphysical concept. Internet browsers have “Homepages,” which resemble foyers or entryways. Dialogue happens in specialized “Chatrooms,” which mimic the exchange of information found in sewing circles. Remnants of the computer’s historical ties to weaving exist in the very structures of the Internet.

Flying Machines

Gideon Webster

Wayfarers Path

Wayfarers Path is a six-foot by eight-foot grass surface based on the topography of the land near my current home in Rhode Island. The topography of the piece is based on my memory of the space surrounding my home. I had come to live in a new place and felt displaced from my old home; I walked so that I might feel connected again.

I constructed a mechanism which is suspended two feet above the surface of the grass. It carries a six-legged wheel which I carved from wood. The wheel walks a loop based on several paths that I walk near my home. I began walking around my home so that I could feel connected with the landscape. I wanted to create a physical manifestation of my memory maps that was void of any reference to specific geography, with the exception of topography. My memory maps often consisted only of the recording of the path and lacked markings of place.

Gideon Webster: Making The Path You Seek

 

 

Janet Shih

To fit our contemporary purposes, the definition of the image needs to be updated to include all superficial, two-dimensional representations.

This includes other media: video, animation, charts and graphs, photo compositions, images recorded by machines free of human intent, websites, and entire social networks including the representations of the individuals of which they are comprised. These representations all have the same inherent issues as the still photograph. As the majority of images we see from day-to-day are considered technical, a redefinition of the image automatically calls for a redefinition of the apparatus.

Visual Realities

Bill Seaman

Perhaps the most difficult question for the graduates (and ourselves) is how do we go beyond what we know? This is actually a matter of personal courage.

I have used my own methods to help guide students through this very process. I must also admit that this set of processes continues to foster my own growth and learning. I often do my own research related to the student’s inquiry to keep well-informed about new development in the field. The exploration of such generative processes in the service of creative production is a lifelong concern. Working with top students is a deeply fulfilling way to live, continue to learn and study multiple fields.

Jane Long

To Fix

 

To do justice to the messiness of nature, one tries to make ample use of ambiguity, incompleteness, wordplay, and in discretionary indirection.

The fixing of life for analysis to find a story of life is to kill the life to study life. Something we know all too well. To never know anything but a shell or a residue. The fruitful endeavor of plotting while finding the plot. Plot, plot, plot. Nature curling and turning as beings of nature we try to tell that story our own, the ultimate means to an end.

Jane Long: Subjective ObjectAs a nature. A human nature when we lay our heads down at night, when we eat an unfulfilling meal, when we experience the unsatisfactory return to consciousness post climax, and the dull feeling of coming back to life—reveal the constant suspicion deep within the planted plot that there is no overarching story, just as many plots with no end. In fact, there are so many plots that trying to find the everything-story seems inconceivable even beside the point (Rushkoff 2013)

 

On Everything and Nothing

Bill Seaman

My teaching method has been to articulate a core set of concepts and approaches by providing essential texts and central technological methodologies, augmented with a broad range of study related to more individual, eclectic practices and research potentials. Thus, I draw on texts from numerous research domains.

If we are “Learning at the Intersections of Art, Science, Technology, and Culture,” then it goes without saying that a student may be reading texts from a multiplicity of research contexts. This means that the Digital+Media student must pull from a plethora of readings exploring new ideas and methods surrounding digital media production. This potentially includes exploring digital media from one or more perspectives. Because digital media is used in almost every discipline, this means that each student will define their own particular approach to its creative, expressive potentials.

Gideon Webster

I think physical displacement or my perception of feeling out of place is often a trigger that leads me to explore.

The exploration, in a way, is an effort to seek out new memories. I have always learned by doing and by experience. I don’t think that my work needs interaction, but I enjoy the challenge that the invitation creates.

Samuel Galison

I don’t see imitation as a weakness or a lack, and I don’t think the “sincerest form of flattery” view quite does justice to the complexity of mimesis. Imitation is central to any kind of ethics, and it’s the trellis on which more intricate forms of human relationships can coalesce and grow. Mimicry isn’t just an interpretation of or reaction to external impelses, it’s how we understand the world on a basic level. I see glints of mirroring at the core of empathy, learning, even friendship, and definitely love. Maybe that’s why imitation’s such a sensitive subject for so many; whether it’s copyright infringement or parody, adoration or critique, being mimicked pokes at something deep.

FOR A MOMENT