Maralie Armstrong

I am part of a generation I call the “Great-grandchildren of the Machine.” This generation was raised in a post-industrial society witnessing the rise of the personal computer, subjected to synthesized top 40 hits and exposed to computer familiarization programs in primary school (1980’s).

The great grandchildren observed the cultural transition from analog to digital; the transition into the Information Age. We cling to our cassettes, LPs, and VHS collections while adopting Compact Discs, DVDs, and MP3s. While the machines we experience are different from the Futurists, the sentiment is similar.

Each generation makes instruments that aren’t yet recognized as instruments or performed in ways that are not traditional. We design idiosyncratic machines to assist the expression of robust human experiences.

Engendered Machines and Humanbeasts

Chih Hao Yu

I am trying to counteract the popular, under-considered, blinded, skewed, overly-simplified, overly individualistic so-called “maker mentality” that has trumped everything else in this institution—for teachers, students, administrators, and decision-makers alike.

Chih Hao Yu: experiments

I call for the restoration of balance between making and thinking. In order to generate sufficient momentum to tip the scale, extreme measures might be necessary. Namely, an over-emphasis on thinking over making.

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Jason Huff

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We are super connected. Every passing moment presents unimagined opportunities. Does that sound utopian? Yes. Welcome to the new economy of ideas, where you can search for the next everything. Welcome to paradox. Welcome to burnout. Welcome to endless opportunities.Huff_TECH_INCRIT_Diagram1

Are We Not Drawn Onward To A New Era

Hye Yeon Nam

The expectation to conform culturally weighs on me heavily.

Recently, I was having breakfast when the server asked how I would like my eggs prepared and if I wanted them “sunny-side up.” I had never heard this term before and had misunderstood him as saying “sun inside up.”

I could have easily answered him affirmatively but instead I questioned him as to what “sun inside up” meant. This led to a frustrating interaction where he could not understand what I was saying and I could not understand the colloquialisms associated with ordering eggs.

In retrospect, I wonder if I should have just agreed with my server rather than causing the confusion to occur? Or was it best that I asked him so that not only did I have my eggs prepared the way I actually wanted them to be prepared but so that I could also learn what “sunny side up” meant to avoid future such situations? How should I have proceeded in the way that was most culturally complacent?

What does cultural complacency imply?

Self Portrait

Michael Tauschinger-Dempsey

Out of Service


My focus on weaponized technology has inspired me to develop my own weapon systems, thereby mimicking and recreating the aesthetics of the arms fetish that is uniquely popular (and stringently protected) only in the United States.

Americans have a very distinctive relationship to weapons, no doubt owing to the United States’ rebellious explorer history and the right to keep and bear arms clause included in the original Bill of Rights and later added as a Constitutional Amendment.

I was also influenced by the aesthetics of “homemade” weapons confiscated in prisons, which demonstrate that the U.S. society is thoroughly and significantly weaponized from top to bottom. The unprecedented frequency of office, casual domestic, drive-by and school shootings prove this point.

My hope is for this thesis installation to stimulate spectators’ critical reflection about the questionable necessity of weapons, particularly as accessories to our daily lives, and the inclination of technological innovation towards new modes of destruction and control of the citizenry.

My artistic weapon systems allude to these issues by way of contextualization. The Home-Depot aesthetic of my fictional gun shop is a graphic foray, bathed in black humor, into the culture of weapons fetishization.

Michael Tauschinger-Dempsey: Out of ServiceMichael Tauschinger-Dempsey: Out of Service

Jane Long

Let us consider, briefly, biological phenomena as life phenomena. And then also, life phenomena as encompassing day-to-day life concerns.

It is as much about how my brain develops, how my blood carries oxygen, as it is about whether my family is well, whether the state of our society and humanity is well, whether or not the thousands of faces we wear are expressions of self, whether or not the emptiness we feel is the human condition, whether or not there is absolute truth and knowledge.

Jane Long: Subjective Object

On Everything and Nothing

Janet Shih

My generation is one of natives to a digital landscape, where much of our adolescence and development has come from time spent online rather than in backyards or parks or elsewhere.

They—as in the media and its representatives—like to write about me and the seemingly alienated way I live. They scold me for my lack of commitment to a career and to relationships, and for my constant use of electronic devices. Everything rooted in analog traditions and physical presence, they say, is going to shit.

Visual Realities

Lisa Iaboni

Digital images are unique because they are transient.

Their meanings will change over time and in space. As digital images start to represent more of the world around us, I am excited to continue to work with what Hito Steyerl refers to as the “poor” image.

The decade long transformation of image production from analog to completely digital methods is a radical shift not only in photographic media, but in communication and meaning. “Photo gold” doesn’t always have to be found: it can be created.

I am not entirely giving up on taking my own pictures. I will get back to it at a some point. But for now, it seems like every time I look through my camera’s viewfinder there is someone in my composition taking a photo.

Finding Photo Gold

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.

Jane Long

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What is the point of picking a point of fixation and devoting oneself to incomplete understandings of life, objects and things? To pick at the bellybutton.

On Everything and Nothing