Paulina Sierra

In this desire for translation is where Appropriation in my creative process begins. It is activated by what has been assimilated from our heritage and cultural background, a background that has already become divergent by the multiple interventions of otherness we have had in the past.

I want to acknowledge that centuries later we still concoct new interpretations of the old world, just as we have also been able to apply old understandings to the new. Our parameters are modern and traditional, crafted and mass produced, exogenous and indigenous, cosmic and technocratic.

Eye I & Eye Us

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.


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

Elisa Giardina Papa

Image production is becoming a social practice in which a global multitude creates, captures, releases, and exchanges images on an everyday basis as a way to find and define personal identity, establish and cultivate social relations, and express counter-narratives or dissent.

These images are the material of my writing and my works. I search for them in archives, follow their circulation, become their audience, get in contact with their producers, and re-combine them into films. By narratively re-presenting the history of these images, my work seeks to investigate the agency and emotional patterns created by their movement as well as the contradictions they embody.

Image as Social Practice

Eva Sutton

Digital Media isn’t just about art, it’s also about science or media in a public sense; mass media. I think there’s inherently a research component too, depending on what you consider research.

If an artist is trying out different things in their studio, even with very traditional technologies like paint, aren’t they in fact engaging in research? It’s not research in the scientific sense, in that we are trying to figure out what a fact is. But we’re researching towards another end, right? We’re posing our own problems and coming up with variations that we consider to be “solutions” to those problems.

Eva Sutton

I taught the Continuum Studio which was the intro studio for incoming grad students in the fall of the first semester. And it was really interesting designing that because we wanted to create an environment for both people that had a deep technical background, so people coming in with lots of programming experience or engineering experience, and then people who didn’t have a lot of technical experience but had a deep fine arts background, people that were painters but not programmers, for example.

This was the difficulty in teaching that course. We cast our net really widely in terms of admitting people, deliberately so. The quandary was how do you challenge all of these different kinds of students appropriately? And so what we learned early on was that a lot of collaboration was really beneficial for everyone.

Yu-Cheng Hsu

Tangible Weather Channel

Tangible Weather Channel is a sculptural apparatus that enables the participant to input the remote location of a loved one, and interprets its real-time weather information as a way of creating an emotional connection.

Rather than employing traditional graphical representation, Tangible Weather Channel renders weather information into a multi-sensory experience by using natural elements such as water, air and sound. By materializing weather dynamics on intimate sites to mediate what occurs in another place, Tangible Weather Channel encourages the participant to establish links with his/her experiential memories of a specific place and to create a sense of closeness to via touch and contemplation.

The capability of creating a continuum between the physical and virtual through media technology has implied a new relationship between the body, perception, space and time. From an architectural perspective, the physical envelope has the tendency to evolve itself into a portal connecting our bodies with other networked spaces and liberating us from the captivity of the physically-bound surroundings. From a phenomenological perspective, our perception of “now and here” might just as well be “now and there,” in both temporal and spatial senses.

Tangible Weather Channel explores these architectural and phenomenological potentials and implications. It also investigates the experiential and performative aspects of information representation, and interrelationship among material, meaning, memory and perception.

Gefeng Wang

The Island

In the future, when all the chimneys have gone, a man builds this artificial island and re-builds all the 500 tallest chimneys in the world on the island.

Clement Valla

And what about in the digital realm?

The single greatest leap in our ability to make copies was the invention of the computer. Digital technologies, and especially the internet have accelerated and made more available the means of mechanical reproduction. The computer, the digital camera, and countless other technologies have made a visual artist out of every person who can manipulate digital imagery.

Collective creation, accessibility and free information seem more attainable. Digital technology has made the copy easy and ubiquitous. Mass production—though widespread—remained largely out of reach of single individuals (usually reserved for corporations or companies—groups of individuals), but desktop computing puts the ability to make mass copies at the hands of a much larger number of people. The copy has become a basic condition of contemporary cultural production: emails create copies of text, “sharing” songs on networks essentially means making them available to be copied, “downloading” an image is to create a copy of it, and the “copy/paste” commands have become ubiquitous in almost every software and computer operating systems.

The contemporary world functions on the copy. The internet itself was envisioned as a system for creating redundant information. Should one storage center be destroyed (by war), the copied data would survive. Today, images spread across the globe at the speed of electricity.

Original Copies

Lucas Roy

We do not create memories in a linear process.

Memories are fragmented, pieced together in short snippets. When I began interviewing participants and gathering memories, I thought of Chris Marker, a French filmmaker who directed Sans Soleil (1983), an experimental essay-film rich in the composition of thoughts, images and scenes, mainly from Japan and Guinea-Bissau, “two extreme poles of survival.”1

In Sans Soleil, memory and history are both interpretations of the actual event. The difference between memory and history is in how each is used; memory is personal, history is political. For Marker, those who have power write history. Reciting personal memory is as valuable as reciting history, but much about our pasts is forgotten and discredited.

Marker, Chris. Sans Soleil. (1983):
The River in My Mind