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

Hanyu Liao

You, as a reader, please don’t expect that I will show my body. I am timid, impatient, and yes, I am sorry but I have to admit that most importantly, I am so fed up with the bullshit like “love yourself” “every woman is beautiful in her own way” “healthy confident girls are the most beautiful things ever”. If there’s anyone say these to me, I don’t know what to respond.


Neil Salley

The practitioners and scholars that have been brought together to form this exhibition follow in the traditions of Dion, DeMarinis, and Duchamp in that they too are playfully engaged in the ready-made analytical language of science, technology, and museological paradigms.

It could also be said that outwardly this document, like the exhibition, conforms to the ready-made rituals inherent to the system within which it must conform. But inwardly it is an attempt to stir up ideas, spin concepts and blend the distinctions we make between science and art, tomfoolery and seriousness, reason and unreason, the real and the imaginary, positivism and ultimately, our presumption—of objectivity.

Now then, into the labyrinth!

Musée Patamécanique

Dan Chen

At the age of 16, I decided to leave Taiwan and move to the United States for a new adventure and new life.

Living with a relative and in an unfamiliar country, I learned independence, both financially and emotionally. Before I arrived in America, I was socially active, drawing great energy from my connections with others. But making new friends with a language barrier proved difficult. Every so often, if approached, I would open up to the possibility of friendship. The rewards were always tremendous, with a treasured relationship enhancing my life. But for the most part, to avoid rejection and humiliation, I became passive, opting to be self-contained.

The opposition between the way I used to be and what I had become led me to think closely about the needs of an individual, and the appropriate balance between closeness and distance that a person requires in order to thrive.

My fascination with robotics began at a very young age. Perhaps this fascination was derived from a need for companionship; with two busy parents, I spent a lot of time alone. I played with Lego blocks, combining them with wheels and rubber bands to construct a few kinetic sculptures. I still remember my first trip to an electronics store with my uncle—I was amazed by the endless possibilities that one could explore with all the different electronic components.

File > Save As > Intimacy

José Fernández Liermann

Cult of Cute

On Aesthetics of “the cute” and the cult of consumerism: Cult of Cute is an installation piece inspired by my research on cultural influence and “aesthetic categories.”

It proposes that our personal understanding of cultural phenomena is conditioned by subjective interpretation, aesthetic considerations and suppressed traditions. I am using the intersection of Black Metal and cats on the Internet as a springboard to explore the cultural mashup, in which two apparently unrelated or opposed concepts converge as a consequence of our inherent affinity for mythology, mass production and image circulation.


Mary Burge

Looking back I think I was a crazy masochist to build a house I couldn’t keep and had no experience in making. The party line is that I wanted to tell a story about my own culture and memories because I knew if I didn’t, someone else would do it for me.

The nature of digital video, sound, and other types of digital documentation is like the scorpion in the river. It may give you a ride on its back, but if it bites you on the opposite shore, you shouldn’t be surprised since that’s its nature.


The piece was about living with plurality of representations—photo, video, etc., and what it does to your own sense of self and memory to be constantly reminded of who you were or are as interpreted via a camera. I took this psychic split to be hostile at times, and interpreted through my own experiences growing up in the South.

I’ve lived in Yankeeland for so long, and heard so many different ignorant and negative views of my own culture, that I wanted to explore that feeling of otherness—whether the otherness was female, or queer, or just going it alone. Especially since I was the other when I was growing up, but in different ways. So I was forcing myself to sort through my own feelings and other people’s, while knowing I am a media maker and that’s a responsibility.

Tim Wang

While new mediums like 3D scanning, modeling, and printing are on the frontier of technology, they are perhaps best suited for capturing the past, the act of inevitably fragmented retrospection, the conflicted experience of articulating one’s conception of one’s own identity and the roles memory and the external world play therein. Thus, the past finds poignant expression and manifestation in the new, the internal in the external.


Bill Seaman

Central to an education in the department of Digital+Media is a richly focused liberal arts/conceptual/social agenda that falls in relation to a digital practice. This form of education is presented in counter distinction to a set of common practices that are passed on to students in a “cookie cutter” manner, characteristic of some digital media departments.

Education at D+M becomes emergent as a general methodology where multiple foci are informing the student’s practice. As students share their work and research, a very broad education is fostered across multiple research frontiers. The graduating student explores and builds a broad knowledge-base, and develops a particular approach relevant to their own practice in concert with their advisors, peers, lecturers, independent study mentors and eventually through their thesis committee and thesis chair.

Monica Ong

Why is it important that image and sound come together? I hold a personal opinion that we consume with our eyes but give with our ears.


Michael Tauschinger-Dempsey

Our social networking services and mobile communication technologies have created a new hybrid space of surveillance.

In the case of “sousveillance,”1 both ways of watching others are possible at any given moment by constantly and seamlessly morphing one into the other. The few being watched by the many and the many watching the few form one endless cycle of voyeurism and exhibitionism.

Through social media software, users freely provide the most personal data to whomever or whatever is at the other end of the data cloud.

In the best of cases, this hijacking of personal information is performed for the purposes of targeted advertising, i.e. the commodification of personal information. In the worst of cases, this overflowing database of the Ego is essentially made endlessly accessible without a warrant to controlling power structures like the NYPD, CIA, NSA and the FBI.

1 Mann, S., Nolan, J., & Wellman, B. (2003). Sousveillance: Inventing and Using Wearable Computing Devices for Data Collection in Surveillance Environments.
Out of Service