ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

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EdITor
Amy Xiaofan Jiang

CURATORS
Amy Xiaofan Jiang / Fangyi Yang

CREATIVE TEAM
Effy Ma / Gumi Lu / Ronny Zheng

COMMUNICATION TEAM
Weijing Xia / Jing Dong / Iliana Sun

B
PU LISHER
Underground Art And Design (uaad.art)

VOL. 1
JANUARY 2024
1ST EDITION
ISSN 2996-038X
View Exhibition Online: newart.city/world/alt-alterity
ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

ALT-ALTERITY HTTPS://UAAD.ART
AN IMMERSIVE VIRTUAL EXHIBITION BY UAAD INSTAGRAM: @UAAD.ART

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

TA LE OF B
CONTENT
01 INTRODUCTION 151 ANGELA LINK-FIELD

04 CURATORIAL STATEMENT
160 FATIMA ALKUWARI

169 YUQING LIANG

06 ARTIST INTERVIEWS 178 CHIA-HUA LEE

186 A.J. CINCOTTA-EICHENFIELD

197 BETTY RUSS & MICHAEL DONNELLY

07 PRELUDE. THE ANCHOR POINT

08 SYMONNE LIU
207 PART 3. FLUID BODIES, BLURRED

BOUNDRIES

15 PART 1. UNSUNG WISDOM, REBEL TECH 209 FLAVIA MAZZANTI

17 MINGYONG CHENG 220 CHRISTIE LAU

29 MEIYI JIANG & XIAOTING TAN 233 YIMEI ZHENG

44 ISHRAKI KAZI 243 AIPING XU

53 KRITHI NALLA 254 XINYUAN MA

66 TIANGEWANG & I-YANG HUANG 261 YU CHEN

83 SHASHWATH SANTOSH 271 LUDOVICA GALLEANI D'AGLIANO

95 YUWEN HUANG 279 MO NAN

107 TIANYUN JIANG 286 BOBBY ZHAOCHENG XIONG

117 MEHRDAD SEDAGHAT BAGHBANI

297 ACKNOWLEDGEMENT
131 PART 2. EPHEMERAL CYCLES,
298 BIOGRAPHIES
EVERLASTING COLLAPSES

133 JOSHUA CARLOS BARRERA

144 REVERIE COMPLEX

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

INTRODUCTION

In the midst of gathering storms—genocides, wars, forced

displacements, global climate collapse, the ascendency of
technocracy, alongside the unyielding presence of unjust
ideologies such as sexism, racism, colonialism, imperialism,
and capitalism—emerges our curatorial and editorial
initiative, Alt-Alterity.

It stands as an attempt to provoke a co-imagination of an

alternative paradigm for how we, as humans, engage with
both the "other" inhabitants of our planet and "each other"
within our societies. Through the curation of artworks
and texts, we humbly yet firmly embody our self-imposed
obligation: to disrupt or, at the very least, upset a wicked
system that prioritizes profits over lives, domination over
collaboration, extraction over preservation, homogeneity
over diversity, and exclusion, erasure, and even
extermination over coexistence.

Although there is a prevailing pessimistic belief in the

inevitability of the present issues being perpetuated into
every foreseeable future, we are actively seeking out
practices and strategies from individuals and grassroots
collectives that challenge this notion. And as a collective led
by BIPOC, female, and queer artists, designers, technologists,
and activists, we instinctively embraced art and narratives as
our primary domain.

Through curating an artistic narrative shared and owned by

the fragmented others, reassembled through a decolonial,
intersectional, earth-centric vision, Alt-Alterity forges a
realm where transformation, comprehension, and the
reimagining of "the other" are cultivated. Weaving together a
human and more-than-human web of beings within different
habitats, communities, lands, and cultures that are often
rendered insignificant, non-mainstream, dangerous, hostile,
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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

inferior, and silent because of the differences between the

established normality, the stories we tell invite you to reflect
on the things you don't know yet and can't be aware of and
also think about your relationship with "the other" and the
"unknown others."

In addition, the format of an immersive virtual group

exhibition serves as the vehicle to bypass borders and
censorship (as much as possible), to transport the ideas
we collect more freely to the edge of the world in a more
acceptable and accessible way, and try to engage with more
unsung narratives and perspectives that would contribute
to this growing archive.

This publication is a comprehensive compilation of

artworks and insightful interviews from the Alt-Alterity
group exhibition, curated and showcased by Underground
Art And Design. Spanning from December 2023 to February
2024, the exhibition features a diverse array of creations
from artists from 13 different countries.

The publication opens with a curatorial statement by the

exhibition's curator, Xiaofan Jiang, setting the conceptual
framework for Alt-Alterity.

Following this, the publication presents a series of

interviews with each of the participating artists. These
dialogues are structured around a uniform set of questions,
designed to weave a comprehensive matrix that elucidates
the exhibition's central theme. The questions probe into
how each artist's work resonates with Alt-Alterity, their
reflections on the virtual format of the exhibition, and their
visionary ideas about the future. Adding a personal touch,
the interviews also include lighthearted queries that delve
into the artists' hobbies and interests beyond the art world.
Concluding each interview, the artists share a curated
selection of reference materials—books, essays, podcasts,
and films—offering valuable insights and extending the
discourse beyond the exhibition.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

In dIVErSE
poLYphonIES,
WorLdS
InTErTWInE,
aLTEr,
and CoLLapSE
InTo onE—
NEW KInShIp
bLoSSomS.
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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

CURATORIAL STATEMENT

"Alterity," from the Latin "alteritas," signifies the state

of being other or different. The prefix "alt" suggests
"alternative," one of the derivatives of "alterity." This
concept underpins a prevalent action in our world:
the creation of otherness. The "other" is often
rendered as starkly different from and opposite to
those who seek to control, absorb, and dominate it.

Alt-Alterity is a manifesto for the future of coexistence,

a way of being in which the notion of "alterity"
need not exist. It challenges us to question the

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

very foundation of what we consider as "normal"

and "other," prompting a departure from an
anthropocentric perspective to one that values a
comprehensive appreciation of planetary diversity
and interconnectedness.

Alt-Alterity features works across cultural, religious,

ecological, industrial, ethical, and individual aspects,
trying to understand what knowledge, wisdom, and
technology might allow for the reconfiguration of
the others, to tune into dialogues and symbiotic
engagements among subjects, and lastly, to explore
the interconnection and hybridity we possess with the
world and to become one with it.

The artists participating in this exhibition explore

Alt-Alterity in multifaceted realms. Among the
contributors are not only contemporary artists but
also designers and strategists who transcend the
traditional boundaries of their disciplines. Many
of these creators merge inquiries in science and
art, combining creative experimentation with
philosophical exploration. They aim not just to
express artistic vision but to embody a socially
and planetarily responsible agency. This is in stark
contrast to the capitalist rhetoric that often defines
their fields. Their approach champions a non-
alienated, discursive design, paving the way for social
reimagination.

From the imagination of reversed realities and hybrid

forms of existence to the exploration of marginal
cultural expressions and the blurred boundaries
of fluid identity, the exhibition is divided into three
chapters: "Unsung Wisdom, Rebel Tech," "Ephemeral
Cycles, Everlasting Collapses," and "Fluid Bodies,
Blurred Boundaries."

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

ARTIST
INTERVIEWS

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

PRELUDE.

THE ANCHOR POINT

3-DIMENSIONAL MAP OF THE VIRTUAL EXHIBITION SPACE

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

SYMONNE LIU

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

Alt-Alterity embodies a departure from the conventional

and an embrace of alternative realities. It signifies the
exploration of otherness and manifests as a celebration of
the organic, unraveling the mysteries of nature through
digital creations that transcend mere replication, aiming
to interpret and appreciate the complexity and beauty
inherent in the biological world.

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

My journey is deeply rooted in the fusion of molecular

biology and the physical sciences. The allure of natural
irregularities, the inertia of life, and the ecstatic beauty
found in diverse biological fields became the catalyst for
my creative exploration. The desire to translate these
concepts into a visual language led me to digital art,
where I could set parameters mirroring natural forces
and structures, creating a rich tapestry that reflects the
intricate patterns and mysteries present in reality.

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 ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

WHAT IS YOUR EXHIBITED WORK FOCUSED ON,

AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

My exhibited work delves into

an organic tapestry, weaving
a symphony of molecular
whispers, fluid dances, and
organic mysteries.

Each piece is a reflection of

my commitment to exploring
[2]

the intricate details

of living structures,
the irregularities of
natural textures, and the
enigmatic forms found in
the living world.

Through this exploration,

I contribute to the
reimagination of an
alternative world, inviting
viewers to perceive and
appreciate the beauty
and complexity of the
spontaneous.

[3] 10
ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

[4]

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

The democratization of art through online exhibitions

has the potential to amplify diverse voices and narratives,
fostering a more inclusive and accessible art community.
No more censorship. No more regional boundaries. It's a
private journey of exploration. Thank the organizers for
creating this platform.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

Free of cost and physics, the work can finally levitate and
stretch infinitely big or small. This is the freedom that
comes with an imagined space.

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WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

She will always be there.

She will see you when you see her.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

Eco-feminism has always been a source of inspiration. My

work is rooted in a harmonious coexistence where diverse
forms of life are celebrated. The past is never ours and
the future will never come. This departure from current
narratives, akin to the ends portrayed in pop culture and
dystopian sci-fi, offers a hopeful and alternative trajectory.
The absolute present is all time past and yet to come.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

To live. To love. The ecstasy of living is yet to be recognized.

Proclaim the confluence of the organic and the metallic,
said "The Cyborg Manifesto." To nurture. To serenity. To
mother. To peace. To immutable ethos embedded in the
marrow of existence. To Hawkin's last "Wow" and your first
"Hello world." To future, not as an abstract horizon, but as
an unfolding manuscript, each chapter inscribed with the
ink of collective actions and aspirations.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

Emu forever.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

Bjork. Arca. Doon konda. Terence McKenna. Zhuangzi.

[5]

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

ABOUT THE ARTIST currents, all find expression

in their digital creations. By
Inspired by molecular biology, digitizing these fluid phenomena,
fluid dynamics, and the organic, They strive to convey the dynamic
Symonne Liu creates digital work to and ever-changing nature of
reveal the intricate structures of the the elements, creating visual
biological. By setting parameters experiences that capture the
that mimic natural forces and essence of motion and vitality.
structures, Symonne aims to not
just replicate nature but to interpret The organic, with its inherent
and appreciate its complexity unpredictability and diversity,
and mystique. The irregularities provides yet another layer
of natural textures. The inertia of inspiration. Whether it's
and archaic. These diverse fields the intricate details of plant
provide them with a rich tapestry structures, the irregularities of
of concepts and patterns found natural textures, or the enigmatic
in the natural world, serving as forms found in the living world,
the foundation for their digital They seek to infuse their digital
creations. work with the organic aesthetic.
This involves not only replicating
ARTWORK STATEMENT
the visual aspects but also
incorporating the underlying
principles that govern organic
Molecular biology serves as a systems, giving their creations
profound source of inspiration, a sense of authenticity and
offering insights into the intricate connection to the natural world.
structures and processes that
govern life at the smallest scales.
Through Symonne's work, they
aim to encapsulate the beauty and
complexity of biological forms, IMAGE CAPTIONS
translating them into digital
representations that evoke a [1] Garde2n (Exhibition Screenshot),
sense of wonder and appreciation Symonne Liu, 2023.
for the microscopic world. [2] 67bpmsex^-1, Symonne Liu, 2022.
Digital Sculpture. Dimensions Variable.
Fluid dynamics, with its [3] OOomniOO, Symonne Liu, 2022. Digital
mesmerizing patterns and Sculpture. Dimensions Variable.
movements, is another key [4] OOomniOO (Exhibition Screenshot),
influence on their artistic journey. Symonne Liu, 2023.
The graceful dance of liquids [5] Garde2n (Detail), Symonne Liu, 2023.
and gases, the ebb and flow of Digital Sculpture. Dimensions Variable.
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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

PART 1.
UNSUNG WISDOM, REbEL TECH

3-DIMENSIONAL MAP OF THE VIRTUAL EXHIBITION SPACE

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

In our modern era, we find ourselves deeply

entangled within various societal and organizational
constructs, such as neoliberalism, patriarchal
systems, and extractive capitalism, steering our
pursuit of knowledge towards a myopic vision of
"progress advancement" that overlooks critical issues:
numerous species teeter on the brink of extinction,
our climate faces unprecedented challenges,
countless individuals suffer under oppression and
violence, and so on.

It is at this juncture that we come to a realization—the

care for "progress" and "knowledge" has, in some
cases, metamorphosed into the preservation of social
power. The celebration of modern technological
advancement, once a symbol of our ingenuity, has
predominantly turned into a defense for systemized
exploitation.

Yet, we do not have to settle on them. These are merely

manifestations of the most violent yet dominant
culture at the time, while countless other cultures
and belief systems, rich with alternative possibilities,
might allow for a rebellious overturn of the dominant
socio-techno landscape.

In learning about and contemplating these

alternatives, we must engage in a collective
introspection: What forms of wisdom and techniques
from these marginalized cultures can guide us in
nurturing ourselves and our environment? What
are the wisdom and techniques that allow us to care
for ourselves and our surroundings? What could
"progress" look like without having guilt and karmic
baggage for the society and planet? What kind of
alternative advances would be created through anti-
dominance and symbiotic relations?

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MINGYONG CHENG

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

Alt-Alterity, in my artistic understanding, is a concept

that invites a subtle and reflective exploration of
our relationship with the environment. It does not
advocate for direct activism but rather encourages
a deeper contemplation of how we interact with our
natural surroundings. This term, for me, symbolizes a
journey into speculative thinking, where the focus is
on envisioning alternative ways of engaging with the
environment.

In interpreting Alt-Alterity, I see it as an opportunity to

delve into the nuanced interplay between humanity and
nature. It's about creating a space for thought, where
the audience is invited to reflect on the future of our
ecosystems and the potential paths we might take. This
concept enables a gentle yet profound exploration of the
delicate balance in our environment, emphasizing the
need for a more thoughtful coexistence with nature.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

I am Mingyong Cheng, an artist from Beijing, now

based in California, deeply immersed in environmental
themes and new media art. My journey began with an
MFA in Experimental and Documentary Arts from Duke
University and has led me to a Ph.D. in Art Practice at the
University of California, San Diego, where I've been able
to intertwine visual arts with environmental research.
My interest in this fusion was kindled by the profound
communicative power of art, particularly in conveying
intricate environmental issues. The ability of art to
bridge gaps across languages and cultures inspired me
to utilize it as a medium for environmental reflection.
Another significant spark for my exploration was learning
about the Anthropocene. This concept is reshaping my
understanding of humanity's impact on the planet, urging
me to use art to reflect on and respond to these challenges.

At UC San Diego, my work has evolved to include new

media, particularly focusing on AI, which is my current
area of interest. While AI hasn't been a component
in all my artworks, it has opened up new avenues for
me to reimagine and envision environmental futures.
This entails using AI not only as a tool but also as a
collaborator in the creation of art that encourages viewers
to contemplate and reconsider their relationship with
the environment. My approach is centered on reflection
and reimagining rather than directly addressing
environmental issues, aiming to inspire discussions about
our role in the Earth's changing landscape.

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WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

"Water or More" is an artistic exploration that seeks to

reimagine our relationship with water, emphasizing its
critical environmental role and its inherent beauty. The
work aims to shift perspectives, encouraging viewers to
see water not just as a resource but also as an integral part
of our lives and a source of artistic inspiration.

[2]

This exhibit contributes to the reimagination of an

alternative world by immersing audiences in an
interactive environment where water is both a visual
medium and a thematic focus. It prompts them to
contemplate its significance in new ways. The goal is
to foster a deeper appreciation and understanding of
water's role in our world, highlighting the need for a
more mindful and sustainable relationship with this vital
element of Earth.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

In the digital age, the art scene becomes a global

community where geographical boundaries blur, allowing
for a richer exchange of ideas and cultural expressions.
Such virtual platforms enable artists to reach audiences
far beyond their local vicinity, encouraging cross-cultural
dialogue and a broader understanding of diverse artistic
narratives. Furthermore, the virtual space allows for
innovative and interactive forms of art that might not be
feasible in physical spaces. It opens up new possibilities
for artists to experiment with form and content,
potentially attracting a new, more tech-savvy audience.
Overall, exhibitions in the digital age are likely to make
the art scene more accessible, inclusive, and innovative,
fostering a dynamic environment where diverse artistic
voices are heard and appreciated.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

The virtual environment has significantly influenced

my practice, particularly in its ability to connect people
globally. I appreciate how virtual platforms, especially
during the pandemic, became pivotal in bringing people
together. This aspect was crucial for artists, enabling us to
maintain a sense of community and continue showcasing
our work. The virtual space opens up expansive
possibilities for digital artists, allowing for more creative

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

and innovative exhibition methods that transcend the

limitations of physical space.

Conversely, physical spaces have their unique advantages,

especially for artworks that feature distinctive materials
or textures. These elements are often best appreciated
in person, where the tactile and visual qualities can be
fully experienced. Physical exhibitions offer a different,
more direct engagement with art, which can be crucial for
works that rely on sensory interaction.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

My ideal audience
comprises individuals who
are open-minded, curious,
and appreciative of both the
aesthetic and conceptual
dimensions of art. I envision
an audience that not only
enjoys the visual aspects of
my work but also engages
deeply with the underlying
themes, particularly those
related to environmental
contemplation and
speculative futures. In
reality, the audience that
gravitates towards my work
often seems to be a blend [3]

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

of my envisioned ideal and those I hadn't anticipated.

While I create with a certain demographic in mind—those
interested in environmental issues and speculative art—I
often find that my creations attract a broader spectrum of
viewers. This includes people from various backgrounds
who might connect with different aspects of my work,
whether it's the technique, the subject matter, or the
emotional resonance.

This natural gravitation of an unanticipated audience is

both surprising and gratifying. It suggests that art has the
power to transcend initial intentions and resonate with a
diverse range of individuals. This interaction between the
art, the intended audience, and the unexpected viewers
forms a dynamic and enriching experience, continually
informing and evolving my artistic practice.

Envisioning a future that transcends the current

dominance of dystopian narratives, as reflected in my
work "Future in a Jar," I see a world where balance
and harmony are key. This series, depicting futuristic
underwater cityscapes within jars, symbolizes both the
shrinking space for human habitation on Earth and a
fantastical realm of existence. It's a dual commentary on
the pressing environmental challenges we face and the
boundless potential of human creativity and technological
advancement.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

My vision for the future is one where we successfully

navigate the tightrope between technological progression
and environmental sustainability. Instead of resigning to
a dystopian fate where our world becomes increasingly
constricted—metaphorically "living in a jar"—I imagine a
scenario where our ingenuity leads to solutions that foster
coexistence with nature.

[4]

In this future, technology is not just a tool for survival

in a compromised world, but a means to enhance our
relationship with the environment. It's a future where
we don't just adapt to shrinking spaces but actively work
to expand and enrich our habitats in harmony with the
Earth's ecosystems. The ambiguity between dystopia and
utopia in "Future in a Jar" is intentional, reflecting the
uncertain path ahead. However, the underlying hope is for
a future where human creativity and respect for nature
converge, leading to a world that is not just survivable but
thriving in its diversity and complexity.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

In working towards a sustainable and equitable future,

it's essential to embrace an intersectional approach
that includes diverse disciplines. We, as a collective of
artists, scientists, policymakers, educators, and engaged
individuals, need to collaborate to address global
challenges like environmental degradation and social
inequality.

While integrating AI and other technologies offers

immense potential in understanding and solving these
complex issues, it's crucial to balance this with ethical
considerations and environmental harmony. The current
lack of comprehensive regulation in the AI field highlights
the need for a responsible and mindful approach to
technology use. As we harness these tools, we must strive
for a harmony where technological advancements and
environmental sustainability coexist, guiding us towards a
more resilient and inclusive future.

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

If I had the chance to be reborn as another being, I would

choose to be a nudibranch. These fascinating sea slugs
are not just a marvel of nature with their vivid colors
and patterns, but they also play a crucial role in their
ecosystems. As a nudibranch, I would be part of the

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

intricate tapestry of coral reef life, where my presence

and diversity would indicate the health and vitality
of the reef. Nudibranchs, with their specialized diets,
are excellent indicators of the richness of the marine
environment. An area with a variety of nudibranch species
suggests a thriving diversity of prey and a robust coral reef
ecosystem.

Additionally, nudibranchs are vital in signaling declining

ocean conditions. Their sensitivity to changes in the
environment makes them important indicators of the
health of our oceans. By being a nudibranch, I would not
only experience the underwater world's beauty but also
play a part in highlighting the importance of preserving
these delicate ecosystems. This role would offer a unique
perspective on the interconnectedness of marine life and
the urgent need to protect our oceans.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

Artist:
Memo Akten, Pinar Yoldas, Behnaz Farahi, Bill Seaman,
Jiabao Li, Xin Liu, and Weidi Zhang.

Reading:
Morton, Timothy. All Art Is Ecological. London: Penguin
Books, 2021.
Brain, Tega. "The Environment Is Not a System." A Peer-
Reviewed Journal About 7, no. 1 (July 6, 2018): 152–65.
https://doi.org/10.7146/aprja.v7i1.116062.

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ABOUT THE ARTIST ARTWORK STATEMENT

Mingyong Cheng, originally from "Water or More" immerses

Beijing, China, is now a California- viewers in an evocative
based new media artist delving exploration of water's
deep into the intricacies of AI and multifaceted essence, capturing
generative art. As a Ph.D. student its environmental relevance
in Art Practice at the University and poetic allure through two
of California, San Diego, she interconnected projects.
has melded her interests in the
Visual Arts Department with her Upon entering, the gaze is drawn
specialization in Interdisciplinary to a mesmerizing black curtain
Environmental Research adorned with a series of digital
at the Scripps Institution of illustrations. These striking
Oceanography. Mingyong's work is visuals, born from my previous
an innovative blend, navigating the venture, "Water Portrait," fuse
crossroads of technology, media 3D-modeled human portraits with
art, culture, and environmental the fluidity of water. Augmented
consciousness. Beginning in reality triggers intricate
2021, her artistic trajectory took animations, revealing a profound
a bold turn towards harnessing commentary on environmental
the potential of generative AI, issues and our intricate
particularly in text-to-image relationship with this life-giving
generation using diffusion models. element.
For Mingyong, AI is more than just
a tool—it is a co-creator, helping to
reimagine history, contemplate the Behind the enigmatic curtain
future, and craft whimsical worlds. lies an interactive installation,
With an MFA in Experimental and a space where ethereal water
Documentary Arts from Duke imagery materializes in real-
University under her belt, she time. Projected onto translucent
has seamlessly transitioned from screens, the watery vistas
documentary film to a wider respond with grace and fluidity,
spectrum of experimental arts. mirroring the movements
This spectrum encompasses AI- of viewers captured by the
generated art, AR encounters, 3D perceptive Kinect sensor.
virtual realms, and interactive Engaging in this dialogue of
installations. Through her diverse motion and reflection, spectators
mediums, Mingyong unravels become integral participants,
the ironic, the uncanny, and co-creating an ever-evolving
the fundamental in our shared narrative in tandem with the
existence. aqueous imagery.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

Expanding the artistic discourse,

a harmonious collaboration
with performing artist Courtney
Liu unveils a visceral fusion of
movement and water. As Courtney's
captivating performance unfolds,
her kinetic expressions intermingle
with the responsive water imagery,
forging an intricate tapestry of
embodied poetics within the
aqueous realm.

Through "Water or More,"

audiences are invited to embark
on a transformative sensory
journey, plumbing the depths
of our connection to water and
contemplating its ecological
significance. With each step, the
exhibition beckons viewers to
surrender to the immersive realm
of liquid poetry, where the interplay
of visuals, motion, and human
interaction crystallizes the intricate
dance between art, environment,
and our shared existence.

IMAGE CAPTIONS

[1] Water or More (Exhibition Screenshot),

Mingyong Cheng, 2021.
[2/3/4] Water or More, Mingyong Cheng,
2021. New Media Art Installation and
Performance. The on-site setup is 20 x 20 x
10 Feet.

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MEIYI JIANG & XIAOTING TAN

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

Xiaoting: Alt-Alterity represents a novel exploration of the

"alternative," challenging conventional ideas and urging a
reevaluation of what is considered unfamiliar or different.
It transcends established boundaries, reimagining how we
interact with and perceive the world around us, shifting
from a non-anthropocentric perspective to advocate for
a more comprehensive appreciation of various forms of
existence and intelligence. As the project "Symbiosis"
embodies Alt-Alterity by delving into the complex mycelial
networks in the forest—a crucial yet often overlooked
part of nature—this project adopts a non-anthropocentric
approach to research and narrative. The human-centric
viewpoint is transformed to focus on the intricate
communication and collaboration occurring within the
mycelial network. "Symbiosis" also unveils a hidden world,
emphasizing the wisdom and power of nature and the
interdependent relationships within ecosystems. We invite
audiences to reconsider their relationship with nature,
engage in dialogue with the non-human world, understand
the "other," and comprehend sustainable coexistence.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

Xiaoting: I am an interdisciplinary interaction designer,

digital media artist, and producer. My work focuses on
the interactions where design meets technology, digital
meets tangible, and space meets story. With a background
in computer science, I am fascinated by data and
exploring the stories behind it. Also, I have a profound
fascination with nature. I researched the plant nervous
system and designed innovative products by the research
on bioelectrical signals four years ago, and the project
"Symbiosis" is a continuation of my exploration into the
microscopic world and nature.

Meiyi: I graduated from Renmin University of China

with a bachelor's degree in fine arts and completed a
Design for Performance & Interaction March course at
University College London in 2022. At UCL, our design
projects often focus on comprehensive, human-related
issues. The project "Symbiosis" starts from a documentary
Xiaoting recommended to me, after I watched it, I
suddenly wondered if we could do something related to
the micro field, and if there is any correlation between
individuals in the micro field. When you start thinking
about one question, more questions follow, such as what
is "symbiosis" and what metaphors can be used to express
the similarities between mycelium and human social
systems? That's the collaboration between Xiaoting and
me, and the beginning of "Symbiosis."

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 ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

[2]

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

Meiyi: In light of escalating global ecological crises such

as species extinction, deforestation, and soil erosion,
largely driven by human activity, it's clear we are entering
the Anthropocene era, characterized by significant
anthropogenic environmental damage. Humans, often
positioning themselves as dominators and making
unilateral claims on resources, exacerbate this crisis,
with our disconnection from nature and anthropocentric
views at its core. This project is a research-based design
endeavor aiming to redefine human-nature relations,
seeking a medium in nature to symbolically represent
the relationship between the natural and social spheres.
Through the lens of the microscopic world of mycelium,
it challenges human-centered perspectives and highlights
life's interconnectedness, hoping to contribute to a more
symbiotic human-nature relationship.

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Xiaoting: Project "Symbiosis" delves into the intricate

communication network of trees through mycelium,
providing a perspective on the natural interconnectedness
and mutual dependence on the environment. By
utilizing bio-electrical sensors, the activity of the
mycelium is transformed into an immersive audio-visual
experience, bridging the gap between human perception
and the subtle, often invisible language of trees. Our
research is conducted through a non-anthropocentric
design approach, emphasizing the wisdom of nature
and fostering a more respectful connection with the
environment.

[3]

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

Xiaoting: In the digital era, online exhibition platforms

have not only broken down the geographical and physical
constraints of art display, making artworks accessible
to a global audience but also provided a stage for more
artists to showcase their works. The rise of digital art and
NFTs (Non-Fungible Tokens) has opened up new channels
for artists to create and sell their work. In my view, this
decentralized model will lead to a healthier art market
ecosystem. With the development of Web 3.0 and the
metaverse, artists can create more engaging interactive
experiences, and the way audiences experience art is
poised for innovative transformation. This challenges the
traditional art market operations, promoting diversity
and inclusivity in the art world. Overall, the digital age
is shaping a more open, diverse, and innovative art
community, and as artists and creators, we remain open
and continue to create.

Meiyi: When AI begins to change the way humans process

thoughts and ideas, digital artwork becomes another
topic in the progression of art history. To artists, digital
art is a medium that links their past, present, and future.
Nowadays, the main idea of design in many fields is to
"break the boundary," and virtual space is a breakthrough
to break the boundary of art. The virtual space exhibition
born in the context of the digital era successfully links
technical rationality and poetic emotion through the

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

double presence of technology and art, virtual and

material, rationality and emotion, representing the future
development of art under the environment of human
technological habitat.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

Xiaoting: Virtual space

has indeed expanded
my artistic practice.
Firstly, the prevalence of
digital art and its tools
has reduced the cost
of creation. The digital
form also breaks down
geographical boundaries,
enhancing accessibility.
Since 2020, I have been
exploring generative art.
Virtual space undoubtedly
expands the experiential
space, providing highly

[4]

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

interactive and dynamic artistic experiences. However,

for some works, the lack of physical presence and the
inability to engage multiple senses in a physical space
also present a different set of limitations and challenges
in creation. For instance, project "Symbiosis" serves
as a real-time generative audio-visual installation in
a physical space, engaging multiple senses. However,
achieving this level of sensory engagement in a virtual
space is technologically challenging. We anticipate more
technological breakthroughs in the future, such as how to
express generative art through real-time data in the virtual
world.

Meiyi: The virtual environment gives me more space to

communicate with the audience. I often wonder What will
be the future of art? And what will be the art of the future?
Can the virtual environment be the most suitable medium
for art and digital art presentation, combining digital
sensory illusions to engage the audience in thinking about
the future of art. However, it is undeniable that texture
is a very important part of art creation. The materials we
use for our installations are determined after dozens of
experiments, and we must ensure that the audience will
have good feedback when they watch or even touch them
in close proximity. The virtual environment does bring
spatial convenience to artists, but we must also accept that
the texture of the physical installation cannot be replaced
in a short time.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

Xiaoting: I believe that the relationship between artists

and audiences is dynamic and complex. While I might
consider a specific audience during the creation of my
art, the accessibility and broad reach of today's digital
and physical platforms often lead to interactions with
a diverse range of viewers. I acknowledge the factor of
self-selection; those who resonate with the themes or
aesthetics of my work may be more inclined to engage
with it. The beauty of art lies in its universality—the ability
to touch individuals from various backgrounds and life
experiences.

37 [5]
ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

Xiaoting: My vision for the future is one of harmony

and interconnectedness, moving beyond the current
limitations and the pervasive narratives of destruction
found in popular culture and dystopian sci-fi literature. I
aspire to cultivate a world where humanity acknowledges
and respects the wisdom of nature, understanding our
indispensable role within the larger ecosystem. This
necessitates recognizing the value and agency of all
forms of life. We have the potential to pave the way for
sustainable practices and balanced coexistence, forging
connections with various species, and fostering collective
efforts that benefit all living beings.

Meiyi: In a world inundated with dire predictions and

grim depictions of the future, my vision for a future
that transcends the domination of the present is one
characterized by innovation, cooperation, and resilience.
While popular culture and dystopian sci-fi have painted
bleak scenarios of a world in chaos, I envision a future
where humanity leverages its creativity and intellect to
address the pressing challenges we face. Rather than
being paralyzed by fear, we should harness the power of
technology and collaboration to mitigate climate change,
enhance our quality of life, and foster a more sustainable
and harmonious existence.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

Xiaoting: I believe that "we"—encompassing artists, tech

experts, policymakers, and the broader community—must
proactively challenge and reshape our perceptions of
nature and each other. For instance, we can utilize art and
technology to unveil the complexity of nature, innovate
designs through the interconnectedness of all life, and
alter the anthropocentric single viewpoint in decision-
making processes. We are no longer mere bystanders;
instead, we can actively contribute to a future that values
and protects all forms of existence. This collective effort is
crucial in addressing challenges such as climate change,
biodiversity loss, and social inequalities.

Meiyi: I think the name of our project addresses this

question. We pondered for a long time about how to
name it and then decided to use this straightforward,
powerful name so that the audience will be immediately
immersed in the atmosphere of our work, embracing the
natural system and becoming a "mycelium." Symbiosis
interconnects different organisms through species
interactions, creating unique symbiotic ecosystems. In
symbiotic relationships, all organisms are in constant and
close contact with each other, allowing their "ranges of
perspective" to overlap. We inform people that there is a
vast underground mycelium system, triggering empathy
for nature and enhancing their understanding of the
concept of "Symbiosis."
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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

Meiyi: I'm an unapologetic Gemini; I love adventure, thrill-

seeking, and anything that gets the blood pumping. So
if I were given the choice, deep down, I wish I could be
the lava of a volcano erupting in the moment or a great
waterfall with an endless surge of energy day and night.
But, at the same time, I'd like to be a whale, exploring the
vast emptiness and savoring the ultimate silence... Maybe
that's the Gemini in me.

IF YOU WERE TO COMPARE YOUR ART STYLE OR PHILOSOPHY TO A TYPE OF FOOD, WHAT WOULD
IT BE AND WHY?

Xiaoting: If I were to compare my art style or philosophy

to a kind of food, I would choose water. Water embodies
fluidity and adaptability; it effortlessly changes its form
to suit various environments and conditions while
nourishing all forms of life. It can traverse mountains
and valleys, yet it retains its authenticity and clarity. My
aspiration is for my artwork to convey my true self, along
with my sincere feelings and thoughts about the world.
I'm also open to experimenting with various mediums,
maintaining flexibility and openness in my creations.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

Xiaoting: I recommend artists Neri Oxman and Thijs

Biersteker. Neri Oxman's "Silk Pavilion" brilliantly fuses
biology with digital fabrication, showcasing a harmonious
interaction between technology and nature. Both Oxman
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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

and Biersteker are notable for their innovative use of

materials and technology, aligning with my own artistic
approach. The documentary "Fantastic Fungi" serves as a
profound source of inspiration for my project "Symbiosis,"
offering deep insights into the hidden world of fungi and
their intricate networks. In terms of books, "Meeting the
Universe Halfway" by Karen Barad provides a thought-
provoking intersection between quantum physics and
posthumanist philosophy, while Thomas Nagel's "What
is it like to be a bat?" offers a unique perspective on
consciousness and experience. Both texts foster a deeper
understanding of the interconnectedness and complexity
of life, themes central to my work.

Meiyi: My favorite artist is Wilhelm Sasnal. His artwork

often eliminates background details by blurring the
subject matter, simplifying outlines, or cropping
compositions. While some people may perceive a
disturbing strangeness in his work, I personally find
a sense of serenity and peace of mind that I've never
experienced before.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

ABOUT THE ARTIST at Ars Electronica Festival,

Austria (2022); Zabludowicz
Meiyi Jiang (b. 1999, China) Collection, London (2023),
graduated from Renmin University London Architecture Festival,
of China with a bachelor's degree London (2022), and Staatliche
in fine arts and completed a Design Kunstsammlungen Dresden,
for Performance & Interaction Germany (2022).
MArch course at University College
London in 2022. She is a creative ARTWORK STATEMENT
designer and artist active in the
UK and China. She is a transmedia
storyteller who uses a variety of Trees are communicating
media to construct narratives, and sharing information
such as interactive games, virtual right under your feet, using a
reality, video art, and traditional mycelium network: a complex
crafts. Her aim is to use her work and collaborative structure
to tell specific stories, merging that has become known as the
human feelings with space, and "Wood Wide Web." Trees use the
she believes that each piece is a mycelium as pathways to connect,
vessel for self-expression, with feed, and communicate with one
the emotional power to inspire another. Parent trees can identify
and heal. Her works have been their relatives and send signals
exhibited at Ars Electronica and nutrition through mycelium
Festival, Austria (2022); London networks. Through the mycelium
Architecture Festival, London network, the forest becomes
(2022). a single organism with group
intelligence.
Xiaoting Tan (b. 1998, China) is an
interactive designer, digital media "Symbiosis" is an exploration
artist, producer, and the founder of the language of trees from a
of ELIXIRT STUDIO. She completed non-anthropocentric perspective,
a Design for Performance & and mycelium is a design
Interaction MArch course at collaborator. Five handmade
University College London in bio-electrical sensors are placed
2022. She works at the interactions at different locations in Epping
where design meets technology, Forest, transmitting data on
digital meets tangible, and space the mycelium's vital activity
meets story. She creates immersive (electrical signals) in real-time
experiences by employing multi- to the exhibition space via a
media and generative art. Her cloud-based network. This
works have been exhibited is an immersive audio-visual

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

experience, the changing

soundscape represents the
whisper of the mycelium, and the
flowing light presents the nutrient
transport between the mycelium. In
this project, we hope the audience
understands the world from the
perspective of the rhizome, has a
dialogue with the forest, and lives
in symbiosis with nature.

IMAGE CAPTIONS

[1] Symbiosis (Exhibition Screenshot),

Xiaoting Tan and Meiyi Jiang,
Collaborator: Vicki Zhiwei Hong (Textile
Design), 2022.
[2] Observing the morphology of Slime
Moulds and other types of mycelium
under the microscope, they simulated
these different morphologies with optical
fibres.
[3] An illustration of the audio-visual
installation.
[4] Symbiosis (still), Xiaoting Tan and
Meiyi Jiang, Collaborator: Vicki Zhiwei
Hong (Textile Design), 2022. Optical Fibre,
Mycelium, LED light, Speaker, 3D printed
object. Dimensions Variable.
[5] The testing in Epping Forest.

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ISHRAKI KAZI

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 ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

[1]

LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

When I first read the title of the show, I didn't immediately

know what to make of it, which I liked. The word Alt-
Alterity conjured up associations with other worlds—Alt.
Reality. Alternate. Simultaneously here but somewhere
else. A sort of double alternate making a new reality.

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

My research practice is inspired by my lived experiences.

Immigrating to foreign lands, relating to others,
communicating with non-human organisms, exploring
the complexities of subjectivity, and meditating through
altered states of consciousness are some of my starting
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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

points for the themes of this exhibition. What I sense

my reality to be has often been different from what the
normative reality was supposed to be in past experiences.
A simple and immediate example is my eyesight. My eyes
have a high degree of astigmatism which changes the way
I experience light and by extension how I "see" the world.

I have always gravitated towards expressions that try to

materialize and give form to the alternate multitudes of
non-normative realities. There really isn't some reality
that simply exists, but at times different power structures
try to dominate what reality "is." I am personally more
interested in the subjective multiplicity of reality.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

In short, my work challenges and contemplates categories

and forms. It probes into the subjective complexities
behind pre-established forms, posing questions such as
what constitutes an experiment, what the relationship is
between the subject and the object, or rather, the subject-
subject relationship in biological experiments. It also
questions how agency is negotiated. The work seeks to
investigate inaccessible worlds, whether due to scale or
the hard problem of consciousness.

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

46
ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

I've always been drawn to alternative exhibition spaces,

whether in the digital realm of virtual worlds, the
transient spaces of public walkways, or the intersubjective
realm of individuals' imaginations. The concept of
"virtuality" is multifaceted, but what excites me most
about it is the absence of established rules and the
openness to imaginative possibilities. I find beauty in the
freedom to express, explore, and communicate within the
expansive boundaries of virtual spaces.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

There are pros and cons to every medium. On one hand,

a virtual space allows for vastly different modes of
navigation in time and space. However, virtual spaces can
also feel less significant due to their ease of navigation,
oversaturation, and lack of sensory feedback. When
I mention "feedback" here, I'm not referring solely to
consumptive feedback but rather the investment of
sensory experience. Experiences in virtual spaces can
sometimes feel less significant because there's less
sensory investment, making the experience somewhat
detached from reality.

What I seek in virtual spaces are experiences that impact

and affect one's consciousness in ways that don't separate
the experience as virtual but rather make it feel entirely
real—much like a dream that feels so vivid that one
often has to verify whether it was a dream or an actual
experience.
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 ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

[2]

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

Ideally, my audience consists of anyone interested in

art-science explorations. When creating art in physical
spaces, my work is often site-specific, targeting the local
community. However, more broadly, I attract individuals
intrigued by interdisciplinary perspectives that merge art
and science. Like me, my audiences refuse to be strictly
confined by disciplinary boundaries and are curious
explorers in their own right. Generally, my work draws in
people who are inquisitive and willing to invest time and
effort in unpacking complex ideas, without the need for
neatly defined answers.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

I don't fully understand this question because I am not

sure which present, whose present, etc. The present is
so vast that I'm not sure what we are referring to. My art
is an attempt to understand the present and help shape
the future that is yet to come. We need alternate tools,
technologies, and perspectives for navigating the future
if we want it to develop in ways different from the past.
The methods and concepts I seek to engage, manifest, and
champion for the future are spectral. It is difficult for me
to succinctly express the future I envision in words. If I
could clearly express it in words, I wouldn't be making art
about it.

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 ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

I am a bit cautious here to offer some solution-oriented

answer that assumes I could: 1. Know the variables that
will become relevant in the coming years, and 2. That I
could honestly offer a solution that is capable of holding
up to ever-changing variables.

My practical approach is being a realist in adapting to

unpredictable variables while being an idealist in knowing
that we are one. The vision I hold close and dear to my
heart is one in which there is perfect unity between
duality and this vision helps me challenge my own limits
and inclinations towards othering and categorizing
the universe into separate parts for my ego-centric
convenience.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

I would be me. Regardless of what organism, space, or

ecosystem I am, I am still I. I as a universe of connections.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

Recently I have been enjoying listening to a podcast by

Ilari Makela called "On Humans". The podcast consists
of quite fascinating conversations with neuroscientists,
social scientists, and theorists on the human condition.
It reminds me of the conversations I often find myself
having with my colleagues and friends at MIT, musing
over curiosities from a philosophical angle grounded in
research.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

ABOUT THE ARTIST ARTWORK STATEMENT

Ishraki Kazi merges art and Anesthesiologist is a film that

scientific inquiry to navigate weaves together journal entries,
philosophical explorations. lab experiments, performance
documentation and guided
Engaged in unraveling how we meditation to contemplate our
interpret and connect with the entangled relationships with non-
surrounding world, Ishraki human others.
challenges norms and invites
audiences into a sphere where art, Collaborators: Ishraki Kazi
research, and sensory experience (Artist, Performer, Videographer,
converge. The work combines and Voice Over), Weihan Jiang
creative experimentation and (Cinematographer and Editor),
philosophical exploration, offering Anna Romanov (Scientific
viewers a multisensory journey into Collaborator, Voice-over, and
our entangled relationships with Writer), Eric Stapleton (Sound
the universe. Mixer), Participants (Ganit, Emily,
Junha, and Cassie).
Recent projects like "Poetics of
Inquiry: How to Stay with Trouble,"
"Bacterial Consent," and "Sensory
Augmentation" exemplify an art-
science collaborative approach,
navigating the curious space
between the known and the
unknown.

Ishraki holds a Bachelor of Fine

Arts from The Cooper Union,
a Master of Science in Art, IMAGE CAPTIONS
Culture, and Technology from
the Massachusetts Institute of [1] Anesthesiologist (Exhibition Screenshot),
Technology and is engaged in Ishraki Kazi, 2023.
ongoing projects while living and [2] Anesthesiologist (Still), Ishraki Kazi, 2023.
working between Shanghai, New Video Essay. 12 Mins., 14 Secs.
York, and Boston. [3] Anesthesiologist (Still), Ishraki Kazi, 2023.
Performance Documentation.12 Mins., 14
Secs.

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KRITHI NALLA

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

My understanding of the theme is bringing in

new dialogue and perspectives that lie outside the
anthropocentric circles. We have seen a first layer or first-
generation interpretation of "otherness" but now we must
challenge that too. Questioning the reason why certain
objects exist. What and why they do the thing they do and
who they are benefitting. This type of thinking encourages
us to constantly create, iterate, and question why objects
or systems have been placed where they are.

[1] 54
ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES? WHAT IS YOUR EXHIBITED WORK
FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGINATION OF THE ALTERNATIVE?

I've been trained in creative computational

technology but like to think my background
comes from all my interests combined. I was
drawn to the idea of networks and explored the
various types we see in our lives. I've learned
about technical and manufactured networks
but once I looked at networks in our natural
environment, I couldn't escape that rabbit hole.

My journey began with bioplastics, biomaterials,

mycelium, and plant root experiments, and
have also been with institutions that work with
healthier building materials. I wanted my work
to exist at the intersection of the Venn diagram
between natural worlds and technology. With
time, I narrowed down to how technology
could be used for and by communities that
think outside anthropocentrism. This is why
it was important for me to explore two sides
and understand how I could begin to imagine
designing systems of collaboration between
humans and the natural world while placing
humans at the center vs the natural environment
in the center, I created this diagram in an attempt
to map out my thoughts on how "Grass Listeners"
could live on.

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[2] 56
ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

[3]

The grass footprint calculator was made with the idea

of understanding smaller yet significant systems in our
environment. Grass, when cut, releases GLVs (green leaf
volatiles) or VOCs (volatile organic compounds), which
contribute to the fresh grass smell, combining with
sunlight to turn into aerosols. A study found that these
aerosols contribute to urban smog but are not considered
for. Through this piece I wanted to place emphasis on
how our systems for calculations are fine but that there's
room to improve and we must consider the smaller
contributors as well. If you look closely at the receipt that
is printed from the back of this machine, it shows that the
emission rate is relatively low. This project lives within
anthropocentric circles of how it is, again, for the human.

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How we want better and more accurate data but at the

same time slowly moving away from traditional collection
methods and attempting to think differently.

I wanted to carry on that same thinking into the second

part of "Grass Listeners" which is where I wanted to
explore equipment and tools outside of anthropocentrism.

Instead of wanting to
be in conversation with
plants and the natural
world. Why don't we
learn to listen? I wanted
to rethink our modes of
listening as well. How
can we begin to think
about our models for
listening to non-human
creatures?

The tools and various

equipment pieces are
modeled after techniques
and gestures that
wouldn't harm the grass
but encourage to explore
different languages of
listening. We humans
communicate and
[4]
listen through verbal
or gestural cues, but

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the natural world has significantly different methods

of communication—frequencies and smells. I chose to
"listen" to the chemicals or smells. At this point, it was
important to highlight the goals of communicating while
designing and constantly check myself so I don't try to
create JUST for the human but to facilitate collaborative
learning. Various tools here have been built to "listen"
not just with our ears but through the rest of our senses
as well. Getting out of a very human-centered design
approach was difficult but definitely worth it. I wouldn't
say I have completely designed for the environment
but it was a step in attempting to evoke new ideas of
communication listening.

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OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

It gets us to think differently and I believe the method of

presentation is perfect for the theme as well. It challenges
the existing practices and asks how we can expand beyond
just a certain space, and certain restrictions, and how
can we encourage TRUE collaboration. Art has a way of
changing our thoughts or thinking for a moment or longer
and traditionally it has been done in person where we
can feel the presence and energy of the artwork. Moving
into the online space will not live up to that experience
but it shouldn't be compared to it either. That's not a
fair comparison. The goals are different and we should
embrace those motives and goals.

What we are seeing now is the "first iteration" or "first-

generation" virtual exhibitions, I can't wait to see how
these exhibitions evolve—they would either create the
in-person simulation so well or we completely define and
restructure what online exhibitions can be. The latter
seems more exciting :)

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

I'm working out a balance to tackle the same question as

well. My initial work was primarily virtual spaces and now
I have moved to working in the physical. I'm yet to go back
and figure it out. Ask me again in a year, I hope to have my
answer by then.
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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

My work has always been questioning today's norms, and

how we can challenge those ideologies. I hope for people
who are curious enough to see beyond their immediate
reality and the ones who are open to understanding or
listening to others' perspectives.

I feel like up until now unanticipated audiences somehow

stumble upon my work, it's always interesting to see their
entry points into what caught their eyes. Those entry
points are something I'm trying to put more emphasis on,
to hopefully make the barrier to entry thinner.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

I hope we are in constant collaboration with the natural

world, and that we have learned to listen, and study
our surroundings rather than treating them as humans
historically have treated complex systems—by overriding
and forcibly controlling them. We won't be ruled by plants
which a lot of movies like to showcase but rather we would
be living knowing so much more about these complex
creatures, we would learn from how they cope with harsh
climates and adapt to our built environments like that.
I hope to see a future where biomimicry is the norm.
Our values would change, we would have similar urban
infrastructure but just with different materials.

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[6]

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A lot of great institutions are on the path for this—OXMAN,

Terraform One, and labs like the Healthy Material Lab do a
great job at inspiring designers to use healthier materials.
I feel hopeful with our progress but there's always a
doomsday mindset with climate and now the awakening
of AI. I see a potential collaboration in those spaces too, to
improve our current systems.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

The simplest form is through acceptance, curiosity, and

willingness to adapt for the greater good. Another important
aspect is having the ability to view our environment with
a non-hierarchical lens. We often perceive humans at
the top and every other living being below us, but how
are we measuring this? How is
intelligence measured? Why are we
comparing it with human abilities
while each being has a different
system? Beginning to learn
about animals' or plants' ways of
adapting, and growing, and their
inner mechanisms would hopefully
make us realize that we all have
different capabilities. It's not about
comparison but learning from [7]
each other and living in harmony.

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IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

I would like to be a rock dove bird. I have an obsession

with existing in the atmosphere but also I am super
curious about their abilities to navigate, move from place
to place, somehow know where home is, and how they are
reading environmental weather signals, infrasonic waves
from geophysical sources, and other factors that help
them guide through the world.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

If it's in relation to the theme, then I would say I love:

1. Books:
• "The Uninhabitable Earth: Life After Warming" by
David Wallace-Wells
• "The Sixth Extinction: An Unnatural History" by
Elizabeth Kolbert

2. Podcasts:
• "Ologies"

3. Other platforms:
• Gen Space in NYC—a community biology lab—a
place where people of all backgrounds can learn, create,
and grow with the life sciences.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

ABOUT THE ARTIST IMAGE CAPTIONS

A designer, storyteller, futurist, [1] Grass Listeners (Exhibition Screenshot),

and question archaeologist who Krithi Nalla, 2023.
uses minute behavioral insights [2] Grass Listeners - Grass Listening Devices:
and technology to drive the Face Mask, Krithi Nalla, 2023. PoP and
narrative. Krithi Nalla's research Plastisol ink. Dimensions Variable.
aims to critically interrogate [3] "Where does the project live?" A
and rethink physical and digital mindmap by Krithi Nalla.
objects in relation to us and [4/5] The receipts, showing the users
our environments. She enjoys emission rate according to their steps.
challenging the curiosities of [6] Grass Listeners and Grass Footprint
today by exploring the non- Calculators, Krithi Nalla, 2023.
imagined fiction around emerging [7] The Great Chain of Being in
technologies of tomorrow. Shakespeare's writings, The Tempest.

ARTWORK STATEMENT

A small group of self-organized

technical naturalists began
to conduct self-motivated
research experiments for grass-
based scientific literature.
They constructed a series of
devices, like the Grass Footprint
Calculator, to collect and analyze
the chemical vocabulary of
damaged grass. They would be
seen during the sunny hours of
the day, walking across stretches
of grass with their specialized
equipment. These scientific
pilgrimages work to increase
the accuracy of urban smog
emission statistics. As the devices
evolved, the community of "Grass
Listeners" created more devices,
like the Shoe B.03, Face M.45,
Udd.04, Red S.11, and many more,
to tune into the various languages
of the grass.

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TIANGEWANG & I-YANG HUANG

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

TW, IY: Alt-Alterity is a call for a broader, more inclusive,

and harmonious perspective on planetary diversity.
As a theme, it seeks to redefine the traditional concept
of "otherness" and transcend the dichotomy between
human and non-human entities. Rather, it celebrates
a broader spectrum of players that share and shape
the natural and cultural richness of planet Earth in an
equal manner, such as microorganisms, plants, animals,
humans, AI, and machinery. For us, the approach of
Alt-Alterity is intrinsically connected to topics such as
eco-centric views, climate and nature-inspired design,
sustainability, and advancement and preservation. It
gives rise to new interaction paradigms that consider all
entities as interconnected and balanced participants in
the experience.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

TW: I am a multidisciplinary designer and creative

technologist whose work investigates innovative
interactive paradigms among humans, technology,
and the environment. Tackling subjects like climate
change, holistic well-being, embodied experiences,
and speculative futures, I employ mediums including
multimodal interaction, creative data visualization,
multimedia art, AR/VR, installation, food, software, AI,
and games.

IY: I am a multi-disciplinary designer working across R&D,

labs, luxurious residential, public space, and industrial
design. I specialize in complex modeling, parametric
generative geometry, and storytelling by visualization. My
work explores emerging design trends and opportunities
arising from digitalization, including game engines,
new retail experience, multi-sensory data experience,
experimental development paradigm, and speculative
spatial design.

TW, IY: We share deep interests in making the intangible

tangible through creative data storytelling and interactive
experiences. We also often look to nature, climate,
and science as sources of inspiration that unlock the
opportunity for us to engage in critical topics in these
areas. Whether it is turning complex climate data into
multisensory experiences through edible confection, or
crafting an immersive view into the microscopic world of
living organisms, or visualizing brainwave data as a way

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to promote social connectedness, we constantly engage

with subjects that are ever-present and deeply connected
to our everyday lives yet exist beyond the immediately
perceivable. Our shared interests converge in creating
beautiful, interactive, and accessible experiences that
connect these visible and hidden aspects of living or non-
living agents on Earth.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

TW, IY: "Purple Origin" focuses on exploring the historical

and cultural significance of the color purple, provoking
reconsideration of our relationship with nature,
and reflecting on the balance between progress and
preservation.

"Purple Origin" reimagines an alternative world by

• encouraging environmental consciousness: by
immersively recounting the tale of the Murex snail
and the origin of purple dye, the installation invites
participants to reflect on the impacts of material
consumption and the importance of environmental
conservation.
• promoting a balanced perspective: "Purple Origin"
urges a balance between innovation and conservation,
encouraging an appreciation for human advancements
while recognizing the necessity of living in harmony
with the natural world.
• reimagining human-nature relations: this project
challenges human-centric perspectives by juxtaposing

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

human narratives with those of the natural world,

thereby fostering a deeper understanding of our
interconnected existence and shared identity.

[2]

"Viruscape" focuses on revealing, exploring, and

educating the intricate microscopic world within the
human body. By enabling players to navigate as white
blood cells, the game reimagines an alternative world
where the lines between the macro and micro selves
blur. It not only simplifies complex immunology into
engaging gameplay but also highlights the importance
of these micro entities in maintaining our health. This
project contributes to a broader understanding of life,
emphasizing the intricate balance and coexistence
between humans and the microscopic life forms in us.

"Viruscape" reimagines an alternative world by

• shifting scale and perspective: instead of a human-
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centric and human-scale viewpoint, "Viruscape"

allows players to experience life as a white blood cell,
challenging conventional anthropocentric views and
spotlighting the experience of microscopic non-human
entities within our bodies.
• bridging knowledge Gaps: by transforming complex
immunology into an engaging game, the project makes
the microscopic and often overlooked aspects of our
bodies accessible and intriguing, helping players
understand and appreciate the complex biological
interactions that sustain us.
• enhancing awareness: the game immerses players in the
dynamics of bodily defense mechanisms against bacteria
and viruses, highlighting the continuous, unseen battles
occurring within us. This serves to increase awareness
and respect for the microscopic lifeforms that are
crucial to our existence.
• creating a new narrative: through its unique gameplay

[3]
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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

and aesthetic choices, "Viruscape" crafts an alternate

universe that is both mysterious and magnificent,
encouraging players to ponder the blurred lines between
self and other, human and non-human, macro and
micro.
• promoting harmonious coexistence: the game
underscores the importance of balance and harmony
among various entities within our bodies. It implies that
health and wellbeing depend on a symbiotic relationship
between human and non-human actors, thereby
redefining notions of "otherness" to include a broader
community of life.

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

TW, IY: Exhibitions in the digital age could take many

forms from online only to various degrees of hybridity.
We are excited about the potential of digitally enabled
exhibitions to unlock new processes, mediums, interactive
experiences, accessibility, and planetary responsibility of
art and design work.

Since exhibitions in the digital age no longer have to be

location-based and time-boxed in the traditional way,
they can be decentralized, on-demand, interactive, and
participatory. Emerging design mediums and artistic
expressions can flourish as a result, including multimedia,
multimodal, mixed reality, AI-enabled, and so on.

Moreover, online platforms can foster global collaboration

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among artists, designers, curators, and audiences.

Interactive features in digital exhibitions can create a
more engaging and participatory experience for viewers,
and the broader theme of co-creation will stay with us
longer and take on new meanings.

And just like any digital experience, it is much easier for

exhibited work to reach diverse audiences across the
globe and enjoy greater visibility and impact when they
are not tied to a physical location. Consequently, we might
experience a shift in the definition of artistic and creative
success as it is no longer solely based on location-based
visibility but could also include online engagement and
the impact within digital communities.

In addition, digital exhibitions are more environmentally

sustainable than physical exhibitions, reducing the carbon
footprint associated with travel, shipping of artworks, and
energy consumption of gallery spaces. As more and more
exhibitions lean towards the digital, we could envision a
future of reduced carbon footprint and emission for the
creative industry—or perhaps "net-zero" exhibitions could
really become a thing.

[4] [5] [6] [7]

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HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

TW, IY: As designers and creative technologists deeply

involved with emerging technologies, digital media, and
data, we find the rise of the virtual environment over the
past few years particularly relevant and enjoyable for
creating and sharing our work.

We have developed a deeper relationship with our

workspace set up in the home studio. We were able to
configure it over time so that it now enables a much more
streamlined experience as we design, prototype, and
manage our various work in interaction, visualizations,
software, and immersive experience.

Many design festivals have opened up virtual

participation, allowing us to give talks and host
exhibitions remotely as part of the festivals, interact with
audiences from different backgrounds and cultures, and
extend our reach globally. We would not have the time and
access to do it otherwise if they were all in person.

The mindset and tools that support collaborating virtually

have been extremely helpful. We were able to find
collaborators across time zones and continents based
on mutual interests and goals in creating the work, less
limited by geographical locations.

On the other hand, we still relish the opportunity to

engage in activities in the physical space, whether that
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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

[8]

means presenting at conferences, hosting in-person

workshops, and creating installation work contextual to
the physical exhibition space.

We think that the tangible, multisensory, and visceral

impact of physically experiencing, interacting, and
immersing in our work cannot be easily replicated in the
virtual environment.

In addition, we still find the physical space to be where

lots of meaningful interpersonal connections develop.
Community is important to us as designers and artists,
and it's hard to replace the connection and trust we
manage to build with others by meeting them in person.

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WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

TW, IY: We love our audience to be diverse, and we love

building connections with them. We don't select our
audiences. On the contrary, as designers, we always
strive to make our work accessible to a range of people
or the general public. Because of this, both ways are
simultaneously true—we are hard to surprise by who tends
to gravitate towards our work, yet we are also constantly
surprised by how a certain audience reacts to our work.

One of our recent projects DataWagashi is about using

Wagashi—a traditional Japanese confection—and
leveraging taste, texture, smell, and touch as additional
vocabulary for data communication, to turn complex
data into digestible experiences. This project aims to
foster a more inclusive and engaging experience about
the intricate environmental information that surrounds
us and allow data to be accessible to those with differing
sensory abilities and data literacy. In our past talks and
workshops, there was a diverse body of audience across

[9] 76
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professions, cultures, and ages that gave us distinct

yet equally enthusiastic responses based on their own
experience, which signaled to us that they understood and
deeply echoed our work, and inspired us about the various
potentials of this project moving forward.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

TW, IY: Some of the topics that we are passionate about

include health and wellbeing, responsible AI and
technology, nature and climate, and automated systems—
so we are going to describe a few aspects of the vision
related to these areas, recognizing that they are inherently
interconnected.

Presentative care and holistic health approaches become

the mainstream, where physical and mental well-being
are recognized as interrelated aspects of a well-rounded
system.

Enabled by AI, casual technologies, and spatial

computing, software evolves into an on-demand,
multichannel, and omnipresent state of being, liberating
us from endless screentime and digital fatigue.

We enjoy a visceral, intuitive, and real-time connection to

nature and heightened awareness of the climate through
smart products and personalized devices that create non-
intrusive, immersive data experiences about the planet
outside our windows. We also proactively take action to

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protect our large collective home through a shared eco-

centric mindset.

Automated systems—such as unmanned supermarkets,

vending machines, self-serve hotels, and delivery robots—
become a harmonious ecosystem that brings about a
streamlined day-to-day transactional experience. New
service models around the shared economy emerge as
part of the automated system and can be programmed
to maximize material efficiency and resource sharing,
serving underserved communities.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

TW, IY: We as designers could keep designing,

prototyping, and implementing products, services, and
experiences that contribute to the envisioned future—keep
dialing up the fidelity of this future until it becomes more
of the present, and continuously sharing the outcome to
a global audience. I would encourage designers to move
beyond static visualizations and mockups of the future,
to storytelling, immersion, interaction, and working
prototypes, and collaborate with disciplinary specialists
to ground the vision in the present and move towards it in
achievable steps.

We as individuals navigate day-to-day lives—it is about

doing concrete things and expanding the influence of the

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message. For the former, it could be supporting local and

sustainable products, using renewable energy sources,
prioritizing public transportation, being more mindful of
your body's holistic well-being, etc. For the latter, it could
be as simple as liking and sharing a relevant post on social
media, casting your vote for leaders who make an effort
to bridge gaps or restore the environment, investing in a
company that pursues a similar mission, etc.

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

TW: A goose, because I would love to experience what it is

like to be able to walk, swim, and fly—all three means of
transportation a living creature could master—unless you
consider teleportation or time travel, of course.

IF YOU WERE TO COMPARE YOUR ART STYLE OR PHILOSOPHY TO A TYPE OF FOOD, WHAT WOULD
IT BE AND WHY?

TW, IY: Wagashi, the Japanese confection that is featured

in our work DataWagashi. Wagashi is considered a
microcosm of the world reflecting the transient of seasons
and the beauty of nature, which relates to the approach
of a lot of our work around creative data experience that
communicates stories about different aspects of the
entities around us.

It is also an art of the five senses and represents a ritual

of gathering. Our work never ends with a presentation on
paper. We'd love people to experience and interact with
our work and with each other through our work.

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It also embodies a versatile form factor that

accommodates a great variety of designs, which speaks to
our medium agnostic, multidisciplinary entry points into
problems and our projects.

Its contemporary aesthetic and beautiful presentation

mirror our love for beauty and simplicity as high-level
design principles for most of our work.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

TW: The Creative Act: A Way of Being by Rick Rubin is my

recent favorite. It is a hearty book that rethinks creativity
by flipping the direction of agency. Instead of "thinking
of" an idea, the idea comes to you, and all you have to do is
staying open to let it in and make it tangible. It is also very
beautifully written.

IY: Katsuhiro Otomo's illustrious body of work, especially

the anthology film "Memories," continues to stand as an
inexhaustible wellspring of inspiration for me. The visual
storytelling in "Memories" exhibits a fusion of traditional
and futuristic elements, creating a rich tapestry that
propels the narrative in a manner few have managed
to replicate. Otomo's meticulous attention to detail, his
masterful use of color and texture, and his innovative
design aesthetics push the boundaries, offering a fresh
perspective in a cluttered field.

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ABOUT THE ARTIST consumption and heightened

environmental consciousness,
Tiange Wang is a multidisciplinary "Purple Origin" sheds light
designer and creative technologist on the often-overlooked
whose work investigates innovative contributors, like the Murex
interactive paradigms among snail, that have significantly
humans, technology and the shaped our collective past.
environment. Tackling subjects More than a mere recounting of
like climate change, holistic well- history, "Purple Origin" presents
being, embodied experiences and a poignant juxtaposition of
speculative futures, she employs human narratives with those
mediums including multimodal of the natural world. This
interaction, creative data installation fosters reflection on
visualization, multimedia art, AR/ the balance between innovation
VR, installation, food, software, AI and conservation, urging visitors
and games. to appreciate our advancements
while also recognizing the
I-Yang Huang is a multi-disciplinary crucial importance of living in
designer working across R&D, harmony with nature, challenging
labs, luxurious residential, public our human-centric views and
space and industrial design. He celebrating our diverse, shared
specializes in complex modeling, existence.
parametric generative geometry
and storytelling by visualization. "Viruscape" (presented in the
His work explores emerging design second part of the exhibition):
trends and opportunities arising
from digitalization, including game "Viruscape" offers an evocative
engine, new retail experience, exploration into the lesser-
multi-sensory data experience, acknowledged, "other" world
experimental development residing within us: the teeming
paradigm and speculative spatial microscopic landscape of our
design. bodies. In an age where the
unseen became the focal point of
ARTWORK STATEMENT
global attention, this immersive
game-art fusion challenges our
conventional anthropocentric
"Purple Origin" (presented in the views by centering the narrative
first part of the exhibition): on our internal non-human
actors.
In today's age of intense material

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Players embark on an enthralling

journey, not as humans, but
through the lens of white blood
cells, navigating a universe
punctuated by bacterial and viral
entities and tasked with fending
them off. By transforming complex
immunology concepts into intuitive
gameplay dynamics, "Viruscape"
bridges the gap between the
familiar and the "other," shedding
light on the significance and agency
of our body's minute defenders.
IMAGE CAPTIONS
A dominant purple-hued
aesthetic, coupled with a pulsating
soundtrack, crafts an ambiance [1] Purple Origin (Exhibition Screenshot),
reminiscent of both the mysterious Tiange Wang And I-Yang Huang, 2023.
and the magnificent, transporting [2] Purple Origin, Tiange Wang And I-Yang
players to a realm where the Huang, 2023. Digital Media. Dimensions
boundaries of self and "other" Variable.
intertwine and blur. "Viruscape", [3] Viruscape (Still), Tiange Wang And
at its core, isn't just a game; it's I-Yang Huang, 2023. Digital Media.
a celebration of the intricate Dimensions Variable.
balance of life, underscoring [4] Purple Origin - Murex Trunculus, Tiange
the importance of harmonious Wang And I-Yang Huang, 2023. Digital
coexistence between the myriad Illustration. Dimensions Variable.
entities that call our bodies home. [5] Purple Origin - 2500, Tiange Wang And
It challenges players to expand I-Yang Huang, 2023. Digital Illustration.
their understanding of "otherness," Dimensions Variable.
transcending the human-centric [6] Purple Origin - 6,6'-Dibromoindigo,
to appreciate and gain a fluent Tiange Wang And I-Yang Huang, 2023.
understanding of the broader Digital Illustration. Dimensions Variable.
community of life within us. [7] Purple Origin - Tyrian purple, Tiange
Wang And I-Yang Huang, 2023. Digital
Illustration. Dimensions Variable.
[8] Sink In Sync, Tiange Wang And Xin
Feng, 2023. Multimedia Art / Digital Media
Installation. Dimensions Variable.
[9] Data Wagashi, Tiange Wang And I-Yang
Huang, 2023. Mix-media. Dimensions
Variable.

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SHASHWATH SANTOSH

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

A lot of my work pushes us to think about other worlds,

parallel realities, and alternate forms of existence. I
read Alt-Alterity in the same vein. It's not just about mad
scientist energy; it's about a passionate rebellion against
the inertia of the familiar. Our imaginations are often
constrained by the stories we tell ourselves. Continuously
challenging our ideological comfort zones and pain points
can lead us to reconsider whether we want to continue
doing things the same way or not.

I think Design, with all its toolkits and traditions, makes a

great conduit for experimentation outside the brick walls
of our creative forts. What lies in the lands far away? To
climb over the tall barricades and traverse across subjects
of esoteric philosophy, natural sciences, manufacturing,
policy, and politics, I think it takes a design alchemist and
the heart of a rebel scientist to orchestrate the ebb and
flow of what could be conceived as "normal." Only then
can we truly choreograph the delicate dance between the
mundane and the miraculous.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

Growing up, I had a fascination with what lay beneath

the surface of everyday gadgets. The inner workings of
electronics—the circuit boards, the leaky batteries, and
wires tucked behind injection-molded plastic cases—were
my playground. Taking apart anything I could get my
hands on, from radios to Walkmans, became a ritual. I
recall challenging myself to take them apart and put them
back together without jeopardizing their functioning. I
failed most times. But each time, I discovered a hidden
order, a clean and secret realm, where clutter triumphed,
and the invisible design details of engineering were laid
bare.

These hidden interiors were like secret worlds, places

where the usual rules of appearance didn't apply. Instead,
these spaces celebrated what was often kept out of sight:
the supports, the markings of manufacture, and the
fundamental elements that made these objects work. It
was a stark contrast to the outer facades we're so used to
judging. This is one of the first alternate realities that I
experienced.

This sparked my interest in the themes of other worlds

and parallel realities that already exist cocooned inside
our imaginations. I learned that perhaps to reach these
other worlds, we don't need to start from scratch; instead,
we should shift our perspective—to question and look
beyond what we're accustomed to accepting as the
absolute truth. We should push ourselves to remove the

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[2]

[3]

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covers of the reality we hold so firmly. I enjoy unscrewing

the exterior and peering behind the curtains that we
so readily accept as the ultimate truth. And this is
challenging. Resisting the urge and nurturing curiosity
can be difficult. However, I believe that sometimes it's
not about designing and creating entirely new things;
it's about remixing existing design paradigms to develop
lenses and filters that allow us to perceive alternative
realities within and beyond our immediate and accepted
ones.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

"The Climate Controlled Dosa Picnic Basket" is a

collaboration with my long-term creative partner, Nithin
Eluvathingal. Together, we run a humble studio practice
called "Kinky Kashayam," focused on twisting the worlds
of history, sciences, technology, socio-economics,
critical fiction, and humor.

We consider ourselves researchers of human stories

who are grappling with our Southern-Indian identities.
We wondered what industrial design would look like
if it grew within and amongst the belief systems of the
part of the world we are from. What would the obvious
objects look like and solve for? Since Dosa is notoriously
difficult to transport due to its fragility, this machine
finally puts a long Dosa on the menu for an outdoor
picnic.

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OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

I am a strong believer in the power of non-physical spaces

as channels for creative equity. The magic of spaces we
can't touch or see, like the internet or our imagination,
where everyone has an equal chance to share their ideas.
In these spaces, it doesn't matter where you come from or
what you own; what's important are the ideas you bring
to the table. It's like a vast, open field where everyone is
invited to play, share, and create together. As these virtual
spaces become more common, they may encourage a
shift in how value and prestige are assigned in the art
world. Success may no longer be tied solely to physical
sales or exclusive exhibitions but could also be measured
by the ability to spark conversations across cultures and
continents. This is where fairness in sharing and creating
can flourish, where stories and dreams from all over can
intermingle and thrive.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

Yes, I do miss certain aspects of a physical space. The

intimate exchange between artist and beholder in the
physical realm carries a magic all its own. To witness
their reactions in real-time, their emotions flickering
across their faces as they engage with your creation. Such
moments are treasures and hold gravity in my heart.
Yet, there is an equally wondrous facet to the sharing of

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work in non-physical spaces. It sails across the vast virtual

ocean, lands in places I've never set foot in, and speaks to
souls I've never seen.

I believe this duality is a gift in our time—the tangible joy

of local connection, paired with the boundless reach of
global interaction. In this dance between the near and
the far, the personal and the universal, creative sharing
becomes an omnipresent force, simultaneously nestled
in the nooks of intimate galleries and soaring through the
endless skies of the internet.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

Curious individuals, murky creative identities, and

ambiguous disciplinary interests—I don't select my
audience, nor do I try to ascribe my work to a specific
group. I often find myself creating work that my 8-year-
old self once conceived. I'm guided by the echoes of my
childhood fantasies, paying homage to those unbothered
daydreams, engaging in a conversation across time with
the fantasies that have never faded. Each piece I create
is an attempt to shake hands with my past, inviting
the dreams of that wide-eyed energy into the realm of
"serious" design today.

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WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

We have entered the age of hyperstimuli, content for

content's sake, minuscule attention spans, biased
intelligence models, streaming actual wars online, post-
privacy, and so on. However, we have also entered a world
where large language models can describe the world to
those who can't see it. These same models are capable
of accelerating the discovery of safer natural materials.
Additionally, there is high-speed internet access in remote
parts of the world, affordable access to vaccines, highly
capable open-source software, wiser urban planning
methods, and a more diverse range of voices in global
power dynamics. We've come a long way, and if we
continue to share, care, and use these new tools wisely,
there's no telling the remarkable places we can reach next.
This is the story we are all currently crafting, and it can be
quite fascinating.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

In the studio of tomorrow, let's continue to champion

curiosity. I recall Yuval Harari's response to Lex Fridman
when he was asked to expound on his thoughts about the
existence of aliens. He claimed, "Intelligence is overrated"
and went on to explain that high intelligence is the reason
that we are destroying the planet, our home, for our selfish

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reasons. But is it our sharp wit, and our soaring IQs, that
have led us to the brink of our own undoing? Perhaps. Yet,
here's a twist in the tale: what if our greatest tool isn't the
ability to outthink, but to wonder?

Here is my response, I tend to agree. I add that I think

curiosity is understated. Curiosity isn't a race to the finish
line; it's a leisurely stroll through the universe's endless
library. It teaches us to sit at the feet of the inanimate,
the microscopic, and listen. Curiosity gives us the
humility to accept that we don't know it all and it is worth
looking to other forms of non-human intelligence like
plants, animals, fungi, objects, materials, and bacteria,
for inspiration to deal with the questions of climate
breakdown, mass extinctions, financial collapse, global
wars, populism, etc.

In this future studio, let's not merely gaze at our own

reflections but look outward with the eyes of children
discovering the world anew. Let's weave curiosity into our
canvases as we face the shadows cast by climate change,
extinction, upheaval, war, and division. For in this quiet
humility, in this state of perpetual learning, we might just
find the strokes to paint a path to harmony.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

I have been recently getting into vintage patent archives

from governments all over the world. Each page is either
brimming with the sheer brilliance or laughable musings
of designers before us. I've been enjoying looking at these
to imagine (very possible) alternate worlds where some of

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these inventions, were more than just ideas on paper and

could have been taken seriously.

The mere thought that any one of these designs could have
profoundly altered our present day is like contemplating
the butterfly effect—a small flutter that could've steered
history down an entirely different path.

Consider the ubiquitous keyboard: a forest of keys at

which we type without a second thought. Among the
many layouts that were once proposed, the QWERTY
arrangement emerged victorious, not solely by design
but perhaps by serendipity—the right idea in the right
hands at the right moment. Had another layout prevailed,
it would have changed our input systems for machines in
ways that we can have a lot of fun speculating on.

This is why I love these old patent documents. They are

not just relics of the past but invitations to dream of what
could have been. For anyone with a curious mind and a
love for history's hidden what-ifs, I highly recommend
exploring patent archives.

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[4]

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ABOUT THE ARTIST ARTWORK STATEMENT

Shashwath Santosh is a designer The Dosa, a traditional Indian

based in New York with a dish beloved for its delicate and
background in industrial design. crispy texture, is notoriously
After receiving a BFA in Product difficult to transport due to its
Design from Parsons School of fragility. This machine finally
Design, New York, he is currently puts a long Dosa on the menu for
experimenting with imagination an outdoor picnic.
and fiction around emerging
technology at The Google Creative This is documentation of
Lab, New York. transporting a special order Dosa
from Saravanah Bhavan, New
Independently, his studio work York, to a picnic spot in Madison
converges design with critical Square Park.
thought and speculation. He uses
projects to pose questions and Featured in the Film:
stretch his imagination; this has
given him the opportunity to work Tarshaa Krishnaraj, Krithi Nalla,
with the likes of IBM Quantum, Tanvi Mishra
CRED Bank, The Times Square
Alliance, and the Designed Realities
Lab, New School.

IMAGE CAPTIONS

[1] Climate-Controlled Dosa Picnic Basket

(Exhibition Screenshot), Shashwath
Santosh and Nithin Eluvathingal (Studio
Kinky Kashayam), 2022.
[2][3] Climate-Controlled Dosa Picnic Basket
(Still), Shashwath Santosh and Nithin
Eluvathingal (Studio Kinky Kashayam),
2022. CNC Plywood and Physical
Computation. 4.5 x 1 x 1 Feet.
[4] The design sketch for the Dosa Picnic
Basket.

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YUWEN HUANG

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[1]

LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

I believe the theme of the exhibition, Alt-Alterity, is about

rebellion and challenge against anthropocentrism.
This theme delves into everything beyond the human
realm. The addition of "alt" as a prefix signifies a deeper
exploration of the non-traditional differences among
non-human entities. This exploration goes beyond mere
biological distinctions such as species, gender, or the line
between living and non-living things. Instead, it probes
into the potential for alternative ways of existing within
the intersections of various disciplines under the current
virtuality media environment. The exhibition theme
stimulates our imagination, inviting us to reflect on the
environment we often take for granted.

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

I have a background in digital media art, currently

pursuing an MFA in Art and Technology Studies at the
School of the Art Institute of Chicago. My work generally
explores themes of nature, history, and identity through
the use of technology.

The piece I selected for this exhibition stemmed from a

prolonged personal experience of physical discomfort
after consuming pork. This incident prompted me to
delve deeper into the essence of pork, contemplating not
only the food itself but also its underlying phenomenon
in society. I realized how detached I had become from
the source of pork and began questioning its true nature,
transcending it as being labeled as mere "food."

This reflection led to broader inquiries about our

contemporary life. Nowadays, people are becoming
increasingly distanced from the natural environment,
sinking into a technological landscape. I began to ponder
the extent of a non-human entity's presence, and how it
is transformed by an advanced society. This is not only
related to the entities' existential crisis but also to the
erasure of their identity within the society's culture.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

My work focuses on the image and concept of the pig

as a specific creature, exploring how technology, at the
current level of scientific and technological development,
influences and gradually erases its image and concept. I
also explore the concept of lab-grown meat, incorporating
Petri dishes in my work to reflect on the significance
of biological life. Not only is its territory of existence
threatened, but its conceptual context is also completely
separated from its original identity, further resulting in its
identity being expelled by technology.

Through the use of AI generation technology, my work

encourages people to recode their image of a pig. It raises
questions about whether the image of pigs in the future
will become increasingly abstract and vague in our minds
as nature and society become further separated. The AI-
generated videos provide room for imagination, allowing
viewers to consider possibilities rather than offering very
specific and exact images.

98[2]
ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

In general, I learn about other new media artists as

well as about art festivals that are far from me via
online platforms. So, I am heavily dependent on online
platforms. I think the biggest advantage of a digital
exhibition is that it breaks down geographical barriers,
allowing art to be accessed globally and in turn,
shaping new ways of seeing and experiencing art. Also,
digital exhibitions contribute to the preservation and
documentation of art.

However, this doesn't mean physical spaces are a thing

of the past. More and more physical spaces are now
including digital artworks. From my perspective, digital
spaces as well as physical spaces both create room
for diverse voices and perspectives to be heard in the
digital age. While digital spaces offer a broader platform
for artists to create and present their media artworks,
physical spaces allow media artworks to create immersive
ways for people to interact with and experience the
world around them. Digital and physical art spaces each
have pros and cons, but they have both brought about
significant changes and contributed to the art world in the
digital age.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

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I have never thought particularly about the impact of the

virtual environment on my creative approach because,
as a digital native, most of my creations are made in the
virtual environment. This is as natural to me as eating or
holding chopsticks. Occasionally, I will create physical
installations. It depends on the situation, especially when
I need to place virtual works in a physical space. For
example, my blockchain artworks outside of exhibitions
are interactive pieces built on the Internet, more suitable
for interactive operations in the virtual space and set
within an online context. However, when I need to present
the work in a physical space, it becomes mundane. What
you see is only one monitor and a mouse in the physical
space, which can be boring. To make online works more
tangible and accessible to the public, I add physical
installations and environments. This way, the window
of the virtual world can be better connected to the real
space.

But in another work of mine, "Random Walk Memory,"

I attempted to combine online platform technology
with offline activities to create art. For instance, I used
the pattern generated by an early basic programming
language as a guide to navigating real spaces in the city.
I then employed current fashionable Python technology
to visually express the experiences and emotions related
to these physical spaces. I don't see virtual and physical
spaces as binary opposites; instead, I see how, at certain
moments, they coexist and complement each other.

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WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

I think normally, I create for an audience that is interested

in the characteristics of technology because my medium
selection is usually based on its technical characteristics
and incorporates these into the concept of my work. Such
media attributes are part of the concept and require a
certain threshold of understanding. Visual representation
is a secondary consideration in my work, so sometimes
my work cannot convey information to the audience very
directly visually.

For example, in "The Missing Pig," I chose AI generation

as a means of expression, based on the fact that it can
abandon the original thing and generate new things based
on human subjective selection. And in turn, this requires
the audience to have a certain background understanding
of how AI generation works. In a different work "To Be
an In-Circle Artist," I chose blockchain technology to

[3]

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explore the definition and boundaries of an artist, based

on blockchain's utopian properties of decentralization,
permanent record, and energy-consuming characteristics.
There are no flashy visuals; the work was presented
in a minimalist way. So, without any background in
blockchain, the appearance of the work might not be
fancy enough to catch people's eyes.

But naturally, every exhibition attracts unexpected

audiences, and these experiences also enrich my
understanding of my own work. So, I strive to balance
between creating for the two. When it comes to
unexpected audiences, my primary focus is usually on
building a connection at a visual level.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

In my vision of the future, animals would cease to be

the exclusive source of sustenance. Instead, a diverse
range of alternatives is embraced, breaking us free
from the traditional power structures, hierarchies,
wealth disparities, and cultural beliefs ingrained in our
food choices. Plant-based options, lab-grown proteins,
and sustainable food sources would be commonplace,
fostering a society where the chosen source of
nourishment is no longer associated with social status
or cultural identity. This future would promote equality
and inclusivity, ensuring that everyone, regardless of
their background, has access to nutritious and ethical

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food choices. In turn, it would lead to a more harmonious

relationship between humans, animals, and the
environment.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

Humans desire meat due to the historical and cultural

significance it holds for them. The pursuit and domination
of animals in pursuit of meat turned meat into a symbol
of masculinity, strength, and wealth, originating from
the early cultures of hunting and farming. Plant-based
meat, while it holds great potential for conserving
environmental resources, has been under-appreciated,
partly due to the cultural meanings historically ascribed to
meat. However, lab-grown meat presents a new alternative
that has the potential to reshape our perceptions of meat
and in turn of animals. It exists in the middle ground,
between traditional meat and plants, and offers ambiguity.
This option not only conserves resources but also has
the potential to alleviate social inequalities that were
perpetuated by previous meat-eating societies.

I believe that the concept of "otherness" gains profound

meaning within this context. The moving image of pigs
in my works reflecting lab-grown meat introduces a new
meaning to the idea of "otherness" for our future. Lab-
grown meat shows us how "othering" can apply to more
than humans, but it applies to more than non-humans as

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well. I believe our efforts can begin with how we perceive

our food and our eating habits, which significantly
influences our impact on animals and our expansion of
the concept of "otherness." Lab-grown meat, as an epitome
of "otherness," plays a significant role in our future life.
It liberates animals from the historical symbols imposed
upon them. This represents a genuine form of "otherness,"
one that technology has created.

IF YOU WERE TO COMPARE YOUR ART STYLE OR PHILOSOPHY TO A TYPE OF FOOD, WHAT WOULD
IT BE AND WHY?

The first thing that comes to my mind is water. Water

is incredibly adaptable. It can take the shape of any
container it is put in and seamlessly integrate with other
elements. It is also colorless and odorless, and it can
take on any color and flavor when combined with other
substances. This philosophy extends to my approach to
life, emphasizing the importance of enjoying and adapting
to life's changes. Additionally, while seemingly transparent
and unassuming, water holds immeasurable depth and
significance. Similarly, my art may appear simple on the
surface, but it carries layers of meaning and intention
beneath. It challenges viewers to look beyond the obvious,
inviting them to explore the concepts and ideas embedded
within the artwork.

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ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

Some interesting books, as references related to my

artwork:
• Lestel, Dominique. Eat This Book : a Carnivore's
Manifesto. New York: Columbia University Press, 2016.
• Adams, Carol J. The Sexual Politics of Meat : a
Feminist-Vegetarian Critical Theory. Bloomsbury
Revelations edition. New York: Bloomsbury Academic,
an imprint of Bloomsbury Publishing Inc., 2015.
• Koert van Mensvoort and Hendrik-Jan Grievink.
The In Vitro Meat Cook Book. Laurence King Publishing,
2014.

Other Book recommendations: Domenico Quaranta,

Surfing with Satoshi Art, Blockchain and NFTs, 2022.

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ABOUT THE ARTIST ARTWORK STATEMENT

Yuwen Huang (b. 1997) is a Datasets were collected from

conceptual media artist, currently different kinds of pictures of
pursuing an MFA in the Art and pigs online and terms for pigs in
Technology department at the different languages. Those images
School of the Art Institute of online have been selected and
Chicago (SAIC). Her practice filtered many times by human
focuses on Virtuality through desire. In the experiment, the
different mediums such as video, algorithm creates new images and
net, installation, gan-generated a new language for pigs. Similar
images and videos, blockchain, to LGM (lab-grown meat), it was
and creative writing. Influenced created by technology without
by Eastern philosophies such as the presence of any animals, and
I-Ching and spiritual Cultivation, it separates the concept of the pig
Eastern spiritual thinking and from the context of meat. This
Western research-based methods work discusses the erasure of pigs
are both important in her process physically and their absence in
of creation. As she is interested our psychological minds.
in the interconnectedness of
all things and their connection
to our inner experiences, her
conceptual-based art explores how
technology extends our perception
and expands our understanding
of the things around us. Common
themes in her works include nature,
history, and identity as they relate
to technology. In 2019, she received
a Bachelor of Arts in Intermedia
Art from the China Academy of
Art (CAA in Hangzhou, China),
and her work was selected for the
Lumen Prize Longlist in the Crypto
category in 2023. IMAGE CAPTIONS

[1] The Missing Pig (Exhibition Screenshot),

Yuwen Huang, 2022.
[2/3] The Missing Pig, Yuwen Huang, 2022.
Gan-generated Videos on 90 x 15 mm Petri
Dishes.

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TIANYUN JIANG

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

Alt-Alterity refers to a concept that explores alternative

forms of cultural or linguistic expression, often emerging
from marginalized or underrepresented communities.
In the context of my project inspired by Nüshu, Alt-
Alterity signifies a departure from conventional modes
of communication, as it delves into the unique and
historically significant gender-specific language invented
by Chinese women in the 19th century. This theme invites
us to reevaluate established norms and to appreciate the
richness of diverse linguistic and cultural practices.
COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

With a "multi-cultural" background and professional

experience in both industrial and graphic design, my

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creative journey has been shaped by a diverse range

of influences. It was during this time that I became
captivated by the potential of design to convey cultural
narratives and challenge conventional modes of
expression. This led me to explore themes related to
cultural diversity, inclusivity, and the reimagining of
traditional forms of communication. The Nüshu-inspired
project, for example, emerged from a deep appreciation
for the ingenuity of Chinese women who created this
unique language, as well as a desire to extend its legacy
into new creative realms.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

My exhibited work revolves around the exploration and

reinterpretation of Nüshu, a unique gender-specific
language invented by Chinese women in the 19th century.
During that era, being a woman often meant facing
harsh realities like foot binding and little educational
opportunities. In Jiangyong Province, China, women
reacted to this situation by creating their own written
language, Nüshu, secretly handed down from mother to
daughter and used only between women. In this context,
Alt-Alterity signifies a departure from conventional modes
of communication—not just an alternative method of
communication, but also a subtle act of defiance against
the societal norms that restricted women's freedoms and
opportunities.

The project takes the form of an experimental type design,

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drawing inspiration from Nüshu's distinct visual elements.

These elements are characterized by long-diamond-
shaped characters with fine and uniform strokes, often
resembling mosquitoes or ants. By incorporating these
features into the design, my aim is to pay homage to the
ingenuity of the women who created Nüshu and extend
its possibilities beyond its original cultural context. This
project serves as a visual representation of a world where
women's voices and expressions, historically constrained,
discover new forms of empowerment and artistic
expression through the medium of Nüshu-inspired type.

[2]

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OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

Digital exhibitions break down boundaries, making

art globally accessible. They provide a platform for
underrepresented voices, foster innovative presentation,
and reduce environmental impact. They also enhance
interactivity and engagement and offer data analytics for
better outreach and understanding of the audience.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

The virtual environment expands my creative possibilities.

It allows for immersive experiences and innovative
presentations that may not be feasible in physical
spaces. However, it also requires a different approach to
engagement. In a virtual context, interactivity and user
experience design play a crucial role. Balancing these
aspects is essential for a successful transition between
virtual and physical spaces.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

My ideal audience comprises individuals with a profound

appreciation for the intricate interplay between cultural
expressions and design innovation. Specifically, I hope

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[3]

to resonate with those who recognize the transformative

power of art in giving voice to marginalized communities.
Women, in particular, hold a special place in the narrative
that inspires my work.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

My vision for a future that transcends current challenges

draws from a blend of resilience, innovation, and
collective action. It envisions a world where diverse
cultures harmoniously coexist, drawing strength from
their unique narratives. In this future, technology
and design serve as tools for empowerment, fostering
inclusivity, and breaking down barriers. Ultimately,
my vision for the future transcends the limitations of
the present by embracing a collective commitment to
progress, inclusivity, and the enduring power of creativity
and cultural exchange. It is a future where the diverse
tapestry of human experience is celebrated, and where
innovation is harnessed for the betterment of all.

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HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

My vision requires a collective effort from all of us. When

I say "us," I'm referring to individuals, communities,
and societies at large. From my perspective, embracing
sustainable practices in our daily lives is a tangible way
to make a difference. This includes reducing waste,
conserving energy, supporting eco-conscious businesses,
and advocating for sustainable policies. Furthermore,
fostering collaboration between diverse communities,
disciplines, and industries is crucial. Tackling complex
challenges like climate change and social injustice
requires collective effort and expertise.

IF YOU WERE TO COMPARE YOUR ART STYLE OR PHILOSOPHY TO A TYPE OF FOOD, WHAT WOULD
IT BE AND WHY?

I would liken it to a fusion dish. Much like how fusion

cuisine combines elements from different culinary
traditions, my work draws inspiration from diverse
cultural and artistic influences. It blends elements
of traditional and contemporary design, creating a
harmonious synthesis of form and meaning. This fusion
approach allows for the creation of something entirely
new and unexpected, much like how my work seeks to
reimagine and extend the possibilities of Nüshu.

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ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

I would like to recommend "The Tuning of the World"

by R. Murray Schafer. It prompts us to look beyond
conventional modes of expression and perception,
resonating with the concept of Alt-Alterity. It highlights
the richness and significance of alternative forms of
communication. Together, they challenge us to broaden
our understanding of how we engage with the world
around us and the diverse modes of expression that shape
our experiences.

[3]

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ABOUT THE ARTIST on thorough research, ensuring

that corresponding strokes in
Hailing from China and now based English types mirror those in
in New York City, Tianyun Jiang Nüshu.
is an industrial designer, graphic
designer, and illustrator. Her design The objective of this endeavor is
approach centers on deriving to further explore the aesthetic
inspiration from everyday human potential of Nüshu and push
experiences. She possesses a keen its boundaries. Consequently,
ability to distill narratives from more ambitious experiments
tangible and sensory encounters, are undertaken. The devised
resulting in designs that resonate typefaces are arranged in
on a deeply human level. With a the diamond configuration,
multidisciplinary skill set and a mirroring the original Nüshu, to
global perspective, she creates articulate English words such as
solutions that seamlessly merge "Flower" and "Women."
form and function, transcending
cultural boundaries. Tianyun's work
is characterized by a commitment Within this specialized type,
to pushing the boundaries of English poems are penned.
design innovation, aiming to leave Additionally, there exist editorial
an indelible mark on the creative layouts for the expanded
landscape. campaign which is the Nüshu
Book Design Project: "Book of
Secrets." The origins of Nüshu
ARTWORK STATEMENT
are told in book side A. The
experimental English-type design
Nüshu, conceived by Chinese inspired by Nüshu is presented
women in the 19th century, stands in book side B. On the left-hand
as a unique gender-specific pages of side B, one encounters
language. This experimental poems, while the right-hand
design venture draws inspiration pages provide room for the
from Nüshu, following its audience to decipher the meaning
distinctive typographic style. The of the verse.
characters often take the form
of elongated diamond shapes,
characterized by precise and
consistent strokes, resembling
either mosquitoes or ants.

Guidelines are established based

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IMAGE CAPTIONS

[1] Book of Secrets (Exhibition Screenshot),

Tianyun Jiang, 2022.
[2-4] Book of Secrets, Tianyun Jiang, 2022.
Prints. 3.5 x 7 Inches each. [5] Book of
Secrets - Word Puzzles, Tianyun Jiang, 2022.
Figure out the right words written in the
new type. The hint on the left up corner
is the meaning of the word, and hint on
the right down corner is the numbers of
letters it contains.

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MEHRDAD SEDAGHAT BAGHBANI

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

As an immigrant navigating the complexities of life

between two cultures and societies, I've gained a profound
understanding of the concept of "difference" and its
profound impact on individuals and communities. Moving
to the United States from Iran has opened my eyes to the
nuances of "othering" and the systems that perpetuate it.
In a world where certain races, genders, or nationalities
are deemed "less than" by oppressive political and social
structures, "difference" becomes a tool of marginalization.
As an immigrant or person of color, these systems
permeate our daily lives, often subtly, influencing our
experiences and opportunities. The "otherness" imposed
upon us can be a constant struggle, a battle to maintain
and build our identities in the face of societal pressures.

The current political climate further exacerbates these

challenges. The rise of xenophobia and anti-immigrant
sentiment has created an atmosphere of fear and
uncertainty for many marginalized groups. Navigating this
landscape requires resilience, self-awareness, and a
commitment to challenging the systems that perpetuate
injustice. Despite the obstacles, I believe that embracing
our "difference" is a source of strength. Our unique
experiences and perspectives enrich the tapestry of
human diversity, offering valuable insights into the
complexities of our world. By sharing our stories and
advocating for change, we can help dismantle the barriers
that divide us and foster a more inclusive society.

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Our journey as immigrants and people of color is a

testament to our resilience and our unwavering belief in
the power of human connection. Through our struggles
and triumphs, we redefine the concept of "difference,"
transforming it from a mark of exclusion into a badge of
honor, a symbol of our unique contributions to the world.

[1]

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COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

My artistic path emerges from the intersection of identity,

technology, and the delicate interweaving of art and
design. Rooted in Iran and confronted by the complexities
of a new life in the United States, I found myself grappling
with a fragmented sense of identity—a defining moment
that ignited my creative exploration. Instead of ignoring
the challenges inherent in cultural conflicts, I embraced
them, assuming the roles of both artist-citizen and
design educator. Through interactive installations, I
seamlessly blend analog and digital elements, uniting
hybrid aesthetics with machine vision. At its core,
my work delves into the intricate nuances of human
differences and cultural identity, particularly those
encountered by individuals navigating diverse worlds.
Living and creating at the crossroads of two distinct
cultures, my art serves as a bridge, fostering resilience,
adaptation, and cross-cultural understanding—a journey
intricately intertwined with the theme of Alt-Alterity.

Currently, I hold the position of Assistant Professor in

Graphic Design in the Department of Visual Arts and
Art History at Florida Atlantic University, where I strive
to prepare students not only for careers as professional
practitioners but also with a heightened understanding of
design as a social practice. I believe that design has
the power to shape our world, and I am committed to
empowering students to use their design skills to make a
positive impact on society.

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WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

Through the use of typography and artificial intelligence,

"Homeland" aims to examine concepts such as belonging,
the feeling of "otherness," and the invasion of privacy—
an all-too-common experience for immigrants before
and after being granted any sort of visa to enter the U.S.
"Homeland" utilizes personal storytelling and poetic
speculations to challenge assumed, invisible, or often
unspoken struggles encountered by immigrants/POC
when entering spaces not designed for them. This work
employs reverse engineering and the shifting of power
dynamics to guide the audience through a series of
experiences, each designed to communicate a specific
emotion or story. Instead of fixating on the apparent idea

[2]

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[3]

of "bridging" as a connecting point, my goal is to fill gaps

by honoring "differences," perhaps through a method
more akin to building a tunnel. The audience is given the
choice of participation or denial as they enter the space.
This project also criticizes the role of artificial intelligence
trained by data collected for commercial purposes on the
internet and particularly on social media. It explores how
this AI contributes to the creation of an "othering" image
on one side and represents an inauthentic image of host
societies to immigrants on the other side.

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

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The virtual environment offers a unique canvas for art

projects." The digital space allows for interactive and
immersive experiences that may not be achievable in a
traditional gallery setting. However, considerations must
be made for the potential loss of physicality and direct
engagement. "Homeland" leverages the virtual space to
amplify the impact of its message, providing an accessible
platform for a global audience to engage with the
narrative.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

Embracing the digital realm has profoundly transformed

my artistic practices. The virtual canvas offers boundless
freedom to explore a spectrum of mediums and styles,
surpassing the limitations of physical space. This
digital journey unveils a global stage where my artistic
creations can connect with a diverse audience, fostering
a shared artistic experience. However, the virtual realm
presents unique challenges. In a world saturated with
distractions, capturing viewer attention is paramount. To
overcome this, I meticulously craft visually captivating
and intellectually stimulating artworks, captivating the
imagination and evoking profound emotions. Additionally,
I embrace the power of immersive technologies, such
as virtual and augmented reality, to create interactive
experiences that seamlessly blend the physical and
virtual worlds. Despite the inherent challenges, I remain
steadfast in my commitment to navigating the ever-

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evolving digital landscape with unwavering innovation.

I am determined to harness the boundless potential of
this new medium, pushing the boundaries of artistic
expression and fostering a global community of creative
explorers. As I embark on this digital journey, I am
filled with anticipation, eager to discover the boundless
possibilities that await me in the virtual realm.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

In crafting my artistic vision, I identify a specific

demographic as my ideal audience. However, the dynamic
nature of art ensures its accessibility to an unexpectedly
diverse viewership, particularly within the expansive
realm of digital and virtual exhibitions. As an artist,
designer, and citizen dreamer, my creative expressions
are a deliberate response to my concerns, generating an
immersive and progressive energy that takes the form
of images, ideas, or conversations. This energy naturally
gravitates towards curious minds, whether they share
similar concerns or find themselves on a trajectory
where these challenges align with their lifestyle and
experiences. While "Homeland" and similar projects are
conceived with a specific purpose, their immersive and
thought-provoking nature extends their appeal to a broad
spectrum of audiences, making awareness accessible to
fresh minds and fostering a deeper understanding of the
challenges faced by marginalized communities.

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WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

The vision for a future that transcends the domination of

the present lies in recognizing that the future is neither
predetermined nor fixed. Instead, it is continually shaped
by the decisions we make in each moment, underscoring
the potential for change at any given time. To construct
a better future, a developed awareness, knowledge, and
consciousness are essential guides for decision-making.
Through increased practice in informed decision-
making, we can actively contribute to the creation
of a more favorable future. Inevitable technological
advancements will usher in widespread changes in our
perception and interaction with the surrounding world
in the not-so-distant future. Rather than resisting these
changes, a more constructive approach is to anticipate
and proactively contribute to their formation. As Sheikh
Mohammed bin Rashid Al Maktoum eloquently puts it
in Dubai's Museum of the Future, "The future belongs
to those who can imagine it, design it, and execute it. It
isn't something you await but rather create." This mindset
encourages a proactive approach to shaping the future,
emphasizing the transformative power of imagination,
design, and execution in creating a future that surpasses
the constraints of the present.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

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[4]
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Somehow, I addressed this in my answer to the previous

question, but achieving the envisioned future involves
adopting a collective future-thinking mindset. "We" refers
to individuals, communities, and societies who recognize
the dynamic nature of the future and understand their
role in shaping it. To move beyond being bystanders in
the ongoing processes of othering, exclusion, and the
resultant global challenges, such as climate breakdown,
mass extinctions, financial collapse, global wars, and
populism, it's crucial to embrace practical practices
that promote awareness and proactive engagement.
Encouraging active decision-making in every moment,
fostering consciousness about the consequences of our
actions, and adopting sustainable practices on both small
and large scales are key. Additionally, fostering a culture
of collaboration, empathy, and inclusivity is essential
for addressing systemic issues. By cultivating a shared
commitment to responsible decision-making, sustainable
practices, and social cohesion, we can collectively work
towards a future that transcends present challenges and
fosters a more inclusive, sustainable, and harmonious
world.

IF YOU WERE TO COMPARE YOUR ART STYLE OR PHILOSOPHY TO A TYPE OF FOOD, WHAT WOULD
IT BE AND WHY?

My art style and philosophy can be likened to a daily

homemade meal. Much like the familiar and comforting
nature of a home-cooked dish, my creations may not
boast the extravagance of restaurant cuisine or the instant
appeal of fast food. Instead, they reflect the essence of

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daily life—simple, authentic, and crafted with care. Just

as one navigates the everyday challenges of preparing a
homemade meal, my art is a reflection of the constant
effort and dedication poured into my daily routine. It
draws inspiration from routine struggles, occasional
quests for unique experiences, and the persistent,
meticulous attention required for its creation. Just like
a homemade meal shapes one's diet, health, and overall
well-being, my work is an integral part of me, embodying
my daily life, concerns, and challenges.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

In this age of information overload, where we have

unprecedented access to a vast array of artists, podcasts,
books, and platforms, I'd like to offer a different
recommendation. Instead of adding more content
to your already extensive library, I encourage you to
dedicate more time to the most important person in
your life—yourself. In a world where we often skim
through paragraphs or speed up videos to consume
content faster, taking the time to know yourself better is
a valuable investment. Explore who you are, understand
your genuine needs and desires, and actively choose
your identity rather than passively accepting what has
been assigned to you. This introspective journey can
be a powerful and transformative experience, fostering
personal growth and a deeper understanding of your
authentic self.

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ABOUT THE ARTIST East Lansing; MI, Arab American

National Museum, Dearborn,
Mehrdad Sedaghat is an Iranian MI; Radin Art Gallery, Mashhad,
artist, designer, and educator. Iran; and Iranian Artists Forum,
In 2016, he moved to the U.S. to Tehran, Iran. He is also the
pursue his MFA degree at Michigan recipient of numerous grants and
State University. His professional fellowships including the Summer
experiences in Iran include a wide College Research Abroad Monies
range of design practices, teaching, Award and the Selma & Stanley
and community outreach. He was a Hollander Fellowship while at
Visiting Professor at the University MSU.
of Applied Science and Technology
in Mashhad, director for several Mehrdad is an Assistant
festivals and cultural events, art Professor in Graphic Design
director and graphic designer for in the Department of Visual
the Istgah Azadi publication and Arts and Art History at Florida
Felesh advertising agency, and Atlantic University, where he
principal organizer for the Day of hopes to prepare students not
Design in Mashhad City. only for careers as professional
practitioners but also with a
Mehrdad's research and projects heightened understanding of
focus on hybrid visual culture design as a social practice.
and its relationship to global
politics in the Middle East and ARTWORK STATEMENT
the United States. Born out of
his life experience spanning two
cultures, Mehrdad's work critically Moving to the United States
and creatively focuses on human from Iran as a recent immigrant,
interactions. In doing so he hopes especially in the current political
to enlighten individuals beyond malaise, has shaped my experience
what is commonly available of understanding "difference" in
in mainstream media, create significant ways. Differences can
opportunities for discourse, and cause "othering," especially in
ultimately bring people together situations where certain races,
where politics has failed. gender, or nationality of humans
are treated as "less than" by
Mehrdad's work has been presented political and social systems that
in solo and group exhibitions, oppress them. As immigrants and/
internationally and nationally at or people of color, these systems
numerous venues including the are embedded and influential in
Eli and Edythe Broad Art Museum, our daily lives in ways that are often

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invisible and unnoticed to those IMAGE CAPTIONS

who don't experience the same
kind of "otherness" and injustice [1] Homeland (Exhibition Screenshot),
because of their nationality or color Yuwen Huang, 2022.
of skin. [2] Homeland, Mehrdad Sedaghat Baghbani,
2019. Signage. Dimensions Variable.
Through the use of typography and [3] Homeland, Mehrdad Sedaghat Baghbani,
artificial intelligence, "Homeland" 2019. Craft Paper, Literature. 108 x 61
aims to examine concepts such Inches.
as belonging, othering/feeling [4] Homeland, Mehrdad Sedaghat
"othered," and the invasion of Baghbani, 2019. Spatial Typography, Wood,
privacy (one of the most common Projection. 112 x 67 Inches.
experiences of an immigrant before
and after being granted any sort of
visa to enter the U.S.). "Homeland"
uses personal storytelling and
poetic speculations to challenge
the assumed, invisible, or often
unspoken struggles that one
can encounter when entering
spaces and experiences that are
not designed or built for us (the
immigrants/POC in this case).
Through reverse engineering
and the shifting of these power
dynamics, this work walks the
audience through a series of
experiences, each designed as
a way to communicate a specific
emotion or story. How can we fill
in gaps without being obsessed
with one apparent idea, which is
"bridging" as a connecting point?
My goal is to fill in gaps by honoring
"differences," perhaps through a
method that is more of building a
tunnel; while giving the audience
the choice for participation or
denial as they enter the space.

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PART 2.
EPHEMERAL CYCLES,
EVERLASTING COLLAPSES
We find ourselves in a world dominated by the spectacle
of "ephemeral cycles," characterized by fleeting imageries,
rapidly evolving social trends, short-lived product lifecycles,
planned obsolescence, etc.

These cycles, driven by the boom of media and technology,

divert our senses from the natural rhythms and processes
of life, among which decay, collapse, and dissolution are
pivotal yet are often misinterpreted as failures and relics of
the past.

Despite the false perception, they are, in fact, an intrinsic

part of our existence. From our own bodies undergoing
change and self-identity shifts to the ebb and flow of
broader societal systems, the processes of collapsing and
re-emerging are ever-present elements of our human world.
These perpetual cycles mirror the natural world, where
ecosystems evolve through periods of growth, maturation,
and eventual breakdown, only to give rise to new forms of
life and structures.

But, this is not a call to celebrate the collapses—as the

underlying logic of this act still follows the logic of opposing
duality and hierarchy. Instead, we must seek paths toward
adaptation, coexistence, and the cultivation of kinships
in a world persistently marred by collapses, intensified by
indiscriminate human disruption and dominance of the
natural system.

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3-DIMENSIONAL MAP OF THE VIRTUAL EXHIBITION SPACE

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JOSHUA CARLOS BARRERA

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

To me, Alt-Alterity is about understanding the "otherness"

of what we may already define as "other" or "otherworldly"
around us. It is a hidden plane of ideas and constructs that
when examined and uncovered, reveal patterns in the way
the world transforms over time.

As our perceptions are bound by shared values learned

from our communities and natural environments, there
are beliefs and experiences that are often overlooked,
ignored, not recognized, or not considered the norm. Yet,
when it comes to individual and/or collective efforts in
seeking out answers to inquiries in our world, it is through
acknowledging and incorporating this "otherness" that
humanity can better understand the variables enacting
change. Thus, it is shaping the world both known and
unknown to us.

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COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

I am of Filipino, Spanish, Portuguese, and Chinese

heritage, and grew up in the Philippines which has a
multifaceted culture due to its history of trading and
colonization. Having traveled around the world my entire
life, and been raised in a family where my parents and
grandparents had their fair share of living abroad until
settling back in Manila, I was always interested in the
contentions of ideals shared within people. I was also
always curious about where each culture or heritage can
integrate. That spilled into my art—to seek out unheard
voices, to piece together the bigger picture of things while
equally valuing its parts. My greatest inspirations come
from traveling, folklore, and video games—all of which
involve creative immersion.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

I am fascinated with subjects of fleeting beauty

constituting both sentimentality and risk. By these, I do
not only wish to freeze time in life's momentous chapters,
but to look upon its forces of change often linked to
transformations in culture, nature, and one's own identity.
The "risk" I refer to is the challenge to vividly capture
what is fast-vanishing. Such is the case of traditions,
folktales, and dreams within communities whose voices
are unheard in the bigger picture of society.

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Hence, my works featured in this exhibition are attempts

to highlight transcendence—rather than realistic, a
spiritual take on memories and heritage through inverted
and ghostly figures as if they are fading away. They
offer possibilities into a present alternate, imaginative
world where ephemerality becomes eternal, where
fantasy eventually becomes reality, and where labels are
boundless.

[3]

[2]

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OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

The existence of virtual platforms [4]

sprouts opportunity. These

platforms will help create an artistic
environment where its narratives are
diversified—offering a sense of place
and belonging to an artist and what
they stand by, without sole reliance
on the traditional gallery set-up. After
all, social media and the internet have
become major tools for circulating art.

[5]

[6]

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HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

I create paintings solely with traditional mediums: inks,

acrylics, and watercolors, but that should not limit me
from being able to create multimodal experiences. What
truly piques my interest in virtual spaces is their ability to
bring forth a fantasy or vision that cannot necessarily be
executed physically (unless there is a substantial budget
and sourcing for architecture/set design and props).

I am able to play with traditional and digital creative

processes specifically when I paint a work to be then
digitally rendered by an animator.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

Every time I create, I think of conveying my artistic

statement to younger millennials and Generation Z. Being
in the Philippines, my primary audiences are those age
groups living in the Asia-Pacific region, or places where
opportunities for exchange are easier.

I find my art being commercially consumed by much

older generations to sustain my practice for a living.
These audiences are the people who have shaped the
art industry, and the people with life experiences and
financial capabilities. Still, I gear my focus towards the

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youth of the world, who will soon be its leaders.

I feel joy in the surprise of audiences my practice can

resonate with. There are both the expected target groups
and the unexpected who can actually open bigger doors
to opportunities. Thus, I expect the unexpected when
it comes to sharing my art—as I am a firm believer
that beauty is in the eye of the beholder, and art is for
everyone.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

I share that dream of a world where nature, mankind, and

technology are all in harmony. In particular, I would like
to envision a future where human creativity is dominant
and technology is merely a tool/medium, not overtaking
the visionary per se. From this, traditions and practices
across the world are preserved, and evolved to adapt to the
needs of people years ahead.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

Right now, it's all about continuity in space development

and creative exchange between artists and broadened
audiences, which involves inclusion.

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Valuing inclusion and the pursuit of knowledge comes

from our curiosity and empathy for the stories of lives,
objects, traditions, and ideas. This form of appreciation
starts with the things we own and consume. There's
a process in everything—a life cycle—created from
concept to each and every raw material, all the way to its
discarding, wherein its materials are "returned" to the
planet for better or worse. For instance, the fresh produce
from supermarkets—we learn to appreciate its value when
we ask questions like "Where was this harvested?"; "Who
are the farmers?"; "How does this benefit the farmer,
the staff at the supermarket, and myself?" If we're able
to achieve this, then we are capable of taking on greater
societal narratives.

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

The eagle is a symbol of boldness and fearlessness. I

would love to travel the world and cherish its beauty
from the skies above. I enjoy breathtaking views from
mountains, skyscrapers, and airplanes. The eagle's
magnificent appearance in the sky is a spectacular sight to
behold.

IF YOU WERE TO COMPARE YOUR ART STYLE OR PHILOSOPHY TO A TYPE OF FOOD, WHAT WOULD
IT BE AND WHY?

Ramen. It is a symbol of refinement and zen. A bowl of

ramen will always include ingredients carefully picked
and placed to bring out a harmony of flavors. Each
ingredient is sourced from a specific place in nature, often
representing that realm and season.
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Similar to my art style and philosophy, the flavors of

ramen adapt with time while maintaining their roots.
As my style constitutes techniques in pointillism and
ornamentation, it can be said that every stroke, point, and
individual fragment matters in the overall work as it is
equally important to its individuality.

In my work, there is sometimes a sense of chaotic order—

clusters and amalgamations of various motifs. However,
these details are not spontaneous; they are meticulously
planned, much like the plating or decoration of a bowl of
ramen. The placement matters, visual appeal matters, and
the combination of elements matters. All of these aspects
are presented elegantly.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

The late Pacita Abad was an artist from the Philippines

who began her career in Washington D.C. and New York
and has exhibited in many museums and galleries around
the world such as The Brooklyn Museum, SFMoMa, and
M+ Hong Kong. She was particularly known for her
paintings and textile works featuring a myriad of colors,
forms, and styles to emphasize issues of racial and cultural
divisions within multiple societies. I would recommend
her exhibition book and catalog "Pacita Abad: A Million
Things To Say" (more information at https://www.aaa-a.
org/collection/pacita-abad-a-million-things-to-say).

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ABOUT THE ARTIST ethnic pattern design, Japanese

woodblock printing, and East
Joshua Carlos Barrera (b. 1999) is Asian ink painting.
an artist and illustrator based in
Manila, Philippines. Self-taught Each work is a presentation of
and fond of pen and ink since the both a summation of parts, and
age of 11, paintings constitute the intertwining of mankind's
a style combining pointillism, roots in identity with the natural
stenciling, cubism, pop art, and world. Looking closely at the
Asian motifs. Through human details, the subjects and icons
figures depicted as divinities, florid used: flowers, fabrics, insects,
still lifes, and dreamscapes, he and human visages, all are
aims to picturesquely capture a created wholly by fragments of
heightened fantasy of living in the brushstrokes and points—they
moment and the ephemerality of are detached particles yet when
things. His selections of subject viewed from afar, create bigger
matter, colors, and techniques in meaning.
ink are reflections of beauty rooted
in dualities between past and future,
dark and light, and permanence This is what my artworks aim
and ephemerality—all informed to achieve. They are attempts
by folkloric imagination, local to unify the complexities of
heritage, cultural integration, and humanity's aspirations that are
society's obsession with internet bound by nature. In the process,
"core" aesthetics. Throughout the "human" figure blends with
2017 up to the present, Joshua's their environments—somehow
works have been featured in losing the completeness of
galleries, fairs, publications, and human-centricity. This is a
competitions in the Philippines, realization in understanding
Japan, Poland, the United Kingdom, ourselves, others, and society at
Greece, Germany, Canada, and UAE. large: we find who we are and we
reflect our dreams when placing
ourselves onto the other realm.
ARTWORK STATEMENT While they may be viewed as
fantastical, these paintings are
expressions and curiosities on
The artworks are mixed media how we liken our fascination for
paintings on canvas involving beauty to nature. For instance,
acrylic and various inks, poetry and figures of speech
created with styles combined describe our loved ones as the
and informed by techniques little beautiful things we find
in pointillism, Southeast Asian around us like flowers.

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IMAGE CAPTIONS

[1] Aglaia, Inflorescence (Exhibition

Screenshot), Joshua Carlos Barrera, 2023.
[2] Aglaia, Joshua Carlos Barrera, 2023.
Acrylic, Gel Ink, Metal Leafing Pen on
Canvas. 36 x 48 Inches. [3] Inflorescence,
Joshua Carlos Barrera, 2022. Metallic Ink
on Paper. 18 x 24 Inches.
[4] Fleeting Dreams, Joshua Carlos Barrera,
2022. Metallic ink on Paper. 8.5 x 11
Inches.
[5] Reincarnation, Johua Carlos Barrera,
2022. Metallic Ink on Paper. 8.5 x 11
Inches.
[6] Brave Winds, Joshua Carlos Barrera,
2023. Acrylic, Gel Ink, Metal Leafing Pen
on Canvas. 24 x 24 Inches.

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REVERIE COMPLEX

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

Alt-Alterity serves as a portal for the audience to embark

on a journey to parallel worlds. Through our project,
"Sojourn", which takes its name from the concept of a
temporary state, we aim to provide the audience with a
brief sojourn—a momentary stay that allows them to step
into another world that seamlessly combines reality and
imagination. During the collaborative process of creating
"Sojourn" with artificial intelligence, we found ourselves
contemplating the possibility of crafting a utopia with AI.

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

As a diverse group with backgrounds in tech, design,

and art, our commitment lies in creating playful and

[1]

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interactive experiences. We have recently been captivated

by AIGC and mixed reality. Our experimentation with
the concept of "Sojourn" has been a source of continuous
inspiration. We are particularly fascinated by the
outcomes generated by Generative AI and the art of
blending algorithmic beauty with stunning visuals.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

Our project revolves around the exploration of generative

AI. We analyze and train AI to help us realize our vision
of constructing a unique underground garden with
elements of romance and eeriness. Through this project,
we've gained the ability to collaborate with AI, pushing
the boundaries of our imagination to envision a plausible
future where humans can thrive. AI has empowered us,
enabling the expression of our ideas through various
emerging technologies.

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

Unlike traditional physical exhibitions, web-based

showcases offer greater accessibility and sustainability,
foster decentralization within the art industry, and
empower artists, granting them more control over the
installation and presentation of their projects in the digital
space. This, in turn, ensures that everyone has equal
access to and ownership of art through these platforms.
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[2]

[3]
147 [4] [5]
ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

A virtual environment offers the advantage of seamlessly

combining sound and visuals, unencumbered by the
limitations of physical equipment and space acquisition
budgets. It also provides access to a wider and more
diverse audience. However, virtual spaces often fall short
in terms of immersion, scale, and audience engagement.
In these spaces, attendees often navigate on their own,
lacking the sense of guided exploration. A notable
aspect of physical exhibitions today is that attendees
can document the experience with their own devices,
capturing themselves in the frame and preserving it as a
unique memory.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

Our ideal audience consists of individuals eager to be

inspired by AI-co-created artworks and who are naturally
inclined to explore mixed reality.

"Sojourn" offers an escape for those who may feel confined

by a one-dimensional reality, sparking questions about a
possible future coexisting with non-human intelligence.

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WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

The concept of a plausible future has been a recurring

theme for us, especially in the past decade as AI has
gained tremendous influence in reshaping the role of non-
human power. As AI increasingly becomes integrated into
our daily lives, it holds the potential to benefit us while
also posing threats.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

Encouraging interactions with AI for the purpose of

inspiration is a step in the right direction. At Reverie
Complex, as a Creative Agency, we maintain open and
neutral discussions about how technology is reshaping
our future.

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ABOUT THE ARTIST IMAGE CAPTIONS

Reverie Complex is a pioneering [1] Sojourn (Exhibition Screenshot),

New York-based studio. As a group, Reverie Complex (Zhijun Song, Yuqing
Zhijun Song, Yuqing Liang, and Liang, and Yalin Hu), 2023.
Yalin Hu come from backgrounds [2-5] Sojourn (Detail), Reverie Complex
in tech, design, and art, and they (Zhijun Song, Yuqing Liang, and Yalin
are committed to bringing playful Hu), 2023. Digital Art, Generative AI,
interactive experiences to life. TouchDesigner. Dimensions Variable.
They are currently fascinated by
AIGC and mixed reality. They have
recently begun experimenting
with the concept of "Sojourn" and
continue to be inspired by the
outcomes generated by Generative
AI, as well as by the beauty of
hacking algorithms to create
astounding visuals.

ARTWORK STATEMENT

This secret garden teems with AI-

crafted life forms, encompassing
floral species, fungi, cotton,
aquatic beings, and more. Within
its sacred tunnel, temporal
barriers fade, heralding an epoch
of novel artistic immersion. The
3D-scanned garden environment
invites you to a voyage that
stands as a harmonious fusion
between human creativity, other-
than-human life forms, and
artificial intelligence. In this
space, the underground garden
metamorphoses into a virtual
realm through the convergence
of captivating projections,
mellifluous sounds, and AI
orchestrations.

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ANGELA LINK-FIELD

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

When I think of Alt-Alterity, I think of ways we can learn

from and prosperously coexist with that which exists
beyond what is familiar or known. It calls us to accept
others by accepting the "other" in us. What are the
historical, biological, or personal facets of you that you
take for granted? By reexamining aspects of our everyday
life—in a sense, "othering" ourselves—the familiar
becomes unfamiliar and vice versa. If everything, at its
core, is both familiar and unfamiliar, then there is room
for coexistence on equal footing.

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

I have an MSc in Medical Anthropology and a BA in

Anthropology and Archaeology, so anthropological

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research informs how I create art. I also use my personal

ancestry as a way to engage with the past which ultimately
informs my work as well. I love the sense of discovery
inherent in this kind of research. Research that speaks to
the very core of our social fabric and even shows us how
it was made is fascinating to me. It can also show us how
people, customs, or creatures come to be "othered" in a
variety of contexts.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

I am fascinated with the ecology of a bog environment

as well as its historical significance and archaeological
significance. It is definitely an unusual ecosystem,
very "alt," built on death and plant decay and home to
carnivorous plants, bog bodies, and other rare creatures.
My interest in this environment is what prompted my
work on "Point of Departure: Bog Elegy." During the
process of making the physical piece, which I later created
an augmented reality [AR] version of, I instinctively added
traces of my personal world with Italian prayers written
by my great-grandmother in New York. I later discovered
that the Italian prayers had historical significance to
Whitesbog, New Jersey, where, coincidentally, the lichen,
moss, and pine cone in my piece originate from. Italian
immigrant seasonal workers used to work the cranberry
harvest in the area. I love when my work comes full circle
like that in an almost magical way when something as
simple as interest and motivation to explore a topic end
up connecting you to a web of existence much larger than

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yourself, where the gravity of time passed and life lived

collapses in on itself.

Ultimately, I think my work is coming from a generation of

artists who are trying to, as Kurt Vonnegut puts it, unstick
themselves in time. I try to get at: what is our impression
on the totality of the universe, through a nonlinear sense
of time? What are we in an ecological sense, a cultural and
ancestral sense, and in terms of our everyday experience
and consciousness? I want to create things that imbed
us in the history of our world—not just the history of
humanity.

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

Exhibitions and the proliferation of art in the digital age

shape the art scene by making diverse kinds of art and
artistic practice more accessible, that is clear. At the same
time, the more inundated with content the virtual world
becomes, the more we need cartographers to help us
navigate it and mitigate information overload. Guides, like
those who curate New Art City, who create stimulating,
thought-provoking digital realms for us to experience and
exist in are definitely what I look for and hope to see more
of in the digital art age.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

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[2]

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The virtual environment has been an incredible tool for

me. It has extended my art practice beyond what I thought
were its limits. This project was originally small enough
to fit on a desk. With AR, it can be as large as an actual
human body. The figure can also be modified in ways that
might have been impossible in real life. Its sturdiness
in the virtual world is now unquestionable (someone
can't knock it off a shelf). And, most importantly, I can
communicate with all sorts of people across continents
about their feelings about the work.

One thing about making art in the virtual world is that

there is a learning curve. There's always new technology
and new software, and these things take time to learn, so
that has been a challenge I want to dive into more.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

I think the art I create is born from the ideas and values I
share with others, whether digital or physical, as well as
those I acquire through reading and studying things in an
anthropological way. However, the audience for my art
cannot exist until the piece itself is created, if that makes
sense. I actually love the way creating art has allowed me
to connect with individuals who share similar values. It
also serves as a means to showcase my specific interests,
inviting others to engage with me on those subjects
without pretense. This connection ultimately expands
my inspiration, influencing my art and starting the cycle
anew. It's a beautiful and organic process, really.

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WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

When I feel overwhelmed by the deluge of digital media

I consume, which is a significant source of pop culture
and dystopian imagery for me personally, I find it helpful
to focus on physical tasks or activities with clear goals.
Sometimes, I imagine myself as an astronaut, floating in
my own thoughts. At times, I need to bring myself back
down to Earth. I remind myself that we are here, on Earth,
miraculously, with the ability to help ourselves and our
families and to communicate and achieve beautiful things
together. Our immediate reality deserves just as much
attention as our big-picture thoughts and imaginings of
the future. I envision a world with that kind of balance.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

The first step is understanding what you can bring to the

table in your own life, and the only way to do that is to
figure out where your strengths and passions lie. You must
throw yourself into experiences you feel called to and
see what happens. It's not always easy either. Doing that
may get you a lot of pushback in various ways in your life,
but it can be worth it to keep going and expanding and
see where the path of most resistance takes you. You may
break through a hedge on your old path and, eventually,
end up where you wanted to be all along.
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IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

Maybe a photon? Because photons do not experience

space or time. I use the term "being" very loosely...

IF YOU WERE TO COMPARE YOUR ART STYLE OR PHILOSOPHY TO A TYPE OF FOOD, WHAT WOULD
IT BE AND WHY?

Haha, some sort of sauce with a million ingredients. You

don't really know what's in it. It has a tangy flavor that you
can't quite put your finger on.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

I really enjoyed reading Suzanne Anker and Dorothy

Nelkin's book The Molecular Gaze: Art in the Genetic Age
(published in 2004). Suzanne is a visual artist and founded
SVA's Bio Art Lab where I recently completed a residency.
Dorothy Nelkin was a professor and sociologist of science.
The book dives into the connection between science and
art and was a really great place for me to begin my journey
into merging the two in my own practice.

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ABOUT THE ARTIST and a home for extraordinary

forms of life (for example,
Angela Link-Field is an artist based carnivorous plants). In this piece,
in Queens, NY with a background in I am thinking through what it
anthropology and science writing. means to encounter the other
Her artistic practice investigates within myself in the form of those
the enmeshment between humanity that have come before me and
and the natural world. the organisms that live within me
and will eventually overtake me.
Merging artistic expression with Those who passed must die and
scientific inquiry, she seeks to decay as they were but remain
unravel the deep connection alive in us in new and different
between life and death and piece it ways that would not have been
back together again in an attempt possible without death.
to make sense of our complex
weave of existence.

ARTWORK STATEMENT

"Point of Departure: Bog Elegy"

was originally shown at an open
studio event for the School of
Visual Arts Bioart Residency.
The piece is a PLA 3D-printed
bog body model atop a pedestal
covered with peat moss. The bog
body is covered with a SCOBY
veil and accompanied by prayers
written on iota carrageenan
bioplastic as well as gathered
moss, lichen, and pine cone from
Whitesbog, NJ.
IMAGE CAPTIONS

The piece was inspired by the

inherent duality of the bog [1] Point of Departure: Bog Elegy (Exhibition
environment: a place built on Screenshot), Angela Link-Field, 2023.
decay and yet a preserver of life [2] Point of Departure: Bog Elegy, Angela
(in the form of bog bodies and in Link-Field, 2023. Digital 3D sculpture.
their function as carbon sinks) Dimensions Variable.

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FATIMA ALKUWARI

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

I would define Alt-Alterity as expressions and experiences

of "otherness" that go beyond traditional forms and
notions of identity. It represents an interplay between
individuality and collectivity, self and group, and the
traditional and modern. This theme offers a moment to
recognize individual voices and the harmonies created
when these voices come together. I found myself returning
to this question after completing my other interview
responses, reflecting on its potential implications. The fact
that this theme, presented within this platform, showcases
a tapestry of human experiences in a more inclusive space
suggests it has the potential to guide both artists and
audiences towards alternative ways of thinking, doing,
and existing, always with the future in mind.

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COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

I hold a BS in Genomics and Molecular Genetics from

Michigan State University, and I'm currently an MFA
candidate at the Yale School of Art's Graphic Design
program. My dual academic background influenced
my interest in the human body, both in its physical and
metaphysical manifestations.

From a young age, my passion has been at the intersection

of science, art, and history. When I was 13, I began
documenting family kinship trees from stories passed
down to me. This documentation process eventually
introduced me to graphic design tools, an alternative to
traditional pen and paper.

Growing up in a tribal community heavily influenced

my perspective. The concept of the "group" was always
at the core of every decision I made. My father once told
me that tribes function like wolf packs, and the harshest
punishment for a wolf is to live in solitude. This communal
aspect was drastically contrasted when I moved to the US,
a predominantly individualistic society. This transition
forced me to introspect: How do "many for one, one for
many" dynamics translate in this new environment?
How can I bridge my collectivist upbringing with the
individualism I now encounter? And fundamentally, was
I prepared to reassess the core beliefs that had anchored
me for so long?

My current area of interest is this exploration of personal

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and societal identity. It's about the idea of unity, of many

becoming one, regardless of how it's expressed. My
work serves as a space for reflection, questioning, and
connection, aimed at building a collective body and voice.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

"Crossover" is a short stop-motion film that delves into

the mysterious realm between life and death, drawing
inspiration from the 1450s Islamic medical manuscript,
Ibn Ilyās's Tashrīḥ-badan-insān (the anatomy of the
human body). The film opens in a hospital setting
where an anatomical illustration from the ancient
manuscript sets the stage. In a captivating and symbolic
moment, a couple of moths land on the body, triggering
a transformative journey. The film transitions into a
mesmerizing exploration of the connection between body
and soul as the protagonist embarks on a quest to set both
free in the embrace of nature, beyond the confines of the
hospital walls.

This piece holds personal resonance for me since it was

made around the time of my brother's passing. It became
an outlet for my grief, allowing me to grapple with and
seek understanding about the journey of the soul post-
death. In creating this narrative, I hoped to envision a
space that would comfortingly suggest that my brother
rests in a better place, possibly even more beautiful
than what I've conceptualized. The work embodies my
interpretation of death as a liberating passage for the soul.

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[2]

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OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

Online exhibitions offer a great opportunity for

broader reach, showcasing less institutionalized work,
and enhancing accessibility. The traditional gallery
culture often calls for a specific type of art and caters
to a particular audience, which may not resonate with
everyone in a community. It requires people to dress and
speak in a certain way and to expect to see a specific type
of art that is "worthy" of being showcased in a gallery.
I believe online exhibitions can provide safer spaces
for experimental work and foster grounds for richer
dialogues.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

I believe it's fitting to display digital work in a digital

setting; it looks and feels more in tune with the nature
of the work. Interestingly, I've found that viewing books
or printed matter in an online setting can sometimes
be more effective than in a physical space. The virtual
environment offers enhanced control over aspects like
lighting and the pace of showcasing. It also establishes a
more structured premise for artists to present their work
precisely how they envision it.

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WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

I believe the beauty of animation, especially in its more

traditional form, resonates with every type of audience.
Although I prefer to create art that is enjoyed and
understood by everyone, as a graphic designer, I often
need to cater to a specific audience. Simply put, I think
the type of work determines whether I need to select my
audience or not.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

I've never been a fan of the overly optimistic or negative

predictions, or "alternative world-building" scenarios
present in these genres. I like to think of a future where
what is considered a privilege now becomes a right
tomorrow, such as education, healthcare, and housing. I
also believe respecting one's past is crucial, drawing on
knowledge from traditional forms like oral histories and
methods of physical and non-physical healing. I don't
expect world peace, equal distribution of wealth, or an
end to global warming. I simply hope for a slightly better
future, one that's an improvement on the continuous
extension of our current reality.

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HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

The first step is to think of ourselves as a collective "we."

When the good of the group is prioritized over individual
interests, accessibility, and inclusivity across all domains
will follow. Recognizing and actively challenging the
systemic barriers that have transformed essential
rights into privileges is crucial. The cumulative effect of
collective efforts is more rewarding when we maintain
realistic expectations. Our goal shouldn't be to completely
rewrite the present, but rather to incrementally guide it
towards a slightly improved future.

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

I would want to be a Bedouin tent, woven by the hands

of my great-grandmother. I have always longed to meet
her. Spending 6 to 9 months being woven by her hands,
hearing my family's conversations, and then serving as a
home and shade for them once I'm complete would be my
greatest joy.

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ABOUT THE ARTIST transformative journey. The film

transitions into a mesmerizing
Fatima Al-Kuwari is a Graphic exploration of the connection
Artist focusing on documenting between body and soul, as the
personal narratives and preserving protagonist embarks on a quest
sentimental inheritance through to set both free in the embrace
her art. Following her curiosity and of nature, beyond the confines of
passion towards science, art, and the hospital walls.
history; at the age of 13, Fatima
started drawing family kinship Soundtrack: "China Creek" by
trees from her parents' stories. Dispersiones Sonoras.
Tracking milk lines in addition to
bloodlines in her kinship trees,
scratching, and starting all over
again, led Fatima to discover more
forgiving tools than pens, paper,
and graphic design tools. Currently,
Fatima is an MFA candidate in the
Yale School of Art Graphic Design
program. Additionally, she holds
a BS in Genomics and Molecular
Genetics from Michigan State
University.

ARTWORK STATEMENT

"Crossover" is a short stop-

motion film that delves into the
mysterious realm between life
and death, drawing inspiration
from the 1450s Islamic medical
manuscript, Ibn Ilyās's Tashrīḥ-
badan-insān (the anatomy of the
human body). The film opens IMAGE CAPTIONS
in a hospital setting, where an
anatomical illustration from the
ancient manuscript sets the stage. [1] Crossover (Exhibition Screenshot),
In a captivating and symbolic Fatima Al-Kuwari, 2023.
moment, a couple of moths [2] Crossover, Fatima Al-Kuwari, 2023. Stop-
land on the body, triggering a motion and Digital Animation. 30 Secs.

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YUQING LIANG

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[1]

LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

Alt-Alterity serves as an option for us to reevaluate our

relationship with our surroundings. It's a thought that
once considered cannot be disregarded. It provides a
neutral perspective on our past and future, often offering
an escape from a solely human-centered mindset.

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

Coming from a product design background, I underwent

extensive education in the principles of human-centered
design during my undergraduate years. However, the
rigid adherence to this single standard in the education
system left me somewhat dissatisfied. It wasn't that I
didn't appreciate human-centered design; on the contrary,
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I enjoy using products that follow those principles.

Rather, it was the inflexibility of this approach that
piqued my interest in exploring the decentralization
of human perspective. The concepts of critical design
and speculative design have significantly influenced
my research in this field and have forever altered my
perception of our surroundings.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

The piece "Encrypted Dialogue" itself represents a

reimagination of an alternative world in which humans
are not at the center of the conversation but instead serve
as instruments that electronic objects simply disregard.
It challenges the conventional perspective of human
importance in dialogue.

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

Given that "Encrypted Dialogue" includes delicate

sound design, the optimal experience would be to view
the visuals while wearing headphones. The virtual
platform isolates the audience from the physical crowd,
enhancing the potential for a more concentrated audio-
visual experience. This shift to the digital realm in art
exhibitions has the capacity to reshape the art scene,
providing new opportunities for artists to reach wider
audiences and engage in innovative forms of presentation.

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HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

In an ideal physical exhibition setup, "Encrypted

Dialogue" would be showcased in a dark cinema
environment with stereo sound to maximize both the
visual and audio impact of the art piece. However, if
poorly arranged, the audience might struggle to connect
with the inconsistent audio and abstract, metaphorical
visuals.

A virtual space offers a balanced approach, but it comes

with limitations in terms of immersion due to scale
constraints and a non-cinematic environment.

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[3]

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WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

The ideal audience for "Encrypted Dialogue" arrives at the

showcase with their own understanding of the concept
of the non-human. They should be interested in abstract
concepts and possess the ability to grasp the black humor
woven throughout the film.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

I hope that people learn more about their spiritual

side and alleviate the stress of not knowing everything
in the world. I encourage individuals not to overthink
or overstress about matters that aren't meant to be
dominated by humans. Believing that we should "Mind
Our Own Business," I also advocate for paying more
attention to what we already have and showing respect for
what we can't understand yet. Just because we can't hear
the conversation between electronic objects doesn't mean
they don't communicate.

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

I would choose to be a huge plant. Plants have a unique

perspective on the world compared to humans. They are
deeply influenced by the changing seasons and coexist
harmoniously with other creatures. Plants thrive without
mobility and possess remarkable adaptability. I appreciate
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the innate beauty of static plants, and most of them have a

charming appearance. A giant plant would offer a superior
view of the ground and breathe cleaner air.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

"Design Noir: The Secret Life of Electronic Objects" by

Anthony Dunne and Fiona Raby

In their book, "Design Noir: The Secret Life of Electronic

Objects," Dunne and Raby delve into the tangible
physical and cultural impacts of the digital domain. They
illuminate how everyday electronic objects like mobile
phones, computers, and televisions profoundly shape
people's experiences within their environments. Their
groundbreaking ideas hold significant implications for the
fields of architecture and design. In this pioneering work,
the authors introduce a fresh perspective on objects,
space, and behavior to a wide-ranging audience. The book
is organized into three sections:

1. Manifesto: here, the authors introduce their ideas

concerning electromagnetic space.
2. Conversations: Dunne and Raby engage in discussions
with various designers, architects, and artists, exploring
how electronic technology influences their practices.
3. Placebo: this section presents intriguing outcomes
from a project involving Dunne and Raby's experimental
furniture prototypes. Notably, it includes a chair that
alerts the sitter to the presence of radiation passing
through their body.

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This book significantly influenced "Encrypted Dialogue,"

inspiring a deeper exploration of the unseen activities
behind electronic objects and framing them as coexisting
entities in our lives.

"The Last and First Men" (2020)

"The Last and First Men" is a documentary film that

delves into post-human lives. It introduced me to the
concept of the post-human, and I was captivated by the
film's presentation. It takes the form of a documentation
of futuristic sculptures from the Tito era in Yugoslavia,
offering a glimpse into the world of future humanity.
The film's voiceover discusses the various eras humanity
transitions through in a peaceful tone, neutralizing
subjective opinions about the future. This unique
approach to exploring the post-human concept left a
lasting impression on me.

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ABOUT THE ARTIST ARTWORK STATEMENT

Yuqing Liang is a multi-media "Encrypted Dialogue" is a

designer and creative technologist performance-based film that
based in New York. Her research narrates how the human
lies in the intersection of multi- body can be turned into an
sensorial experiences and tangible instrument playing sounds
interaction. from electromagnetic fields
picked up via a wearable device.
The project's wearable device
functions as a "translator" that
allows humans to sense the EMF-
based dialog surrounding us
in Manhattan. As it deciphers
EMF activity hidden away from
human perception, the wearable,
a goggle designed for this project,
functions as an external sensor
picking up electromagnetic
signals, processing the signals in
the proximity of the wearer into
data inputs, received as musical
expression and augmented by a
motor fan reflecting the strength
of the field.

IMAGE CAPTIONS

[1] Encrypted Dialogue (Exhibition

Screenshot), Yuqing Liang, 2022.
[2] Encrypted Dialogue, Yuqing Liang, 2022.
Moving Image, Sound, Wearable Tech.
Dimensions Variable.
[3] Encrypted Dialogue (Exhibition
Screenshot), Yuqing Liang, 2022.

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CHIA-HUA LEE

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

For me, Alt-Alterity gives me a sense of action that inverts

the otherness. While the word "otherness" shows a sense
of unknown and minority for my first instinct, those out
of public view. Therefore, it's easy to imagine this is a
platform pressing the alt button and enlarging the hidden
aspects.

However, by taking a second look into the term Alt-Alterity,

I am more interested in the sense of two negatives making
a positive. What is alterity or who defines it? Knowing
there might be no truth but only perspectives, everything
has a second viewpoint.

In the end, I feel this platform potentially has an idea that

there is no otherness but a place open to every aspect.
No one is the alterity if the voice can be shown and heard
equally.

[1]
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COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

With my architecture background, I explore stories by

world-building, creating non-linear narratives. When the
storytelling is based on space rather than time, it opens
a chance to view each element from a different angle or
dimensions. No certain ending or answer represents my
current belief. I know this is more about describing the
ways of creating, instead of themes. Because my topic
differs from time to time, from people I work with, from
place to place. I am more like an observer, recorder, and
collaborator.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

The exhibited work is a surreal film that takes place

inside public trash bins, focusing on me finding my own
positionality, reflecting the paradoxical identity of my
background, as well as the lost and distorted belonging
in a foreign land. I try to resonate with everyone this
unexplainable anxiety as being an individual facing global
tide.

The video blends the reality image by filming physical

space at an uncommon height and perspective. This
dialogue from outside the frame to the fictional space
inward naturally helps me build this observer's worldview.
Instead of creating a whole new virtual space, viewing
the existing scene in a different way can be an alternative
world.

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OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

In my view, art opens conversation and delivers meaning.

A virtual space for artists makes the spreading far-
reaching. This reach transcends time and geographical
boundaries, potentially fostering unbiased viewing while,
on the flip side, sometimes intensifying biases. For me,
this places a heavier responsibility on artists—how they
regard their own words, and how they regard the other
enormous voices on the virtual internet world.

I believe the beauty of animation, particularly in its more

traditional form, appeals to a broad audience.

[2]

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HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

Aside from how the virtual environment around me affects

my thinking, the concept of virtual space interferes with
my way of creating too. The 3D space without reference
points gives me a chance to film with unrealistic cameras.
By putting real-life objects into 3D space, I review those
fragments in different scales and paths to examine the
real-world stories, and even manipulate them. 99 ways to
tell a story can happen at the same time.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

My thinking about audiences is the same as the viewpoint

inside my work, "hiding" inside the public bin and
murmuring about my own story. I find a place, necessary,
and ubiquitous but it might be inferior or nameless,
speaking my perspective. Who stops by or starts a
conversation is an open surprise.

[3]
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WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

We were fed by what happened before and built the

present world. And the world we have now will feed the
next generation to build the future.

For now, reality hasn't transcended the imagination of

some predecessors. I hope the vision for the future is
something beyond my vision, some overwhelming "new"
will show up, and replace the continuously updating "old."

Like the first time I saw an AI-generated video or photo.

The computing power shows its ability to manipulate
history. Apart from imagining the future, I am more
curious about what history will look like in the future. Will
it exist? If history is eliminated, does that mean the future
is also vanishing?

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

This is a question I cannot answer now. The limitation of

the human species makes us never understand others,
which also stops me from defining right or wrong.

All I can do is record, I already and always, unconsciously

put my personal opinion in my recording, which for me is
already something that will affect and remain.

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For now, keeping recording and communicating might

be the only encouragement I can think of to make us
proceed.

IF YOU WERE TO COMPARE YOUR ART STYLE OR PHILOSOPHY TO A TYPE OF FOOD, WHAT WOULD
IT BE AND WHY?

Soup. Everything can be cooked into soup; nothing can be

seen but the taste is mixed. Also, it's my favorite.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

Karen Barad's speech, Troubling Time/s, Undoing the

Future, inspired me a lot during the work.

[4]

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ABOUT THE ARTIST ARTWORK STATEMENT

Chia-Hua Lee is an artist from "Diaspora Journal 001" is a surreal

Taiwan who works in experimental film that unfolds within public
animations, film, installation, and trash bins, where an anonymous
illustration. With a background in character simultaneously hides
architecture, she conveys stories and observes, symbolizing the
through world-building, creating artist's personal and cultural
non-linear narratives using moving identity crisis. Reflecting on their
images. After a year of studying Taiwanese roots, the narrative
at the Royal College of Art, she explores themes of globalization,
began to explore her complex the paradox of individuality
feelings about her positionality. in a connected world, and the
From the paradoxical nature of her struggle with political and
background to the sense of lost and familial contradictions. The
distorted belonging in a foreign film resonates with feelings
land, she examines these fragments of nomadism and fluctuating
at different scales and through perspectives, likening the artist's
various paths by placing real-life homeland to an overwhelming yet
objects into 3D navigated spaces. cherished ocean. This metaphor
She challenges herself to transform extends to the constant barrage
the act of viewing into the story of information in modern life.
itself, much like her constant The work poignantly projects
observation is how she defines nostalgia onto mundane street
herself and her place in the global objects, mirroring contemporary
world. anxieties and the search for
identity amidst universal
uncertainty.

IMAGE CAPTIONS

[1] Diaspora Journal 001 (Exhibition

Screenshot), Chia-Hua Lee, 2023.
[2][3][4] Diaspora Journal 001 (Still), 2023.
3D Animation And Digital Video. 12 Mins.,
17 Secs.

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A.J. CINCOTTA-EICHENFIELD

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

Alt-Alterity is an expansion of "alterity" that engages vast

differentials in lived experience between varied organisms
and digital beings at a variety of scales and systems levels.
By creatively rendering and re-envisioning the ecosystems
around, between, and beyond microorganisms, animals,
plants, people, machines, etc., Alt-Alterity listens for
vibrations amidst intersecting layers of understanding.
It does not seek to evade human contexts of difference
but rather more fully acknowledge them within larger
architectures of interaction. Thematically, Alt-Alterity
resonates with the work on view here from my series
"Down the Ra***t Hole," particularly in its demand
to interpolate and interrogate an archive of complex
relationships between humans and other emotive beings.
To me, this questions anthropocentrism and the human-
wrought destruction accompanying it, calling into
possibility revised futures of symbiotic coexistence.

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COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

Meditations on memory and archives have always been

present in my work, alternatingly as a visual artist,
graphic designer, and social worker. These aspects collide
as I strive to make sense of how memory and grief operate
in digital contexts. Creatively, this often means infusing
virtual windows, which begin as empty, floating gray
planes, with textures of recollection, imbuing pixels with
emotional significance. I find myself expanding outward
from these floating planes, bridging a gap between a life
previously centered around grieving communities and a
career in social work, with an emerging focus on creating
art that can resonate with and within those spaces of
empathy.

Narratives about the entanglement of memory and digital

culture have only grown more complex, enriched by the
myriad bits and pixels that make visible the exchange of
emotions in digital space. That entanglement has come
up in my counseling work with bereaved children, teens,
and young adults, in my research and writing about
grief and social media, and in my creative media work
across various art practices that start as amalgamations
of physical and digital memory and artifact. Within
digital manifestations of memory, there exists a space
for shaping, reflecting, remixing, integrating, and
reclaiming—an opportunity to translate unique emotional
realities into alternative digital worlds.

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WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

"Down the Ra***t Hole" is a series of visual/ textual/

auditory works that emerged from a period of near-
obsession with a rat-centric erasure poem I created by
obscuring elements of a press conference transcript
on NYC.gov titled "Mayor Eric Adams Signs Legislation
to Fight Rats, Build Cleaner City." Posed as a historical
alternative to the textbook version of Mayor Adams' self-
proclaimed "War on Rats" in New York City, the poem, and
ensuing visual works, scratch at the nature of political
rhetorics and repetitions, scurrying down the networked
tunnels through which they disperse. Questioning
destructive human tendencies toward environmental
control, the work oscillates between what is made and
mined, crafted and collected; and bits of scavenged,
repurposed, and scattered information and materials
refute the tone and intention of the original source text.
The installation instead heralds an archive of the "rats of
the midnight mountains and mazes," a lasting ode to "the
old and the new // the monumental victory rats."

[2]
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[3]

[4] [5]

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

The digital, with its capacity to augment realities, space,

and time, offers distinctly different possibilities for the
present—a blending of real and/or imagined worlds
through artistic and technological reconfigurations of the

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boundaries between the

physical and virtual. Digital
exhibitions can create a
holding space within which
to situate multiplicities,
create more accessible
artistic landscapes
beyond the limitations of
physical space, and foster
communities grounded in
anti-oppressive creative
practice. Free, online access
to virtual exhibition space
allows the public to revisit
work over time and engage
with complex discourse
more fully and openly
outside of institutional
systems of surveillance and
scrutiny.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT

YOUR OWN PRACTICES? ARE THERE SPECIFIC
THINGS THAT WORK VERY WELL IN ONE CONTEXT
BUT NOT IN ANOTHER? BY "ANOTHER," WE MEAN
THE VIRTUAL AND PHYSICAL SPACE.

Art in virtual space is in

constant dialogue with
memory, storage, database,
and the archive, which,
whether as a subject
[6] or subtext of the work,
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necessarily elicits questions about loss and remembrance.

In my own creative practice, mediated representations of
memory have started to appear via experimentation with
3D modeling, projection mapping, augmented reality,
physical computing, and beyond. I'm gradually finding
ways to allow digital work to escape back into the physical,
and to see what happens when that which we have come to
expect to see and experience online is transferred to new
spaces of tangibility. Ultimately, I wonder how our digital
interfacing with memory, archive, personal and collective
grief, and the emotional realities that surround them,
might change as a result of these boundary crossings.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

A future that holds larger spaces for empathy and

collective memory keeping, that resists the pervasive
man-made violence and consumptive voracity of present
human contexts. An exit from anthropocentrism, and
an earnest re-engagement with diverse ecosystems. A
future that resists oppressive discourses and avoids the
traps of dominant social/cultural/political paradigms. A
future that seeks creative physical and digital approaches
that break from the flattening of the intricate layers of
interaction among humans and other expressive entities.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

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I find possibility in the re-molding archives of the past to

create new imaginaries for the future; bringing individual
and collective memory into spaces of empathic and
artistic tangibility, and as a result further disrupting the
interlocking systems of violence that restrict, repress, and
silence individual experience and collective narratives. As
I consider my practice as a clinical social worker and think
back to conversations about illness—about acute local
existential threats, about ways to refute the immediate
terror of the present—I think about creating spaces for the
preservation of individual and collective narrative, finding
hope for novel futurities amidst uncertainty. I think
about listening deeply and differently, walking alongside
narratives of grief and trauma, finding the capacity to hold
emotional realities without expectation, and centering
lived experiences, memories, art, and archives that resist
the reification of destructive human contexts.

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

A snail moving slowly through the garden–getting caught

in the rain, embracing mucus, spiraling outward…

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

I find myself alternating between and returning to three

books these days: The Order of Time by Carlo Rovelli,
Funny Weather by Olivia Laing, and The New Dark Ages by
James Bledel.

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[7]

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ABOUT THE ARTIST conference transcript on NYC.

GOV titled "Mayor Eric Adams
A.J. Cincotta-Eichenfield is a Signs Legislation to Fight Rats,
New York-based visual artist Build Cleaner City." Posed as
exploring memory, grief, and an alternative to the textbook
social interaction through digital version of Mayor Adams' War
and physical assemblages made on Rats, the poem, and ensuing
up of found materials, media visual works scratch at the
objects, artifacts, and textures. nature of political rhetorics and
A.J.'s artistic work emerges from repetitions and scurry down
a space somewhere between his the networked tunnels through
backgrounds as a social worker and which they disperse. Scavenged,
graphic designer, fluxing between repurposed, and scattered text,
visual, textual, and emotive information, and materials refute
languages. Inputting objects and the tone and intention of the
signifiers of memory into re- original source text—here's to
imagined digital landscapes, A.J.'s "the greatest rats New York City
work engages with a life previously ever had."
structured around grieving
communities, and a focus on
creating art that speaks to and with
those spaces of empathy.

A.J. has worked as a creative

freelancer for local and national
non-profits and as a social worker
in New York City. A.J. is a graduate
of Vassar College and the Columbia
University School of Social Work
and is currently enrolled in
Hunter College's MFA program in
Integrated Media Arts.

ARTWORK STATEMENT

"Down the Ra***t Hole" is a visual

descent into an underworld
inhabited by the artist, who at
the time of creation had become
near-obsessed with a rat-centric
erasure poem based on a press

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IMAGE CAPTIONS

[1] Down the Ra***t Hole (Exhibition

Screenshot), A.J. Cincotta-Eichenfield,
2023.
[2] Down the Ra***t Hole - Transcript Rat, A.J.
Cincotta-Eichenfield, 2023. Erasure Poem
and Sound Narrative. 22 Mins., 25 Secs.
[3] Down the Ra***t Hole - The Rat Listened,
A.J. Cincotta-Eichenfield, 2023. Inkjet
Print, White Acrylic Paint, Machine
Engraved Aluminum Plaque, Wood Frame.
47 x 38 cm.
[4] Down the Ra***t Hole - Rats of the
Midnight Mountains and Mazes, A.J.
Cincotta-Eichenfield, 2023. Found Toy
And Object Collage, Wood-Framed Canvas,
Black Spray Paint. 50 x 60 cm.
[5] Down the Ra***t Hole - Monumental
Victory Rat, A.J. Cincotta-Eichenfield, 2023.
Microwave-shrunken Chip Bags, Molded
Metal Wireframe, Masking Tape, Packing
Tape, Aluminum Foil, Saran Wrap, Bubble
Wrap, FreshDirect Bags. 45 x 30 x 20 cm.
[6] Down the Ra***t Hole - 2708 Words, A.J.
Cincotta-Eichenfield, 2023. Black Acrylic
Paint Pen On Reclaimed Aluminum Siding.
103 x 48 cm.
[7] Down the Ra***t Hole - This Is A Love
Letter, A.J. Cincotta-Eichenfield, 2023.
Digital Headline Collage, Inkjet Print on
Attached Notecards. 30 x 41 cm.

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BETTY RUSS & MICHAEL DONNELLY

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

The movement and growth of nature as a space/time

module, with its responsive reflexivity and nuances
in relation to the human, suggest an alternative
manifestation of what we locate within ourselves as
consciousness. This otherness shapes and defines our
experiences, yet we persist in our anthropocentric notions
of order and purpose, even when we are constantly
witnesses to the undulating non-patternations of
cosmic unfurling. Alternative alterity offers a pathway
to conceptualize otherness as a directive force within
our operational paradigm. As artists, we are privileged
with the opportunity to engage in creative exploration,
and within the realm of the unreal and the imagined,
we can construct and devise ways of being and temporal
outcomes that bear witness to the infinite complexity of
perception and the complex truths of humanity.

[1]

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COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

Both of us have emerged from the DIY and independent

arts scene in Australia and share a deep interest in
science fiction, horror, and alternative theories, as well
as speculative narratives within contemporary culture.
Our shared fascination with alternative narratives, the
positioning of the objective before the subjective, and the
imagination of non-human perspectives have led us to
develop a collaborative practice that embraces spatiality
as an arena for immersive, experiential transformation.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

"Inside, A Collapsing Building" takes the conceptual

notion of the building as a structure of confinement and
transforms it into a post-human cavity housing a site of
mutation and adaptation. This transformation of spaces,
once designated for human occupation but now laid
bare by various forces, whether self-induced or external,
delivers a fertile environment for non-human occupancy.
Embracing speculative notions of co-opted residual
human technologies and resource monsterizations
adapted and enhanced by non-human systems and
consciousnesses, the constructed environment offers
a glimpse into the error of liminality, the wrongness of
mutation, the sliver of the infinite at the service of the
actual. This perceived "brokenness" harbors worlds of
potential and defies the fatalistic and human narratives of
power and capital.
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[2]

[3]

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

The duality of the virtual space, both homogenous and

divergent, offers a fertile and promising site for the
development and dissemination of ideas and systems.
While the material requirements and reliance on
internet infrastructure define the lines of access via
privilege, the proliferation of accessible technologies
and the democratization of virtual space provide hope.
The immediacy and accessibility of the Internet offer a
vital platform for artists to share and exhibit their work
beyond the confines of their immediate surroundings. It
is crucial for artists and galleries to continually evolve and
adapt virtual worlds to ensure a space and culture for the
freedom of ideas.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

Currently, we both work predominantly within the

physical space because we are fortunate enough to have
access to the relevant resources. As we develop our
collaborative practice we are becoming more aware of the
benefits and opportunities offered by the virtual space.
As artists living and making in a smaller regional center,
dealing in ideas and materials that are not immediately
embraced by our local audiences, we can see the benefits
of engaging with a broader audience through the virtual

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[4]

spaces of the internet. The ubiquitous nature of the

internet and its impact on the psychology of culture is
shaping the way we understand our world, the evolution
of the shared mind and the collective eye leads us deeper
into the myriad tentacularities of the future, and art allows
us the space and time to consider our movements forward.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

We hope our work appeals to everybody but we are most

interested in presenting our work and ideas to those who
may not have previously had access to similar forms and
concepts. This most recent work was initially presented
as a public work within a small regional town that had
recently suffered a major ecological disaster in the form
of a catastrophic flood. The building where we installed
the work was completely submerged in flood waters and
even though it has been over a year since the flood event
the evidence of the water's impact was still clearly visible.
The subsequent effect upon the audience, seeing the work
within the context of the damaged, scarred building, was a
strong indication of the power of not only nature to impact
and alter our lives but also of art resilience and the hope
that can be drawn from the residues of disaster.
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WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

Our vision for the future is one of leaning into the present
and embracing the chaos of the unknown. It involves
retaining open and inquisitive minds that seek to embrace
the multifarious tendrils of potentiality and working for
a human future that engages and mutates in accordance
with our non-human kin. The potential for an untimely
and brutal end to our apparent reign as guardians of this
world is balanced only by our ability to think beyond the
confines of ourselves and to entertain notions and ideas
that surpass our expectations. To achieve this, we require
art that alters consciousness, informing our sciences and
cultures, or else we risk obliging the shift and fading from
view.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

There are grand gestures and small steps that we can all
take, living with respect and compassion for ourselves, our
communities, and our environment. Radical acceptance,
tolerance, and humility at a personal level are balanced
by proactive engagement at whatever level we have the
capacity as individuals to enact. Sadly we cannot force
change, we can only contribute to it, and art as community
engagement and shared cultural experience allows a vital
platform for mutation and adaptation.

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IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

If we could be reborn as another being we chose to be

future humans.

[5]

[6]

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ABOUT THE ARTIST ARTWORK STATEMENT

Betty Russ is an artist and arts Buildings provide us shelter and

worker living in Bundjalung foster our sense of permanence
country / Lismore. Working across and stability. They extend our
sculpture, assemblage, installation, private, internal spaces into the
sound, and embodied research. collective network, echoing the
Her practice ferments between structures of thought, exploding
and around the philosophies our systems of reference and
and renderings of eschatological understanding into the spatial,
terror, speculative +/ science material world our bodies occupy.
fiction, hauntology, spirituality, Buildings also assimilate our
and the-weird-and-the-eerie. physiological and psychological
Material manifestations protrude frailties with the hostilities of the
from hypnagogic subconscious natural world, allowing us safety
fantasy, searching for psychological and comfort in a landscape alive
mitigation to the abject shock of the with diversities, many operating
past, and sweaty white-knuckled against our interests. The notions
fear of the future. Betty is also co- of permanence and sustainability
founder and director of Elevator that buildings provide exist solely
ARI, an emerging artist-run gallery as a construct, maintained by our
and studio space. subjectivity in discourse with
our surroundings. What is left
Michael Donnelly is an artist and when we no longer maintain our
arts worker living in Bundjalung communion with the places we've
country, Lismore, NSW. His built?
practice is a broad investigation
of abstraction and transcendence On entering the building, made
through multiple mediums devoid of activity following a
including painting, assemblage, catastrophic ecological event,
performance, and sound. A the sense of a speculative post-
predominantly self-taught artist, human intervention is evident.
Michael augmented his skills in Formed by the broken and
2017 by undertaking a BA in Visual rearranged materials once used
Arts at Southern Cross University. to house capital exchange, are
He is also a co-founding director at material utterances of pre-
Elevator ARI in Lismore, NSW. destruction activities, and post-
human growth. Ad-hoc water
vessels, pumping sustenance to
and from micro-worlds, inhabit
pockets of space within the

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cavernous shell. An awareness

from within the apparently non-
sentient amalgamations of matter,
triggers a response to human
presence, sensing movement and
responding with sound and light.
Understanding of objects and
apparatus is familiar, yet against
interpretation.

Timbers, cement, PVC tubing,

plaster, paint, wiring, UV lighting,
plastic tarps, electronic devices,
water, and incidental weeds creep
through the space like mimetic
ghosts, improvising possible
futures.

IMAGE CAPTIONS

[1] Inside, A Collapsing Building (Exhibition

Screenshot), Betty Russ and Michael
Donnelly, 2023.
[2-6] Inside, A Collapsing Building, Betty
Russ and Michael Donnelly, 2023. Image
of Assemblage And Mixed Media.
Dimensions Variable.

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PART 3.
FLUID bODIES,
bLURRED bOUNDRIES
"The cyborg is our ontology; it gives us our politics."
—Donna Haraway1

Society has constructed not only physical prisons but also prisons
of hard definitions—men and women, black and white, smart and
dumb, strong and weak, machine and organic, forming opposing
dichotomies.

However, this part of the exhibition takes us to a space that is

rather going beyond the mix of imagination and material reality.
A techno-biological fusion, where the lines between the organic
and synthetic blur; a celebration of multiplicity, where nothing is
fixated and everything melds into an ever-shifting amalgamation.
Definitions and distinctions have lost much of their relevance
since everything can become and is in the process of becoming
something else.

Our bodies, as hybrid entities, place us within a broader spectrum

of life where boundaries between self and others are fluid and
permeable.

It is the moment where the individual "I" fades into a collective

"we," unveiling the interconnected nature of our existence, and
embracing the truth found in mutation, transformation, and
ambiguity.

1 DONNA J. HARAWAY, “A CYBORG MANIFESTO: SCIENCE, TECHNOLOGY, AND SOCIALIST-FEMINISM IN THE

LATE TWENTIETH CENTURY,” IN SIMIANS, CYBORGS, AND WOMEN: THE REINVENTION OF NATURE (NEW YORK:
ROUTLEDGE, 1991), 149-181.

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3-DIMENSIONAL MAP OF THE VIRTUAL EXHIBITION SPACE

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FLAVIA MAZZANTI

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[1] 210
ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

Throughout my artistic work, I am constantly interested

in exploring and providing alternative perspectives
on ourselves and our environment through the use of
different technologies. In this sense, Alt-Alterity perfectly
encapsulates this concept for me. It represents the ability
to look at alternative, unconventional perspectives and
narratives, allowing us to challenge our predetermined
notions and expand our understanding of the world. I also
believe that this concept isn't limited to the unfamiliar
only, but it extends to reimagining and re-understanding
things we believe we already know but are still unknown
to us.
COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

I studied art and architecture at the Academy of Fine

Arts in Vienna, specializing in virtual spaces and digital
interactivity. During my studies, I began experimenting
with various techniques and technologies. Since 2019,
my work has revolved around the theme of the post-
anthropocene, with a variety of projects ranging from
experimental animation films to interactive installations
and virtual reality experiences.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

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"Beyond My Skin" is an interactive installation exploring

the themes of identity and digital inclusion. Translated
physical movements generate hybrid bodies in real
time through interaction, creating a new collective
consciousness of where our bodies begin and end.
In this way, the visitors collectively explore the
hybrid relationship between bodies and their digital
representation, investigating something as physical as the
feeling of "touch" and its meaning in the digital realm.
For the virtual exhibition Alt-Alterity, the project will be
presented in a non-interactive, immersive version.
By exploring new forms of connection and interaction
between our physical and digital bodies, "Beyond My Skin"
aims to challenge our experiences. Visitors can engage
with a new form of self-awareness and representation
outside traditional binary and societal portrayals,
encouraging alternative post-anthropocentric ways to be
in and with the world.

[2]

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

I believe that virtual exhibitions have the potential

to transcend geographical boundaries and reach
audiences worldwide, making this a very potent tool for
raising and amplifying awareness on various themes,
including political, social, and ecological issues, while
democratizing access to art and culture. Furthermore,
by creating immersive worlds through XR technologies,
art and art exhibitions also have the potential to explore
new forms of artistic expression that go beyond physical
constraints and direct one-to-one representation of our
physical world.

I also think that it is very important to validate both

physical and virtual art spaces and find a good balance
between both. I personally do not see one overriding the
other, but rather enhancing each other.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

Virtual environments offer me the opportunity to

experiment with spaces that go beyond physical
constraints, providing a realm where I can freely explore
organic shapes and abstract design processes. In my work,
I never understand the virtual space as a mere replica of
our physical world or a direct representation; instead,

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I see it as a different layer to be explored. I think that if

we expect the virtual to be an exact copy of the physical
realm, we might be disappointed. But if we understand
the virtual as a potential realm where we unleash our
imagination and experiment with new types of space,
we can have both spaces coexisting without competing
against each other.

Additionally, I love to explore "phygital" spaces that blend

both realities, creating a third space. These hybrid spaces
have the potential to challenge our perspectives beyond
strict boundaries, leaving room for creative exploration.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

In my work, I often deal with philosophical theories

on post-anthropocentrism and new materialism, while
working with interdisciplinary processes ranging from
experimental filmmaking to performance art, science,
and technology. While my works might create interest
among people working with these topics and fields, often
leading to very exciting conversations and potential future
collaborations, I also believe that my ideal audience is
the general public. Through my work, I would like to be
able to engage with people from different backgrounds,
encouraging curiosity and challenging them to critically
reflect on the topics and the use of technology I deal with.

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[3]

[4]

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WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

We are living in very difficult times but also characterized

by a willingness to address important challenges and
crucial issues, which are leading to significant societal
changes. Through my work, my aim is not to provide
either a utopian or dystopian perspective, but rather to
challenge and offer alternative perspectives that might
contribute, even if in a small way, to these changes.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

I believe it is very important to act on a collective

basis, creating meaningful connections and exploring
alternative ways of interaction and exchange. By opening
up dialogue and embracing different perspectives, it is
possible to encourage important discussions that can
have an impact on the world we live in. The concept of
"entanglement," approached in a post-anthropocentric
sense, becomes here a crucial element in forging our way
to be and to interact with the world, bringing us a step
closer to a more collaborative future.

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

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I think that I would love to be reborn as a bird, having the

ability to perceive the world from diverse points of view—
from the ground level to above the clouds—and navigate
different geographical locations, being free to explore and
embrace new interactions with different species I would
encounter on my way.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

I would like to recommend the online platform "Feral

Atlas: The More-Than-Human Anthropocene," curated,
among others, by the American anthropologist Anna
Tsing, and released in 2021. The platform offers a very
interesting insight into (post-)anthropocentric themes
and features a various collection of works from scientists,
humanists, and artists.

[5]

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ABOUT THE ARTIST ARTWORK STATEMENT

Flavia Mazzanti (b. 1994) is an "Beyond My Skin" is an interactive

Italian-Brazilian Vienna-based media installation exploring
artist and entrepreneur in the the themes of identity and
field of virtual reality and digital digital inclusion. This collective
media, with a background in experience allows people to
architecture. Her work explores connect on new levels, exploring
artistic-philosophical concepts the fusion of human bodies and
on post-anthropocentrism, new post-anthropocentric digital
materialism, body, and identity representations. In this project,
with the interest of providing human bodies transform into
alternative perspectives on energy particles, drifting through
ourselves and our environment. space and connecting in new
ways until they lose their familiar
She graduated with distinction shape, becoming abstract
from the Academy of Fine Arts elements in constant motion.
Vienna, receiving the Gustav Peichl
Award for architectural drawing The project, which is usually
and the Würdigungspreis for shown in the form of a "phygital"
artistic work. Her work has been installation and live performance,
screened and awarded at multiple will be presented here through
national and international festivals, immersive video sequences
among others the Ars Electronica accompanied by audio, with the
Festival, DA Z - Digital Arts Festival aim to bring the viewer into a
Zurich, Parallel Vienna, and ADAF. transformative journey where
boundaries blur and connections
Flavia is also the co-founder redefine our understanding of
of Immerea—an interactive self.
media company focusing on
the development of VR games A project by Flavia Mazzanti.
and virtual installations—co- Realized by Immerea.
organizer of XRVienna, and
active as a lecturer at national Concept and artistic direction:
and international universities, Flavia Mazzanti.
symposiums, and festivals. She is
listed on the Forbes 30 Under 30 Production, Design and
Europe list of 2023. Installation: Manuel Bonell.
Technical Artist: Tobias Mayer.
Programming: Catherine Joy
Calupas, Michael Bonell.

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Sound: Brootworth.

Realized with the support of the

Cultural Department of the City
of Vienna, and the Ministry of Art,
Culture, and Sports of Austria.

IMAGE CAPTIONS

[1] Beyond My Skin (Still), A Project by

Flavia Mazzanti, Realized by Immerea,
Sound by Brootworth, 2023. Immersive
Interactive Installation. Dimensions
Variable
[2] Beyond My Skin (Exhibition Screenshot),
A Project by Flavia Mazzanti, Realized by
Immerea, Sound by Brootworth, 2023.
[3-5] Beyond My Skin (Still), A Project by
Flavia Mazzanti, Realized by Immerea,
Sound by Brootworth, 2023. Immersive
Interactive Installation. Dimensions
Variable.

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CHRISTIE LAU

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

Alt-Alterity encapsulates the idea of otherness and

difference beyond what is familiar or known. For my
piece for this exhibition, "Cybernetic Skins", this theme is
extremely relevant. As technology becomes increasingly
digital and immersive, what does this mean for human
identity? "Cybernetic Skins" is my speculative vision of
what post-human bodies could become as we become
more entangled with our digital data. With reimagined
organic bodies through the use of A.I., I speculated the
future of identity to be the merging of flesh with the cables
carrying bytes of digital data, where we become one with
the digital landscape of our own creation, extending
beyond skin and bone, and entangled in the web of the
digital ecosystem.
COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

[1]
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Having studied fashion design at Central Saint Martins,

my interest in Alt-Alterity and digital bodies began when I
took my fashion practice in a digital direction. I found the
digital medium to be incredibly powerful as a creator—
from the bodies that wore my fashion creations to the
physics of the world these characters existed within.
Identities are formed on bodies by the garments that
adorn them, which itself imbues multi-layered social
and cultural meanings to the body. As a designer and
creator, this i incredibly exciting as digital identities, and
digital avatars, massively disrupt the body-identiy-fashion
triangle.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

"Cybernetic Skins" showcases a speculative vision of

future post-human bodies in an era of immersive digital
technology. I imagined flesh merging with cables—the
technology enabling the expression of digital identities in
the first place. Imagined through the use of Mid-Journey
A.I., I created these characters that embody my vision of
these biological-technological hybrid beings, which are
adapted from Unreal Engine's own Metahuman creator.
Within this game engine, you can design what your avatar
can look like, but I felt that my avatar is not fully human-
but beyond. I foresee the future of digital identities to
meld with the ecosystem. As everything on the web is
interconnected, digital identities are fully entangled
within the web space, and I wanted to reflect that through
the environment design of the cables running through the
scene, rooting the characters to their context.

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[2]

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[4]

[3]

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OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

I think exhibitions in the digital age will decentralise

art and the experience of art, thus making art more
accessible. I think in a lot of traditional art spaces, artistic
cultural institutions are the authority on art, and hence
physical exhibitions can become exclusionary spaces.
Digital tools can serve as an equaliser to art, as both
viewer and artists, by showcasing and curating a multi-
sensory experience, direct to the viewer. In this way, the
experience of art through the digital medium can be more
personal—in interoperable mediums such as VR or AR.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

Virtual environments are a huge aspect of my own

practice. As a digital artist, the characters and designs
cannot exist in a vacuum, hence the environment is the
extension of the design—a glimpse into my imagined
world that my post-human creations exist within. In
"Cybernetic Skins", the world I imagined my character
inhabiting is deeply intertwined with the body, as data
cables sprawl across the environment, and connect to
the body, symbolising the oneness of humans and data.
However, I think this question is flawed. Game space
and physical spaces are not as different as one might
think. Sociologist Erving Goffman likens everyday social

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interaction to a performance, with people in everyday life

as actors on stage playing various roles. Game space is
not so dissimilar, digital spaces and avatars only provide
additional stages for the shared performativity of every
day—every day being a set of conditioned behaviours
deemed "normal" in the corresponding space. In that way,
I perceive any digital work within its interchangeable
digital context—the problem isn't that things work well
within one context but not in another, but rather it is the
beauty of game spaces—that objects can be interpreted
and reinterpreted infinitely through digital spaces.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

I don't perceive my work as having an "ideal" audience—

the beauty of digital art spaces is the democratisation of
artistic spaces, and the ability to reach out to audiences,
regardless of location, age, and gender. The spoken
word element of "Cybernetic Skins" speculates what
future bodies could become, what would we look like if
we merged with our digital data? I wanted to pose this
overarching question of visualising digital identities in
the age of emergent technologies to my audiences as an
open-ended question. Coming from a fashion background,
I think that I have an audience that may come from that
side, but also I think audiences find me from my interests,
that being technology, mixed reality, digital art, and
immersive storytelling, and I think that my audiences also
are interested in this intersection as well.

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WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

In imagining a future that goes beyond the present I

envision a world where the harmonious integration of
technology, nature, and human consciousness becomes
the foundation of our existence. Of succumbing to the
outcomes often portrayed in dystopian stories I firmly
believe in the potential, for a collaborative and balanced
coexistence.

My vision is rooted in values such as sustainability,

empathy, and innovation. It's a future where we have
utilized technology's capabilities not for convenience but
to enhance our environment and society. Through efforts
and responsible practices, we have successfully tackled
the challenges posed by climate change. Our commitment
to preserving biodiversity has prevented extinctions. We
have also established financial systems that minimize the
risk of collapse. Global conflicts have been replaced by
diplomacy and cooperation while populism has given way
to a spirit of unity and inclusivity.

This vision is not merely based on optimism; it stems from

our ability to adapt, innovate, and prioritize empathy
over exclusion. It represents a future where humans
coexist harmoniously with the realm—a future where the
boundaries between life and synthetic creations become
blurred in ways that enrich our lives while ensuring the
preservation of our planet, for future generations.

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HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

To work towards the future we imagine it is crucial to

consider everyone involved. Individuals, communities
organizations and nations. This requires an effort and
global cooperation. Here are some practical steps to
kickstart change:

1. Sustainability. Embrace practices in your life by

reducing energy consumption supporting eco friendly
products and advocating for renewable energy sources.
2. Education. Promote education on issues, diversity and
inclusive policies. Education forms the foundation for
making decisions and driving change.
3. Collaboration. Encourage collaboration among
scientists, engineers, artists and policymakers to tackle
challenges together. Collaborative solutions often yield
outcomes.
4. Innovation. Invest in innovations that contribute
to a future—be it clean energy solutions, efficient
transportation systems or environmentally friendly
materials.
5. Inclusivity. Foster an environment of empathy and
inclusivity where everyone feels valued. Recognize
the importance of diversity. Actively work towards
dismantling biases and prejudices.
6. Community Engagement. Get involved in your
community through volunteer work or initiatives that

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address environmental and social issues.

7. Consumption. Make choices by opting for products
and services that align with sustainability practices and
ethical standards. Support companies that prioritize
responsibility alongside concerns.
8. Global Unity. Advocate, for unity and diplomacy
while rejecting approaches; prioritize collaboration as
we face shared challenges together. Promoting media
literacy and critical thinking is essential, in countering
the dissemination of narratives and false information.
Additionally prioritizing well being and cultivating
resilience within society enables us to effectively
navigate global crises. By embracing these practices
we transform ourselves into catalysts for change than
mere spectators. Together we can forge a path, towards a
future that embodies harmony and progress.

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

I think it would be really interesting to be reborn as fungi.

The interconnectedness and the collective consciousness
of mycelium are so different from the human experience,
that I feel like it would be interesting just to see what it
would be like to experience becoming an organism that
is so rooted in its environment. In many ways, I think
that was reflective of my concept of "Cybernetic Skins".
I wanted my characters to become one with the organic
digital environment that they exist within, the self-
becoming an extension of the ecosystem, rooted in the
bytes of 1's and 0's pulsating through the cables.

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ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

1. "The Fashioned Body: Fashion, Dress & Modern Social

Theory" by Joanne Entwistle (2015)
2. "The Psychology of Clothes" by J. C. Flugel (1933)
3. "Fractal Folds: The Posthuman Fashion of Iris van
Herpen, Fashion Theory Journal" by Anneke Smelik
(2020)
4. "Urban Style Cultures and Urban Cultural Production
in Milan: Postmodern Identity and the Transformation of
Fashion, Poetics" by Laura Bovone (2006)
5. "A Cyborg Manifesto: Science, technology, and
Socialist-Feminism in the Late Twentieth Century" by
Donna Haraway (1991)

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ABOUT THE ARTIST ARTWORK STATEMENT

Named in the Institute of Digital "Cybernetic Skins" delves into

Fashion's Top 100 Innovators list of the liminal space between the
2023, Christie Lau is an XR artist, organic and the synthetic. It
working with digital fashion, AI, envisions post-human bodies,
and augmented and virtual realities. imagined using AI. Rooted in the
Referencing internet culture and premise that humanity is not a
everyday mundanity, their work static entity but rather an ever-
reimagines recognizable motifs and evolving construct, this project
environments in AR and VR, in a captures the transformative
playful and absurd take on reality. essence of our relationship with
technology.
Having recently graduated with
a BA in Fashion Print at Central As we advance, so does the
Saint Martins, Christie’s giant QR boundary between our flesh
boxes became a viral sensation. and the realm of the digital. The
On the runway, they debuted their piece envisions a future where
digital garments on three giant QR our very skin intertwines with
code boxes worn by models. When cables and conduits, carrying not
scanned, they take the viewer to just blood but bytes, bridging the
an AR filter where they can see the divide between biology and data,
full collection. Their work has been garments of tangled cables and
featured by the likes of i-D, Dazed, bodies seamlessly transitioning
and the Evening Standard. into fashioned adornment. This
is not just a melding of humanity
Shortly after graduation, they have with machines but a profound
already worked with high-profile metamorphosis, resulting in an
clients such as Meta on their entity that is both and neither.
Queens of the Metaverse campaign,
designing and creating mixed The digital landscape featured
reality outfits for drag king Adam is not merely a backdrop but
All in a one-of-a-kind mixed reality a character in itself. Visually,
runway. concepts using AI reflect a world
we have birthed but perhaps not
fully comprehended. Through
the fluidity of 3D animation,
viewers are taken on a journey
where every pixel, every digital
sinew, challenges conventional
definitions of life, identity, and
existence.
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Yet, it's not just the content but the

mode of presentation that amplifies
this message. By projecting this
video onto a free-standing screen
installation, Christie bridges
the digital-physical dichotomy,
translating virtual realms into
tangible experiences. This is no
mere screen but a portal—inviting
viewers to step through, to
momentarily inhabit the cybernetic
world, feeling the blurring
boundaries and sensing the future's
resonance.

"Cybernetic Skins" is more

than a visual experience; it is
a philosophical exploration of
potential futures, a testament to
the malleability of human nature,
and a reflection on the boundless
possibilities that arise when we
become one with the very tools we
create.

IMAGE CAPTIONS

[1] Cybernetic Skins (Exhibition Screenshot),

Christie Lau, 2023.
[2-4] Cybernetic Skins, Christie Lau, 2023.
Digital Fashion. Dimensions Variable.

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YIMEI ZHENG

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

Alterity: the "other of two," or "second" in Latin, is a

philosophical and anthropological term signifying
"otherness." It's used in media to express something
different from "sameness," or something outside of
tradition or convention. Theorists employ this term to
create a space for considering "the other" in enriching
world culture and "thinking about the complexities of
self and other and the formation of identity." However,
the establishment of "we" versus "the other," this binary
opposition, appears too simplistic. How can we safeguard
this term from dichotomization, anthropocentrism,
and oversimplification? How can we prevent "alterity"
from being relegated to secondary status by dominant
groups? Reinventing and redefining a word is a potent
way to reconsider the issues and meanings involved. Alt-
Alterity could represent a reevaluation of the diminished,
simplified meaning of "alterity," a revisiting and
enrichment of "alterity" that was previously overlooked,
challenging the dominant narratives.

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COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

The real world appears to be inevitably progressing

toward a future marked by the slogan "This is the future"
(an advertising slogan for an AI company), conveying
a sense of hopelessness. I asked myself how to break
free from the constraints of society, how to resist, and
whether I could find salvation in a world characterized
by disorder within disorder. Can I escape the framework
of rationality in a world of illusion? My interest gradually
narrowed down to the power dynamics in sex, desire,
and responsibility. "Desire" and "responsibility" became
key terms, and I aimed to grasp the sense of inadequacy,
explore how individuals confront their own incapability
and seek to discuss society in terms of individual desires.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

The work attempts to show the fear and frustration in the

position of the submissive character, how to resist the
force of fascism (in a philosophical way), the problem of
simplifying, and sexualizing sophisticated concepts, and
how one can delegate responsibility and justify oneself
in every possible way. All the found materials are from
the internet, and I've shown a full source list at the end,
they are important evidence to discuss the misogyny,
objectification, normalization, and dualism that often
occur in porn, media, popular culture, and everyday life.
The animation and dialogues are produced in a way that

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intentionally blurs the subject and object, and blurs the

identities of fictional and real characters. Some words are
written in a logical leap or puns, and some of them are
like a therapist repeating back to your conversations. Both
models were strong projection subjects for me. I tried
to strengthen them a little bit with a non-fluid motion,
using low pixels to seek a small degree of independence
for them, to interfere with the viewer's visual satisfaction.
These various audio-visual manipulations are also my
attempt to find a space that is less rational, and that is not
constrained by duality.

[2]

[3]

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OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

It's hard to compare the level of engagement and

immersion with offline, but it's interesting to note that
online space can be organized more independently, but
with a wider audience, engaging with a more diverse
community globally and, as they say, leveling the world
between the rich and the poor, the educated and the
uneducated. When organizations have considerations
beyond the business and ambitions against injustice, then
it is like independent cyberspace exploring new ways of
existence, an alternative to the old systems of power. A
habitat that independent artists crave.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

When making 3D works, I always keep some of the real

materials in the virtual environment, they are the roots
of my own creation—I can't seem to get rid of them. I may
not be interested in creating a mirrored real world in a
virtual reality simulation, but to me, creating in a virtual
environment is probably more like creating a novel than
a documentary. But given the fact that my "novels" are
always in the interest of the social status quo, and because
of my photographic background, I find that exposing
issues, in reality, has to be done in the physical world,
virtual environments just don't feel powerful enough.

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Virtual environments are great for expressing abstract

subjects, and emotions, without the limitations of race,
gender, age, or any other stereotypes of the real world.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

My ideal audience would probably include people who

aren't typically interested in art, reflection, or making
changes, lol. And for those in positions of dominance,
I'd want to lock them up and force them to look at it, you
know, like in "A Clockwork Orange." However, that's not
going to happen in reality. So, it doesn't really matter to
me; I would be happy to have anyone who would like to
spend some time with my work.

In imagining a future that goes beyond the present, I

envision a world where the harmonious integration of
technology, nature, and human consciousness becomes
the foundation of our existence. Instead of succumbing to
the outcomes often portrayed in dystopian stories, I firmly
believe in the potential for a collaborative and balanced
coexistence.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

My understanding is that there is no fundamental

difference between the future and the past. This holds true
for philosophers and artists, as well as for economics and

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[4]

239 [5]
ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

politics. The future might turn out to be the most boring

and disappointing ending to a story, akin to the last season
of "Game of Thrones." However, we can find a way to
survive in small groups. (Though I'm unsure if it's getting
harder or easier to achieve this as technology advances).

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

Haha, damn, the future I envisioned in the previous

question is too depressing. It's best not to go down that
path. However, if the world is indeed doomed, we have
to find a way to survive on the road to destruction. By
"we," I mean as much of the human race as possible. We
can transcend religion and politics (though that might
only happen with an alien invasion—I'm so negative!)
and stop blaming the other side. We need to earnestly
work together to solve the problems at hand, rather than
exploiting disasters for profit or using them to stabilize
governments and countries while blaming each other and
relying on the media to maintain societal stability.

And for "we," those who consider themselves ordinary

people, oppressed and marginalized to varying degrees,
in the context of my work, I'd like to emphasize that using
victimhood and incompetence as a defense for inaction or
even causing further harm is not the solution. It's harder
but more important to genuinely accomplish the day-to-
day tasks well rather than being full of fancy words.

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IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

Jellyfish might be cool—they are beautiful, incredibly

diverse, cruel, multicellular, and simple, only containing a
basic network of neurons to sense the environment. And I
will survive when I'm cut in half!

IF YOU WERE TO COMPARE YOUR ART STYLE OR PHILOSOPHY TO A TYPE OF FOOD, WHAT WOULD
IT BE AND WHY?

Hmmm... It may be less refined, not decorated and served

in a classy manner, or made only by fine chefs and require
plenty of money to buy. Then again, it's also not overly
popular street food as it may not be everyone's cup of tea
to try and enjoy. So... Maybe a Durian Pizza.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

I'm sure there have been a lot of recommendations

already, so I'm here to recommend watching some
cheesy, crappy but popular (mainstream) shows, social
media content (and comments), pornography, categories
you generally have no interest in or even disagree with,
through an analytical eye. The sound and visual, the
gesture, the texts, and the logic of it all.

In a sense, compared to second-hand messages, I see

them as derivative readings of philosophical books, quite
an intuitive way to help observe this society. Refer to
the documentary film "The Pervert's Guide to Ideology"
written by Slavoj Žižek, for an idea of this way of viewing.

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ABOUT THE ARTIST IMAGE CAPTIONS

Yimei Zheng grew up in China [1] M (Exhibition Screenshot), Yimei

and currently lives in Germany. Zheng, 2023.
She is a multimedia artist with [2-5] M (Still), Yimei Zheng, 2023. 3D
a background in photography Animation, Clips From Pornography And
and psychology. Her practice Found Images. 12 Mins., 5 Secs.
focuses on time-based media
but also includes prints and
installations in an attempt to
disrupt traditional notions of
desire, identity, objectification, and
normativity. Often, emotion serves
as a significant undercurrent in
her work. Drawing from individual
experiences, Zheng creates
experimental depictions of social
issues and collective anxiety.

ARTWORK STATEMENT

"M" is a video essay composed

of 3D animation and found
images. Zheng uses pornography
as a means of critiquing the
ever-producing stereotypes in
everyday life. It is a struggle
against the perverted pursuit of
spectacle, pleasure, and order. "M"
attempts to showcase the endless
spiral of existential dilemmas
that normalization brings.

This work is not so much about

erotica but about power. Amateur
porn and NSFW art can be seen
as outlets for desire and freedom,
while sexualized everyday
content, professional porn, and
animations represent the peak
of capitalism and a mirror of
ideology.

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AIPING XU

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[1]

LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

"When I look at the other, there does not emerge an

identification with the other, an equality of subject. The
relationship is profoundly asymmetrical: the other opens
me to transcendence." What I understand by Alt-Alterity
is what the French philosopher Emmanuel Levinas has
shown in the collection Alté et transcendence. Whenever
I try to understand and conceive of people or things, or
even cultural concepts, that are very different from mine,
a different starting point ultimately divides the other from
me. Unfortunately, when I decide to get infinitely closer
to and participate in the other, the discourse of the other
and mine intertwine and coexist in a common context,
crushing and colliding to give birth to something rootless
and perhaps incompatible, and transcendence is born. In
my opinion, this kind of transcendence cannot be defined
by rules, and it is also a result of symbiosis. It may be full
of the spirit of experimentation, or it may carry the value
of critical questioning, but it can blur the boundaries
between the cognition of the similar and the dissimilar,
and give rise to subtle activities of thought. This is my
favorite part of this theme.

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COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

From my own experience, I am a person who has crossed

over from heterosexual to homosexual and from bisexual
to pansexual. In this process, I have been searching for

[2]

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"love," "gender boundaries," and "self-identity." It seems to

me that the initial structure of the body and reproduction
is not what limits or determines the boundaries of an
individual's gender expression, but rather what society
implies to its citizens in order to facilitate the system's
management. I think this is unfair and underdeveloped.
The idea that certain plants and animals have been
purified to the point of being able to reproduce asexually,
while the human world is still dividing the normal and
the marginalized because of the diversity of sexuality and
love, is a precept that I just can't easily compromise. In
the case of the Initiator, I am a limb weaver, and the body
is pure in my eyes; every recognizable part is important.
I hope that the meaning of symbiosis is also reflected in
the harmony between the personality and the body that
is being disciplined. I am curious to what extent the spirit
can all be detached from the physical body.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

The reproductive role of flowers in the plant kingdom,

notably at their peak of beauty and maturity, mirrors
the complexities of human sexuality, especially within
marginalized communities such as queer identities.
This parallel invites a critical reevaluation of societal
constructs concerning sexuality and gender. For
example, the unique camaraderie between gay men and
certain women highlights, yet subtly contests, societal
norms around "appropriateness," revealing underlying
patriarchal tensions.

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In my artistic work, I explore these intersections of

marginalized identities, societal expectations, and the
dichotomy between the overt human body and the
concealed psyche. At the heart of this exploration is
the Queer Body, raising pivotal questions: How does
the societal assignment of functionality to genitalia
resonate with individuals, particularly those outside
heteronormative standards? Is there an unspoken societal
mandate for certain expressions of femininity to remain
hidden, echoing patriarchal control over women's bodies
and identities?

Additionally, the existence of genitals and the concept

of asexual reproduction in nature—do these offer
metaphorical insights into the spiritual emancipation
sought by homosexual men? These questions aim to ignite
curiosity and foster dialogues that challenge and expand
our understanding of these complex issues, contributing
to a more inclusive discourse in the realms of sexuality
and identity of "bridging" as a connecting point, my goal
is to fill gaps by honoring "differences," perhaps through
a method more akin to building a tunnel. The audience is
given the choice of participation or denial as they enter
the space. This project also criticizes the role of artificial
intelligence trained by data collected for commercial
purposes on the internet and particularly on social
media. It explores how this AI contributes to the creation
of an "othering" image on one side and represents an
inauthentic image of host societies to immigrants on the
other side.

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OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

Firstly, I recognize that virtual platforms offer artists more

freedom and greater decision-making power in terms of
concept. They also provide valuable support for emerging
artists by reducing costs, serving as a form of organic
assistance. However, it's worth noting that the absence of
liveliness and realism can also impact certain categories
of work. For example, it can be challenging for creators
of performing arts and non-visual digital arts to fully
participate in virtual spaces. While I firmly believe that
contemporary art doesn't necessarily need to prioritize
being "visually appealing" or "high-tech," I must admit
that the popularity and commercialization of digital art
have had a certain influence on traditional art categories.
It's essential to remember that good technology does
not always equate to a good concept, and sometimes
simplicity is more effective.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

Similar to the previous question, I believe it's having

an impact. The recent shift away from site-specificity
has resulted in a greater focus on visual elements,
inadvertently diluting the original concept. At times,
I find myself grappling with the challenge of creating
visually appealing art while avoiding a commercialized
impression.

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WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

I haven't really thought about it. Creating my work is like

designing a business card; I craft it and offer it to others,
and whether they want to connect or not doesn't affect the
process of creating my "business card."

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

I'm feeling quite isolated, and I probably don't have much

enthusiasm for the future. Life isn't easy to live right now,
and it's unlikely that the future will be much better. I
dislike humans, so I might choose to pass away early for
the sake of nature.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

As artists, we can only use artistic means to convey

ideas; this is our way of fighting. Here, I still recognize
the radical way of creating, of using the body to convey
a state of being that we as human beings can relate to.
"Participation is important; otherwise, we will never
understand, and the other will always remain a distant
island."

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IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

Single-celled sea creatures or space creatures that are

currently unknown to mankind. I want to remain still for
eternity, free from the constraints of rules, and to return
to my instincts.

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

I recommend it as long as it's not in the same field as what

you're currently doing.

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ABOUT THE ARTIST socio-cultural anthropology, as

an explanation of marginalised
Aiping Xu is based in Shanghai. identities, social relations, and
She is a live performer and cultural conflicts. The second-
interdisciplinary researcher whose person pronoun "You" is used as the
artistic practice encompasses subject, occasionally referring to
everything related to the body/ an individual, but also to a group
physicality. of people. A third-party observer,
Criticism and emancipation are excluded from the self, speaks
the focus of Aiping's work, and she through the mouth of art about
is passionate about putting the those unique personalities and
characteristics of the body into their spiritual worlds.
various physical and non-physical In "Cryptic You," the Queer body is
environments and materials, an electronic multi-media dynamic
performing movements with a image that combines a bisexual
specific purpose and her own body with the digital plant. The
inner principles, and creating a illusory qualities of digital art
field of sensory responses. She is are used to simulate people who
an advocate of the body's identity are marginalised by the current
between the sacred and the carnal circumstances and their fragile
and specializes in exploring its and delicate spiritual world. Plants,
fragile and resilient side. She also especially flowers, are used as one
focuses on the spiritual world of of the main images in the project
sexual minorities, collecting in for their specific natural properties.
images their experiences of the Flowers are the reproductive
body and spirit that transcend the organs of angiosperms, and the
gender binary. monoecious flower is called the
"perfect flower," whose life cycle
pattern transcends most of the
ARTWORK STATEMENT established rules of plant and
animal reproduction in nature, and
exists uniquely and freely.
"Cryptic" has been used to
describe things with mysterious The artwork uses digitally scanned
or obscure meanings, as well flowers to reproduce in place of the
as animals that rely on the queer's own reproductive structure,
colour of their feathers to planting the "perfect" attributes
confuse predators in their of male and female flowers into
natural environment. Inspired the external physical and spiritual
by this, the artist attempts to realms of the queer population.
contextualise it in the realm of By breaking down their human

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characteristics, it achieves a free

symbiosis and spiritual liberation
that overlaps with the context
of the plant society. The male
body exists and the penis exists
through another transformation.
However, in the transformation of
the subject form, the boundaries of
their identity become increasingly
blurred. Who is he and where do
they come from? It seems that
this should not be subject to the
jurisdiction of any kind of society,
that the creature's sense of self
has transcended the boundaries of
context and genetic molding, like a
bouquet of flowers blooming in no
man's land, fragility and resilience
are intertwined.

IMAGE CAPTIONS

[1] Cryptic You (Exhibition Screenshot),

Aiping Xu, Shuyu Lin, and Root as
collaborators, 2023.
[2-4] Cryptic You (Still), Aiping Xu, Shuyu
Lin, and Root as collaborators, 2023.
Electronic Multi-media. 8 Mins., 52 Secs.

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XINYUAN MA

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[1]

LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

I think Alt-Alterity means some undefinable people and

their lifestyle. For example, the way they perceive their
own gender, their special life experiences, or the fact
that they can feel most of the things people can't know,
and who are sensitive to the philosophies that the public
ignores.

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

My parents were always questioning and opposing my

gender identity and emotional experience many years ago.
In the process, I gradually recognized myself and found
a lifestyle that suited me best. I want to explore more
about what makes me special, the reasons for the conflict
between myself and my family of origin, and the future I
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want. So I wanted to look at the topic of non-binary and

gender queerness.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

This work focuses on the conflicting mix of queer

existence and pixelated reality. Anthropomorphism of
non-binary gender symbols and pixelated visual hybrids
represent the impasse and symbiosis between queer
and Chinese social reality. It's a kind of pixelation. The
state between reality and primal desire, and what I want
to express is a unique, enduring pleasure that resists
deliberately pixelated reality.

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

I think digital exhibitions are a very effective way to

exhibit digital works, which is conducive to the exhibition
of artists' works around the world so that artists can have a
larger audience and collection group.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

My work presents different visual experiences in physical

and virtual spaces. Works in physical space allow people

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[2]

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to see the texture of brushstrokes more closely, and virtual

works have greater flexibility.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

Generally, people who like a younger, undefinable style

will like my work. The likes of these audiences can lead
to a surprising visual experience, and they may enjoy
fashion, outsider art, primitive art, mushrooms, street art,
pop art, etc. I feel that my work and such an audience are
attracted to each other.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

I hope that these artists can create something critical and

very visually specific from their own perspective. A deep
understanding of yourself and the world is key. Whether
in politics, pop culture, or climate issues, artists should
create based on what they see and experience, and the
internet rendering of these issues or too many reference
maps are not enough to give people practical creative
directions.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

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Only by starting from your own heart, you can change the
world. The excessive desire for human deterioration is
the cause of these woes. For example, if everyone doesn't
want to satisfy their vanity with animals, there are a lot of
animals that won't go extinct that quickly. Consciousness
is the key to changing the world.

IF YOU WERE TO COMPARE YOUR ART STYLE OR PHILOSOPHY TO A TYPE OF FOOD, WHAT WOULD
IT BE AND WHY?

I think my art is like mushrooms. Mushrooms are very

mysterious creatures in this world. They have their own
way of connecting, their way of reproducing, they are
psychical, and there are millions of genders and species of
them. They have their own unique "thinking."

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

I would like to recommend people to see the works of

some native artists, who may be obscure, but whose works
are all psychic passages. Their existence will make you
realize that the art system is only established by people
for the sake of classification, but the real moving is
inadvertent.

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ABOUT THE ARTIST ARTWORK STATEMENT

Xinyuan Ma is a visual artist "You Are Non-Binary!" focuses

currently based in Shanghai. A non- on the conflicting mixture of
binary artist born in China. The queer existence and pixelated
main mediums of their work are reality. In China, the existence of
acrylic painting, digital illustration queer people is forcibly pixelated
and animation, and murals. They and de-framed, and gender
often use symbols and collages in queerness is an unrecognized
their works. Their work is inspired and recognized existence. The
by primitive art, contemporary anthropomorphic and pixelated
street art, and pixelated paintings. visual mixture of non-binary
In their works, people with neutral gender symbols represents a
temperaments, anthropomorphic stalemate and symbiosis of queer
gender symbols, androgynous and Chinese social reality. It's a
creatures often appear in their state between pixelated reality
works. The style of their works and raw desire, and what I'm
is unique and naive. They have trying to express is a peculiar
worked hard to further their studies enduring pleasure that resists
in recent years and participated in deliberately pixelated reality.
some exhibitions and competitions
in China, the United Kingdom, and
Japan.

IMAGE CAPTIONS

[1] You Are Non-Binary! and Queer

Mushroom (Exhibition Screenshot),
Xinyuan Ma, Carlotta as collaborator, 2022.
[2] You Are Non-Binary! (Still), Xinyuan
Ma, Carlotta as collaborator, 2022. Digital
Animation. 58 Secs.

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YU
CHEN

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[1]

LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

I think Alt-Alterity is a prism that shines different rays,

like the dispersion of light. In human history or life,
our perceptions are not always stable; rather, they are
pluralistic. I think Alt-Alterity is an exploration of the
things in the world that we don't get a glimpse of and that
are marginalized. It could give people a new opportunity
to reconnect with the world through art and sensory
experiences.

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

Yu Chen is a 3D artist and visual designer. He graduated

from Information Experience Design at the Royal College
of Art. At the same time, his fashion design background
(BA has given him a unique perspective and attention to

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new immersive experiences.

As an artist, Yu Chen constantly seeks new ways to bring

his work to life. He is passionate about exploring the
relationship between the human body and social identity.
In his studies, he created multidimensional works
incorporating concept art, digital performance, digital
fashion, virtual technologies, and 3D photogrammetry.
He brings his curiosity and passion to his projects and
believes technology can play a crucial role in bringing
these ideas to life.

Through fictional stories, he wants to show the ways

and processes by which we shape the possibilities of
our self-identity. he thinks social identity is a kind of
consciousness. In real life, we may not be able to reveal
a more diverse version of ourselves because of some
limitations. When we are no longer confined to the
inherent social framework, our conscious actions and
choices can project our current identity norms and biases.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

In addition to conveying the concept and worldview of

my work, I explore how our consciousness can mold
our identity through the depiction of the cyborg and the
process of materialization. In a world where all objects are
redefined and intertwined, where everything possesses
its unique alter ego, I simultaneously open the gateway
to the conceptual realm of a virtual world. In this world,
everything exhibits fluidity.
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Through the combination of speculative fiction, motion

capture, and CGI moving images, this project explores
the potential for new paradigms of post-identity. When
cyborgs represent a unique position at the intersection
of humanity and technology, how can we challenge
traditional notions of identity and gender? One answer
could be using open-source technology to hack our bodies
and create a "post-gender" identity that breaks down the
old gender binary system.

Through the lens of the digital world, this work tries

to challenge existing power structures and promote
alternative ways of thinking and being. Ultimately, the
exploration of cyborgs will open up more possibilities for
a more inclusive and diverse future of gender identity.

[2]

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

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I see it as an opportunity for equal access to art. When I

was a child, I honestly had limited access to art news and
advice. Magazines and newspapers in bookstores were
my main sources of knowledge about the world beyond
my hometown, especially when it came to art-related
topics. Virtual platforms have broken down the barriers
of space and dimensions, functioning as open sources
where everyone has the opportunity to learn about art.
Especially in the post-epidemic period, the proliferation
of virtual platforms has allowed me to discover many great
works and artists.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

I am deeply fascinated by the virtual world; it's like

a utopia where I can freely express my thoughts and
emotions. In real life, I tend to be shy, and there are many
emotions and expressions that I struggle to convey. The
virtual environment has certainly allowed me to fully
embrace my alter ego, helping me express what I want to
say and do.

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

Nobody and everybody I think. Because my creation

wants to break some binary. I don't want my creation to be
confined to a specific group of viewers; I hope that anyone
who encounters it can begin to contemplate their own
identity.

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[3]

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WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

In post-humanity, I feel that we are seeking to shape and

express our social identity. I got the inspiration from the
ideas of Posthumanism and Donna Haraway's concept
of the cyborg, which offers a new perspective on the
potential for technology to transform our bodies and
identities in ways that were previously unimaginable.

In Karan Barad's study of Transmateriality, Living matter

is itself a dynamic, self-creating, and non-naturalistic
structure. In the future, in a ritual where flesh meets steel,
a new way of being is revealed, where we can express
ourselves in a post-human, post-identity utopia. We shape
our bodies and define our forms in a world where cyborgs
are the new norm and technology reigns. We will not
be limited by physical chains and have diverse ways of
demonstrating our post-identities.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

I believe that making it happen only requires opening our

minds. That's why I want to continue creating. Over time,
what I've learned from friends and applied to my creative
learning process is that we could be water. In real life, we
often maintain and practice a dichotomous methodology
for many things. However, why don't we adopt a more fluid
way of life and contemplate our future?"
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[4]

IF YOU WERE TO COMPARE YOUR ART STYLE OR PHILOSOPHY TO A TYPE OF FOOD, WHAT WOULD
IT BE AND WHY?

I sometimes consider myself a donut. In Chinese culture,

there's a saying that appetite and desire are only natural,
and in my case, it seems to make sense. The first reason is
that I love desserts; I regard them as my spiritual support.
The second reason is that I see a similarity between my
personality and my work—just like donuts, it's two-sided.
You won't truly know what's inside until you take a bite.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

I have been deeply fascinated by Anna Uddenberg's

work. I even traveled to New York and London to see
her installations, and fortunately, I had the opportunity
to see her perform as well. I was captivated by the way
she seamlessly combines Bauhaus-inspired industrial
design installations with fashion-stylish humanistic
details to create a form of bodily performance. It's such a
surreal expression and contemplation of gender desires
that inspired me to think about artwork and visual
imagination.
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ABOUT THE ARTIST the line between human and

machine becomes increasingly
Yu Chen is a 3D digital artist. He blurred. In the post-human era,
graduated from Information we could all be cyborgs. With
Experience Design at the Royal this blurring of the line between
College of Art. At the same time, human and machine, it raises
his background in fashion design important questions about how
has provided him with a unique our "post-gender identity" will
perspective and attention to new be expressed in a world where
immersive experiences. He is humans exist as cyborg objects.
passionate about exploring the
relationship between the human By combining design fiction,
body and social identity and he digital performance, motion
believes that technology can play capture and CGI moving images,
a crucial role in bringing these we can explore the potential for
ideas to life. He aims to continue new paradigms of gender identity
to delve into these topics and push and sex/gender systems. How can
boundaries in the field through we use open-source technology
innovative technology. to hack our bodies and create a
"post-gender" identity that breaks
As an artist, Yu Chen constantly down the old gender binary
seeks new ways to bring his work system? As we enter a world
to life and engage the audience. of "self-shaping" technologies,
He believes that the integration it is necessary to challenge
of virtual technology and visuals traditional notions of identity
can help enhance the connection and gender. By creating a post-
between his digital images and the gender utopia(new queer ecology)
audience. He is eager to continue and " seven days" ritual where
exploring and incorporating individuals' alter egos can exist as
these technologies into his future pure cognition, we can dissolve
projects. the pain of the gender binary
and explore new post-identity
boundaries.
ARTWORK STATEMENT

Ultimately, the exploration

Cyborgs represent a unique of cyborgs and the future
position at the intersection of of gender identity opens up
humanity and technology. As more possibilities for a more
we keep modifying our bodies inclusive and diverse world.
through biotechnology to meet Through the lens of the digital
social norms of gender behaviour, world, we can challenge existing

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power structures and promote

alternative ways of thinking and
being.

IMAGE CAPTIONS

[1] The Alter Ego (Exhibition Screenshot),

Yu Chen, 2023.
[2/4] The Alter Ego (Still), Yu Chen, 2023.
CGI Moving Images. 3 Mins., 19 Secs.
[3] The hybrid creatures designed by Yu
Chen.

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LUDOVICA GALLEANI D'AGLIANO

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

With Alt-Alterity, I see a call to action about challenging

established norms and structures, both online and offline,
an invitation to embrace others' voices, particularly those
that have been historically marginalized, and create
alternative realities.

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

I am a visual new media designer and artist, I have a

background in visual communication and interaction
design research and practice. I am interested in how
digital spaces contribute to the creation of hybridized
identities, and how this can challenge the power
structures of the digital realm. I currently focus my
research and work on the field of interaction design and

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post-cyberfeminism, and I am fascinated with the ways

technology is reshaping human identities. My interest in
questioning underlying assumptions and power structures
embedded in digital systems can align with the themes
of Alt-Alterity, which challenges conventional notions of
identity and explores alternative perspectives in art and
design.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

The project "@Syntia_CAM" wants to challenge and hack

the stereotypes and stigmas related to the sex industry.
Working together with sex workers, a series of scenarios
and fictional characters has been co-created in a workshop
setting. Following the principles of ethno-mimesis, the
project combines ethnographic and collaborative methods
and the subsequent production of digital art forms to
represent experience. The aim is to create a collaborative
and inclusive process that centers on the voices and
experiences of sex workers.

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OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

Working and researching in the field of post-cyber

feminism and new media art, I am quite fond of digital
spaces and how they can create new possibilities and
spaces of empowerment for marginalized identities. In the
end, what many post-cyber scholars agreed with is that the
digital space had initially a big potential, but in the end, it
started to echo the offline structure, and one of the main
reasons is that the majority of online spaces are developed
by white cis-men. However, when new spaces are created
with ethical and meaningful purposes such as art that
can definitely contribute to re-shape the current digital
environment in a more inclusive space.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

In my practice, due to the particular context I am working

with, comes out fur sure an issue of privacy. A digital
space does reach a broader audience and therefore a
bigger global exposure. Sex workers work with their image
daily, but it can be also quite stigmatizing for sex workers
when their real identity is associated with their practice,
therefore they use fictional identities and names. In the
context of privacy and exposure, using digital avatars as
"masks" is definitely something that you can easily do
online but not offline, but is still something that cannot be
accessible to the majority.
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WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

I quite often felt that the audience that was exposed to

my work has been often connected to the cultural artistic
bubble and even so the feminist bubble. I feel this project
has to speak to a broader audience, that is not connected
necessarily to the creative field, in order to have an impact
and foster discussions and conversations around the topic.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

I imagine a world where people can live together,

seamlessly intertwined with each other and the
environment, a world where every individual is able to
shape their own identity and future.

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[3]

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HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

There are too many battles that we want to fight, but I feel
the advice I can give is to focus on just one or two battles
at a time because we cannot fight them all. However,
we can keep ourselves informed, try our best to live
in sustainable ways, practice empathy, talk with each
other, and don't be afraid to disrupt conversations with
uncomfortable opinions.

IF YOU WERE TO COMPARE YOUR ART STYLE OR PHILOSOPHY TO A TYPE OF FOOD, WHAT WOULD
IT BE AND WHY?

It would be sweet and sour noodles. I try with my practice

to be empathetic and aesthetically pleasing, with a not-so-
subtle hint of sour opinions.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

I would recommend the readers to look at the work of

Disnovation.org (they are quite good at disrupting and
hacking), I would recommend reading Xenofeminism by
Helend Hester and Camming by Angela Jones which is a
fair portrait of the camming industry. About podcasts, I
totally recommend The Bechdel Cast, and Troie Radicali,
Morgana (it).

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ABOUT THE ARTIST resumed the classical oppressive

structures of the offline space.
Ludovica Galleani d'Agliano is In this context sex workers
an italo-swiss multidisciplinary have found new spaces and
designer and new media artist possibilities for interactions and
currently based in Zurich. business, developing creative
She holds a degree in Visual strategies to survive and thrive.
Communication and Interaction
Design, awarded with the "ZHdK By challenging traditional notions
Design Förderpreis" in June 2023 of gender and embodiment,
with the project "@Syntia_CAM."
She is currently researching "@Syntia_CAM" is a hybrid, an
the field of interaction design, alien, a sex worker, neither fully
post-cyberfeminism, and pop human nor fully machine. With
culture, and she is interested in a touch of playfulness, they use
how technology is changing the technology to create multiple
perception and construction of our identities, negotiate rates, share
identity, questioning the underlying experiences and new forms of
assumptions and power structures agency. Are you ready to witness?
that are embedded in digital space.

ARTWORK STATEMENT

The Internet has opened the door

into our most private spaces
and virtuality has infiltrated
our bodies, merging reality and
fiction. The first cam-girls of
the 90s were important early
examples of how the internet
could create a cyborg subject
IMAGE CAPTIONS
by integrating human images
with the internet, setting the
conversation regarding the [1] @Syntia_CAM (Exhibition Screenshot),
relationship between technology, Ludovica Galleani d'Agliano, 2023.
gender, and digital performance. [2] The motion capture process for
However, with the advent of the @Syntia_CAM.
21st century, the cyberfeminist [3] @Syntia_CAM (Still), Ludovica Galleani
view of the Internet as a space d'Agliano, 2023. Unreal Engine. 12 Mins.
of liberation for women and [4] The motion capture process for
marginalized communities has @Syntia_CAM.

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MO NAN

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

To me, the meaning of Alt-Alterity is the concept of the

"other," a continually changing definition of the "other."
This theme in my view extends the boundaries of identity
and explores our perspectives when facing or even
transcending our own understanding of the "different." It
represents a non-anthropocentric way of thinking.

COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

My name is Mo, and I'm from China. I graduated from

the Royal College of Art and am currently a freelance 3D
designer based in London. My experience of living abroad
and being exposed to digital art gradually piqued my
interest in concepts related to identity and “otherness.”

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ALT-ALTERITY AN IMMERSIVE VIRTUAL EXHIBITION

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

Both of my works focus on topics related to identity

politics. Using metaphor and ironic visual approaches, I
use character design and storytelling to portray my vision
of a "fluid identity" world.

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

This platform is truly amazing, and I love the concept.

It breaks free from the limitations of physical space,
budget constraints, and the logistics of transporting
artworks, allowing audiences to engage with the artwork
in an immersive and interactive way. With continuous
advancements in hardware, digital-age exhibitions tend
to lean more towards a game-like, web-based real-time
experience, offering audiences a unique perspective
distinct from traditional physical exhibitions.

HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

The virtual environment provides me with more creative

freedom and endless possibilities for imagination.
Ironically, I find that the difficulty of creating in a physical
environment increases. For someone like me, virtual art
creation is a better choice.

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[2]

[3]

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WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

I don't deliberately choose my audience, but surprisingly,

my works are often viewed by fellow artists. It seems
challenging to attract audiences outside the art industry.

WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

I'm not entirely sure about the future vision. If there is

one, I hope that technological advancements, particularly
in the virtual world, can better address issues like wealth
inequality and the ongoing problems of war, etc.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

It should start by providing more support to marginalized

communities.

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

I would like to be reborn as coffee because it has a fragrant

aroma.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

Jon Rafman has been a great source of inspiration for me.

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ABOUT THE ARTIST escape the pursuit of knights and,

with a visa in hand, boards the last
Mo Nan was born in China and ark heading to "Utopia." This film
graduated from the Royal College narrates the thrilling experiences
of Art in 2022. He is currently a during his escape.
freelance digital artist based in
London, specializing in creating Music: Benjamin Laven.
personal works as well as visual
Digital garment design: Suza Vos,
and film concept creations for
Hana Lee.
brands. His works were exhibited
at the Royal College of Art and Project manager: Ting Huang.
Anise Gallery in 2022, and in 2023.
he participated in a collaborative "The Self of the Edge of the Self"
exhibition at the Sarabande is based on the current social
Foundation with other artists. situation where the virtual world
A recent project he concluded is becoming more and more
involved collaborating with another important. The digital world will
artist to design a comprehensive bring people more immersive
gallery, café, and shop for a experiences, even making the real
building located at 29 Kensington world and the virtual world equally
High Street. significant. In the digital realm,
the limitations of gender, social
status, nationality, and personal
ARTWORK STATEMENT physiological characteristics in
real life cease to exist. In such
a liberating environment, he
"Final Flight Visa" is an adventure believes that individuals have the
story. This project was inspired by opportunity to explore a more
my experiences applying for visas authentic and profound self. In
in the United Kingdom and other his perspective, future identities
countries. The lengthy process will transcend the conventional
made me profoundly aware of the definition of "human" and evolve
existence and power of national into continuously fluid, boundless
borders. It led me to reflect on the entities. Consequently, Mo Nan
fact that, as human beings, we do utilizes the mask as the central
not have the right to roam freely element of his work, symbolizing
on this Earth. This short film the uncharted depths of identity,
represents my fantasy of a world and presents it to the audience in
without borders. digital form.

The protagonist is a little demon

who, at the airport, attempts to

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IMAGE CAPTIONS

[1] Final Flight Visa (Exhibition Screenshot),

Mo Nan, 2023.
[2] Final Flight Visa (Still), Mo Nan, 2023.
Digital Animation. 2 Mins., 7 Secs.
[3] The Self of the edge of the Self (Still), Mo
Nan, 2023. Digital Animation, 4 Mins., 15
Secs.

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BOBBY ZHAOCHENG XIONG

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LET'S START WITH THE DEFINITION. HOW WOULD YOU DEFINE ALT-ALTERITY? COULD YOU SHARE
YOUR INTERPRETATION OF THE THEME AND ITS POTENTIAL IMPLICATIONS?

For me, Alt-Alterity represents a process of re-othering.

Currently, we are moving away from anthropocentrism,
gradually shifting our focus towards animals, plants,
and even machinery and artificial intelligence, among
other non-human entities. However, in the process of
de-anthropocentrisation, we are gradually falling into
another form of centrism, making these non-human
entities the protagonists. In my opinion, Alt-Alterity
requires us to always maintain an objective position in
viewing all things, promoting a form of de-centrism rather
than merely moving away from anthropocentrism. In
other words, everything, everywhere all at once.

[1]

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COULD YOU PROVIDE A BRIEF OVERVIEW OF YOUR BACKGROUND AND ELABORATE ON WHAT
SPARKED YOUR INTEREST IN EXPLORING RELATED THEMES?

I just graduated from Goldsmiths, University of London,

with a major in MFA Computational Arts. Our focus
has always been primarily on the study of machines
and artificial intelligence. Last year, my partner and I
delved into the research of future machine gender. We
approached this from a post-anthropocentric perspective,
seeking to disrupt the binary gender norms and even
the multigender theories that have been developed with
humanity as a blueprint, establishing instead an anti-
gender system for machines.

Speaking personally, when I engage with everyday life

and objects, I habitually place myself as a third party,
detaching from the items themselves for objective
observation and evaluation. This approach has also
inspired me to attempt to showcase various phenomena
and discuss certain topics in my works in a more neutral
and objective manner.

WHAT IS YOUR EXHIBITED WORK FOCUSED ON, AND HOW DOES IT CONTRIBUTE TO THE REIMAGI-
NATION OF AN ALTERNATIVE WORLD?

My artwork, "New Deity," constructs a futuristic

landscape, an altar created for artificial intelligence.
Formally, it appears as if AI has overtaken all old deities of
various religions and emerged as the new omnipotent god.
However, it is essentially a critique of the current trend of
increasingly shifting towards an online-centric existence,
dominated by networks and computers.

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In 2020, amidst the pandemic, Pope Francis held a

special "Urbi et Orbi" blessing in Italy with no physical
attendance. St. Peter's Square stood empty, and believers
experienced this peculiar moment through television
or internet streaming from their homes. On Chinese
social media, there is a constant presence of people
praying beneath posts featuring images of Buddha or
Guanyin, seeking blessings, and conveying their wishes.
Concurrently, live-streamed chanting and praying sessions
flourish on platforms like YouTube and TikTok.

Cyberspace is now a vessel carrying diverse religious

activities. For instance, Muslims in France initiated
an online gathering on Twitter, "#Nous Sommes Unis,"
in 2015 to voice the sentiments of their community.
Advancements in technology, particularly mobile
devices and the internet, have become powerful tools for
proselytization and preserving the vibrancy of religious
traditions among the younger generation. However,
the absence of physical space leads to the dissolution
of materiality and the tangible experience, causing the
intrinsic elements of religion, such as the sense of ritual
and sacredness, to diminish. Various congregations seem
to pray to the machine, treating it as an omnipotent deity
relevant to all religions.

The future depicted in the artwork is vibrant and peculiar,

yet beneath its façade lies a controlled, lifeless illusion.

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[2]

OUR ONLINE EXHIBITION IS HOSTED ON A VIRTUAL PLATFORM, NEW ART CITY, AN ARTIST-RUN
ORGANIZATION THAT PROVIDES VIRTUAL SPACE FOR THOSE DENIED PHYSICAL SPACE AND AMPLI-
FIES THE WORK OF THOSE FACING SYSTEMIC INJUSTICE. HOW DO YOU THINK EXHIBITIONS IN THE
DIGITAL AGE WILL SHAPE THE ART SCENE?

Online exhibitions offer an excellent opportunity for

artists who are unable to attend in person, providing
a platform to showcase their works and expanding the
possibilities of curation. Due to the virtual nature of
online exhibitions, there is a process of re-creation where
artists collaborate with the platform builders, giving the
artworks an additional virtual life. Moreover, due to the
global nature of the internet, audiences worldwide can
participate and experience artworks from thousands
of miles away. However, physical exhibitions are also
indispensable. They don't replace or evolve from one
another; instead, they coexist in an "Alt-formation"
relationship, each with its unique significance and
contribution to the realm of artistic expression.

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HOW DOES THE VIRTUAL ENVIRONMENT AFFECT YOUR OWN PRACTICES? ARE THERE SPECIF-
IC THINGS THAT WORK VERY WELL IN ONE CONTEXT BUT NOT IN ANOTHER? BY "ANOTHER," WE
MEAN THE VIRTUAL AND PHYSICAL SPACE.

For this particular piece of mine, exhibiting it in a virtual

space inherently counters the message it aims to convey,
where ritual significance is a crucial element. What I
want to narrate is the loss of ceremonial and experiential
essence in the online space. I believe the "working well"
is based on the viewpoint and interactive form of the
artwork. I am still contemplating how to enhance the
sense of ritual engagement for online participants in the
worship of the "New Deity."

WHO DO YOU ENVISION AS YOUR IDEAL AUDIENCE? IN REALITY, DO YOU FEEL YOU SELECT YOUR
AUDIENCE, OR DOES AN UNANTICIPATED AUDIENCE NATURALLY GRAVITATE TOWARDS YOUR
CREATIONS?

My ideal audience doesn't belong to a specific group

because the artwork itself reflects a behavioural trend
common to all of humanity. However, during the
exhibition process, some unique audience types have
emerged. Interestingly, at the V&A Museum exhibition,
compared to an academic environment, there were more
non-professional visitors and members of the general
public. I found that many individuals associated with
religious groups were particularly interested in this piece,
and it even triggered behaviours such as proselytizing.
Therefore, I believe that good artwork has the natural
capability to attract a specific audience that closely relates
to the essence of the piece.

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WHAT'S YOUR VISION FOR A FUTURE THAT TRANSCENDS THE DOMINATION OF THE PRESENT,
THE NUMEROUS ENDS PORTRAYED IN POP CULTURE, DYSTOPIAN SCI-FI, CLIMATE SCIENCE, AND
BEYOND?

I always have a rather dystopian vision of the future, a

fitting example of which could be the scenarios depicted
in "Interstellar." Humanity may have the capability to
achieve what we currently anticipate and fantasize about,
but this might only be accessible to a select
few, while ordinary people may still remain engulfed in
mundane lives. This aligns with the visual language I use
to portray the future in a series of artworks; I tend to use
rust-streaked metals and crumbling concrete to express
future scenarios. In our future, the most beautiful sight
might only be a delicate flower flickering on the screen of
a vintage television.

HOW MIGHT WE (FEEL FREE TO DEFINE "WE") ACHIEVE THE FUTURE YOU'VE ENVISIONED? WHAT
ARE SOME PRACTICAL PRACTICES, BIG OR SMALL, THAT YOU WOULD ENCOURAGE PEOPLE TO
ADOPT TO BE MORE THAN JUST BYSTANDERS TO THE ONGOING PROCESSES OF OTHERING AND
EXCLUSION, AND THE RESULTANT PHENOMENA LIKE CLIMATE BREAKDOWN, MASS EXTINCTIONS,
FINANCIAL COLLAPSE, GLOBAL WARS, AND POPULISM?

Say no to war. Say no to the killing. Call out war crimes.

Defend the rights of children, women, and the elderly,
to food, water, medicine, to fuel. Speak out against using
starvation as a weapon.

During the Israel-Palestine conflict, I captured a segment

of the Jordanian representative's speech at the United
Nations General Assembly as a response.

IF YOU COULD CHOOSE TO BE REBORN AS ANOTHER BEING, WHAT WOULD IT BE AND WHY?

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I would choose to be reborn as a new satellite of Earth.

Just like what I am doing now, observing everything that
happens in this world. At the same time, it would be an
inanimate object, a neutral existence. However, humans
might imbue me with some mysticism and religious
significance, but that's alright.

ARE THERE ANY ARTISTS, PODCASTS, BOOKS, OR PLATFORMS YOU'D LIKE TO RECOMMEND?

"Arts of Living on a Damaged Planet." It's a book packed

with powerful essays that unravel the human impact on
our planet, offering fresh perspectives on how we can
navigate these challenges together. Diving into haunting
tales of modern violence and stories of incredible
interspecies connections, it is a mind-bending journey
through the unexpected pathways of the Anthropocene.
There are also some computational artists like Leeblalock,
Dennis P. Paul, Ralf Baecker, and Wu Ziyang.

[3]

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[6]

[4]

[5]

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ABOUT THE ARTIST gods blurs, and the sacredness

and rituals essential to believers'
Bobby Zhaocheng Xiong (b. 1998, faith wane.
China) is a multidisciplinary artist
studying at Goldsmiths, University Consequently, congregations treat
of London. His works loom from machines as all-powerful gods,
his passion for superstition, while the blending of religious
religion, and nature, and are images in cyberspace leads to
expressed through installation, a chaotic integration of various
performance, and graphics. His faiths.
own emotional estrangement
manifests in oxymorons: the
works are both blissful and "New Deity" represents a fusion of
rigid, packed with metaphors transitioning gods from diverse
that open a speculative space for core religions, cults, and pagan
thoughts on humanity and social beliefs, displayed on a cluster
reality. There is a superposition of screens. Audience members
of technique and spirituality, of engage by praying at the altar and
rationality and emotions, and receiving a personalized blessing
of the virtual realm and the real script from the "New Deity."
world. His works concentrate on
the expression of content rather Generated by machine learning
than the construction of a strong techniques such as StyleGAN
exterior. He is an alumnus of and GPT, the content effectively
Donghua University in Shanghai captures and combines the
and the Royal College of Art in essence of different religious
London and has works shown in the symbols, images, and texts. "New
exhibitions V&A Museum Digital Deity" offers a thought-provoking
Design Weekend, Creative Machine exploration of technology's
2022, and shortlisted for Lumen impact on the nature of belief,
Prize 2023. inviting viewers to contemplate
the evolving landscape of faith in
our connected world.
ARTWORK STATEMENT

IMAGE CAPTIONS
"New Deity" is an interactive
installation featuring a [1] New Deity (Exhibition Screenshot),
technological altar for the Bobby Zhaocheng Xiong, 2022.
supreme deity of the digital age. [2]-[5] New Deity, Bobby Zhaocheng Xiong,
As religious communities shift 2022. Physical Installation and Mixed
online, the traditional notion of Media. 180 x 150 x 180 cm.

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ACKNOWLEDGEMENT
This curatorial project is brought by Underground Art
And Design, and the publication is edited by Amy Xiaofan
Jiang, also one of the two curators of the show.

UAAD wants to acknowledge and thank the native people

for their stewardship of the various lands on which
we grow, learn, and love. We stand in solidarity with
the indigenous people, from Palestine to Turtle Island,
and we want to thank all the artists and the decolonial
community for creating works that contribute to their
path toward liberation, which is inseparable from our
own.

This project would not have been possible without the

UAAD team members who showed professionalism and
expertise, especially Fangyi Yang, Guihan Lu, Effy Ma,
Weijing Xia, Jing Dong, and Iliana Sun.

Thank you to the New Art City team, particularly Sammie

Veeler and Don Hanson, for not only creating this artist-
run platform that provides accessible spaces for those
deprived of physical locations but also giving us all kinds
of support. Most importantly, thank you for building the
platform that empowers us as world-builders.

To all our UAAD friends, family, and fellow art

communities who have enabled us to celebrate this event
with a wider audience, particularly Webson Ji (Li Tang),
Jingyi (The Catchers Curation), and Ino (Curiousness
Design), and everyone who visited our show and joined us
during our opening, we hope this connection will last.

This curatorial project is indebted to the research and

thinking of authors and scholars such as T.J. Demos,
Ramon Amaro, the Weaving Realities Collective (Yuchen
Li, Aldo Esparaza Ramos), Donna Haraway, Anna Tsing,
Eve Tuck, Linda Tuhiwai Smith, Karen Barad, the Red
Nations, and many others. I would like to extend my
gratitude to Hala A Malak, Alnoor Ladha, Miliaku, and
Yiou Wang for igniting my deep interest in the topic years
ago and keeping its flame alive.

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BIOGRAPHIES
EDITOR AND CURATOR:
Amy Xiaofan Jiang is the Founder of Underground Art And Design
(UAAD), a media platform and creative studio based in New York
and Shanghai, dedicated to showcasing and empowering change-
provoking artists and designers. A narrative weaver—her curation
projects and publications are dedicated to bringing together
people and their stories, ideas, and works that would challenge
dominant power structures and unlock pathways for provocative/
actionable strategies toward a more equitable future rich in
empathy and symbiotic relationships. Graduated from the MFA
Transdisciplinary Design Program at Parsons The New School for
Design, her practice is to shift Design away from being the tool of
extractive capitalism, back to the human ingenuity that prioritizes
planetary symbiosis.

CURATOR:
Fangyi (Yiyi) Yang is a multidisciplinary designer, artist, and
curator based in New York City. Her practice focuses on
challenging human exceptionalism, fostering dialogue on our
interconnectedness with the environment, and honoring the land.
Through transformative journeys that engage the mind, body,
spirit, and place, Fangyi is committed to healing, connection, and
empowerment, offering new perspectives on human existence
through multi-sensory experiences and collective storytelling.

3D environment designers:
Gumi Guihan Lu is an interdisciplinary artist, glassmaker, and
storyteller born in Chongqing, China and currently residing in New
York. Raised in a forest environment, she spent her early years
gathering herbs with her grandfather, deeply connecting with
nature. For her undergraduate studies, Gumi moved to the United
Kingdom, where she majored in Computer Science with a focus on
genetic music. She furthered her Master's degree at the Parsons
School of Design. In her art, Gumi intertwines natural phenomena
with psychological schemas, creating a narrative on how to
measure life in the context of future survival mechanisms.

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Xinyue Ma (Effy) is a forward-thinking designer and a graduate

student from Parsons. She is propelled by a profound passion for
seamlessly blending design and interactive technology, aiming to
create cutting-edge art experiences that ignite human connections.
Her overarching mission is to envision new possibilities for art
exhibitions and design transformative encounters that cultivate
meaningful connections with readers, transcending geographical
boundaries.

COMMUNICATION TEAM:
Weijing Xia is a zealous explorer in the fields of communication
and marketing. Her diverse past roles as an advertising student,
journalist, public relations practitioner, market researcher, and
strategy developer have collectively shaped her into who she is
today. A constant in Weijing's life, however, is her identity as an
art enthusiast—a passion that remains unchanging. She treasures
moments when inspiration strikes and resonance with the world
around her springs.

Jing Dong is a multidisciplinary designer from Shanghai. She has a

strong passion for handicrafts, digital fabrication, and crocheting.
She dedicates herself to creating delightful things and finding
inner peace.

Iliana Sun is a biologist and an artist who tells stories with a

camera. Through photography and film, she advocates a scientific
understanding of our environment, while also conveying the
complexity of our relationship with it. She is especially interested
in wicked environmental problems as their intricate socio-
ecological interconnectivity lends itself to storytelling from
multiple perspectives. She hopes to gently nudge people to
appreciate the intricate interconnectedness of life on Earth. Her
work emphasizes the role of human empathy and understanding in
the quest for biodiversity conservation and sustaining our planet
for future generations.

INTERN:

Ronny Chuwei Zheng is a queer interdisciplinary artist and experience

designer based in New York and Canton. He is currently pursuing a
BFA degree in Design and Technology at Parsons School of Design. His
interests revolve around digital senses, spirituality, and media-tech topics.

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Published in 2024 by Underground Art

And Design on the occasion of Alt-Alterity.

Exhibition Link
newart.city/world/alt-alterity

Website
uaad.art/alt-alterity

Email
hello@uaad.art

Instagram
@uaad.art

WeChat Official Account

UAAD

©️ Underground Art And Design, the authors and artists. The views
and opinions expressed in this publication are those of the authors
and artists. No material, whether written or photographic, may
be reproduced without the permission of the authors, artists, and
Underground Art And Design.

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