the digital vaivén is an exploration of digital embodiment with colonial identity. Through poetry, 360-degree film, photography, and critical texts, vaivén is a means to understand the diasporic experience as a simulated, liminal space.
I took the title for this collection of short stories, essays, and collage from a poem my abuela allegedly wrote in one morning. “Encuentro”—a meeting or a finding in my translation— coincidentally or not coincidentally captures a great deal of what I am trying to explore across these pieces.
MuSyC is a project which aims at building a music to colour synaesthesia visualizer. My initial goal with MuSyC is to make a wearable device which is sensitive to the frequency or pitch of a sound and flashes certain colours in response to certain frequency ranges or particular defined notes, the universal A, B, C, D, E and F. Not only will this device allow non-synaesthetes to experience the world and music from the eyes of a music-colour synaesthete, it has great potential to be used as a tool for performance art in collaboration with musical orchestras and bands.
This website is a digital awikhigan, and a companion to the book Our Beloved Kin: A New History of King Philip's War, available in print and e-book versions from Yale University Press. Through words, images, and maps, the site illuminates networks of relations in Native space during the seventeenth century. Users can consult the site as they read the book, or navigate the site independently.
This project situates indigenously-determined videogames in the context of intellectual traditions, including deep-time stories, speculative fiction, and Native scientific and technological knowledge. From explorations into early indigenous virtual realities to “close-playings” of the Cook Inlet Tribal Council’s game Kisima Ingitchuna (Never Alone, 2014), the project highlights the early and ongoing presence of indigenous creators in digital media.
Dare to Remember: A Digital Memorial of Black Brooklyn re-envisions ways to represent black histories after erasure, disappearance, and silencing. I explore how we memorialize our presence without replicating traditional means of commemoration (museums, street signs, neighborhood names, etc.) by paying respect to silence as a champion of our lives and an integral piece of black history. I use GIS mapping, a photo series, and virtual reality to create this immersive, digital, commemorative experience and to emphasize the importance of memory and transgenerational silence to Brooklyn's black community.
Pray Daddy uses text from Amir Hall’s thesis, a novella called Who Love You? As a point of departure for an exploration of absence. The project combines this text with original sound and imagery in an effort to surround the audience member in the absence experienced by the narrator after the passing of his father.
The internet is not a “cloud,” it exists; it is made of wires, tubes, and light, and ultimately manpower. I am interested in exploring the internet’s physical existence as a means of thinking more about our global impact on the environment. I am also interested in thinking about how the internet was structured and who it was/is “meant for” according to said structures.
“Digital Adichie: Identity, Diaspora, and Transmedia Practice” is a website project rooted in digital humanities. The project considers blogging, digital communication, and constructed identity across forms within Chimamanda Ngozi Adichie’s Americanah. It also explores the connections between Jean Toomer’s Cane and Americanah.