The Seventh Annual Berkeley/Stanford Symposium: In-Between: Art and Cultural Practices From Here

10–11 a.m.

Introductions & Keynote: Sadie Barnette

SPACE/TIME: Making Art on a Rock Flying Through Space

11:10 a.m.–12:30 p.m.

Panel I: Transitory Objects

Christina Hiromi Hobbs, Stanford University, Art History

Spectral Inheritance, Transparency, and Touch: Kay Sekimachi’s Nylon Monofilament Hangings

Eric Mazariegos, Columbia University, Art History

Circuitous Visualities: Ecological, Phenomenological, and Iconographic Considerations of the Unsolid States of Tairona Art and Architecture

Keoni Correa, UC Berkeley, Rhetoric

Can the Subaltern Make Contemporary Art? Native, Folk, and Traditional Art in the Age of the Global Contemporary

Sebastián Eduardo Dávila, Leuphana University, Cultures of Critique

The Challenges of Xibalbá. Contemporary Art Practices between Chixot (Guatemala) and the Underworld of Art

12:30–1:30 p.m.

Lunch Break

1:40–2:40 p.m.

Panel II: Photography

Susanna Collinson, UC Santa Cruz, Visual Studies

Towards a Photography of Place in Aotearoa New Zealand

Joanna Szupinska, UCLA, Art History

Zofia Rydet and the “Close Other”

Sophie Lynch, University of Chicago, Cinema and Media Studies

The Blur of Twilight Labor: Sabelo Mlangeni’s Invisible Women Series

2:40–3 p.m.

Coffee Break

3–4 p.m.

Panel III: Spatial Media

Kelsey Chen, Stanford University, Modern Thought and Literature

Things Adrift: Trinh Mai’s Bone of My Bone as Feminist Refuge-Making Craft

Zina Wang, UC Berkeley, Rhetoric

Hydroelectric Atlantis: Media against Mediation

Kara Plaxa, Princeton University, History and Theory of Architecture

Othering Worlds: Leatherspace, Dyke Community, and the American Small City

4–4:50 p.m.

Keynote: Jennifer A. González

UC Santa Cruz, Professor of History of Art and Visual Culture

Silent Speech, Migratory Gesture

4:50–5 p.m.

Closing remarks

Panel I: Transitory Objects

Christina Hiromi Hobbs, Stanford University, Art History

Spectral Inheritance, Transparency, and Touch: Kay Sekimachi’s Nylon Monofilament Hangings

San Francisco–born weaver Kay Sekimachi (b. 1926) was first introduced to art-making as a teenager while incarcerated at the Tanforan temporary detention center during World War II, and following the war she continued her studies at California College of the Arts in Oakland where she began weaving under the tutelage of Trude Guermonprez. In the early 1960s, Sekimachi began working in the industrial medium of nylon monofilament, producing multi-weave sculptural forms that play with transparency and the architectonics of negative space. Plastic’s affective associations in the post-war period varied dramatically due to anxiety surrounding its potential toxicity, its relationship to the war, and its sudden ubiquity as a household good. As a material for weaving, the plasticity of the nylon monofilament allowed for multiple layers to be modeled into three-dimensional shapes by keeping the memory of touch. Sekimachi’s nylon monofilament hangings open onto questions of inheritance through their materiality, material history, and also the method of weaving itself, as it was only after the artist started weaving that her mother revealed that a sash she had managed to store prior to the family’s forced removal to Tanforan was prepared from silk that she had woven and dyed herself.¹ Sekimachi’s silent inheritance of weaving resonates with the transmission of memory following the incarceration which was often left unspoken. These practices of silence speak to the possibilities of spectral inheritance, or that which is passed down through absence, as something that is felt rather than heard. Sekimachi’s nylon monofilament hangings obscure as much as they reveal, offering an unevenness in their registration by the viewer to frame the question of the submerged memory of the incarceration.

Eric Mazariegos, Columbia University, Art History

Circuitous Visualities: Ecological, Phenomenological, and Iconographic Considerations of the Unsolid States of Tairona Art and Architecture

The conceptual framework of “in-betweenness” encapsulates the artwork and architecture made by once-known Tairona artists and makers incredibly well. The “Tairona,” (a term coined by 16th century Europeans) were an ancient Colombian culture who reached their apogee contemporaneously with the Aztec to the Mesoamerican north and the Inka to the Andean south, though their “Intermediate” or geographically in-between status to these imperial centers have stunted scholarly inquiry. The Tairona, I argue, formulated a conceptually rich art style which presciently incorporates this concept of the “in-betweenness” iconographically, phenomenologically, and ecologically.

This paper builds on a dissertation chapter where I argue that Tairona artists utilized bilateral symmetry, hybridized therianthropic figuration, and a circuitous design ethos to unsettle one’s vision upon viewing their seemingly “solid” creations made in hard metal, solid ceramic, and earthen architecture. This erratic visual effect causes one’s eye to wander and rove in between different nodes. Previously un-researched and un-published examples include hybridized gold figurines where a jaguar’s snarling mouth stands opposite to a saurian figure’s fanged maw. In between these polar heads lie what appears to be a frog’s torso. (Fig. 1; Fig. 2) In therianthropic examples, these pendants seem to sit in-between the central node on the body, emphasizing the centrality of human agency and power.

What were the ecological and phenomenological implications of these compelling iconographies? A principle Tairona site, Ciudad Perdida (“Lost City”) has undergone extensive archaeological excavation, and as a contemporary scholar argues, a lack of dividing architecture would have emphasized movement in between different circular house terraces. (Fig. 3) The Tairona lived at the edge of a densely varied ecological zone which would have required movement in between mountain, forest, and coastal terrains. This paper thus argues that embedded in Tairona artistic visuality was a phenomenologically-oriented aesthetic ethos of constant ecological movement in flux, and that the visually unstable, errant, and bilateral iconography present in their art represented this feature in seemingly stable, but paradoxically errant, solid form.

Keoni Correa, UC Berkeley, Rhetoric

Can the Subaltern Make Contemporary Art? Native, Folk, and Traditional Art in the Age of the Global Contemporary

Indigenous art objects, especially those from the Pacific, have long proven among the most difficult for the art world to absorb into its sense of the present — how is one to place a Polynesian feather textile alongside a Duchampian readymade without highlighting the rift between their worlds of origin, a rift that seems to index an
incommensurability of times? Against this sense of impossibility, a recent body of art historical texts including Terry Smith’s What is Contemporary Art? and David Joselit’s Heritage and Debt argues for the possibility of a universal present. These texts — which I refer to as the literature of the global contemporary — envision an art world in which aesthetic production from all regions of the globe might be considered on equal grounds. Indeed, many of these texts draw explicitly on examples of indigenous art from the Pacific, knowing that to attempt to assimilate Pacific Island art is to truly test the capacity of their universal visions.

Against the optimism of these models, I argue that the art world integrates indigenous Pacific art on unequal terms that bely this ostensible universality. I examine indigenous wood carvings from New Zealand, especially work by turn-of-the-twentieth-century Maori artist Tene Waitere, to show how visions of the global contemporary can only assimilate indigenous Pacific artists insofar as it is capable of recasting them as subjects endowed with agency. I argue that the philosophical model of the willing subject is ultimately deployed to create an unequal distinction between Euro-American artists, who are allowed to draw inspiration from the European past, and non-Western artists, who must break from their traditions through acts of will to prove their belonging in modernity.

Sebastián Eduardo Dávila, Leuphana University, Cultures of Critique

The Challenges of Xibalbá. Contemporary Art Practices between Chixot (Guatemala) and the Underworld of Art

Starting with the story of two twin gods described in the Maya-K’iché’ sacred book or Popol Wuj, who descend to the underworld Xibalbá where they face a number of challenges placed by the lords who reign thereunder, my presentation will explore the ways in which the art system is navigated by contemporary artists from a Maya-Kaqchiquel town in Guatemala. It will do so following Ángel and Fernando Poyón’s (re-)telling of this mythic story as a way to describe their own relation to the galleries, biennials, and museums of the (under-)world of art, while at the same time living and working in their hometown Chixot, the Kaqchiquel name for San Juan Comalapa in the South-West of Guatemala. Instead of studying the work of these and other Mayan artists from Chixot through an ethnographic lens, I want to focus on different iterations of the twins-story while simultaneously proposing a vocabulary with which to tackle contemporary Indigenous production, namely as idiomatic. A concept of myth that is not buried in the past, but emerges in the present will be necessary, as well as the consultation of contemporary approaches to “global art” that emphasize the idiom — an untranslatable but transmissive quality of languages. Chixot’s rich history of cultural and epistemic production will remain relevant, as it informs the idiomatic ruptures and entanglements at stake, for instance, between art conventions on the one hand, and everyday rituality on the other — a central aspect of what Maya-Kaqchiquel theorist Emma Chirix has called Mayan “ways of thinking and doing.”*

*My translation, original quote in: Chirix García, Emma Delfina. 2018. “Cuerpos, sexualidad y pensamiento maya.” In Mujeres y Pueblos: Despojos, Cuerpos, Resistencias en el Sur Global, edited by Xóchitl Leyva Solano and Rosalba Icaza. Buenos Aires: CLACSO.

Panel 2: Photography

Susanna Collinson, UC Santa Cruz, Visual Studies

Towards a Photography of Place in Aotearoa New Zealand

In Photography’s Other Histories, Christopher Pinney comments that the vast majority of photographic discourse takes on a ‘universal’ setting, following the “notion that photographic history is best seen as the explosion of a Western technology.” Pinney instead calls for photography to be ‘reset’ as a “globally disseminated and locally appropriated medium.” (1) This paper will respond to Pinney’s call by arguing that photography, when understood as ‘light writing’, is an inherently place-based process. Focusing on Aotearoa New Zealand, I will think through its specific history of photography, by examining first the parallels in development of modern photographic technologies, beginning in 1839 with the release of the Daguerreotype, and Pākeha (European) settlement in Aotearoa, from 1840 with the signing of Te Tiriti o Waitangi / The Treaty of Waitangi. As Geoffrey Batchen states in Burning with Desire, “wherever we look for photography’s bottom line, we face this strange economy of deferral, an origin always preceded by another, more original, but never-quite-present photographic instance.” (127) This logic of deferral often functions by tying p(r/h)oto technological developments to epistemologies of light, tracking back to a foundational moment of biblical cosmology, ‘let there be light’. This blurring of the boundaries between historiography, cosmology, photography, and epistemology which serves to universalize photographic technologies can be reread when taken from a place-based understanding of ‘light writing’, such as te ao Māori (the Māori world). Thus, the camera, while entering into Aotearoa through colonization, can through ‘light writing’ be understood as a product of Māori cosmology: as Natalie Robertson explains, the camera re-enacts the the passage from Te Kore (the world of darkness) to Te Ao Marama (the world of light), meaning that “when images emerge into the world Māori value systems are embedded in them.” (Can I Take a Photo of the Marae?, 103).

Joanna Szupinska, UCLA, Art History

Zofia Rydet and the “Close Other”

In 1978, at age 67, the photographer Zofia Rydet (1911–97) began work on what would become her defining project: documenting a vast number of households in Poland using black and white photography. She traveled around the countryside, talking her way into cottages and photographing inhabitants amid their possessions. She continued the project until the end of her life, leaving some 16,000 negatives that comprise an archive she called Sociological Record (1978–97). Created on the cusp of the major socio-political changes of the 1990s, Rydet’s photographic archive documents the changing cultural landscape of Poland’s final decade of Communist rule, and the first years of a post–1989 capitalist paradigm. Sociological Record documents the most impoverished, disenfranchised rural people within a nation on the edge of Europe — those who stayed in their villages despite historical waves of industrialization and urbanization. The expression “we didn’t cross the border, the border crossed us,” which is often used to refer to the nineteenth century US–Mexico border, resonates in twentieth-century Poland as well. Photographed in the 1980s, a pivotal decade that would lead to the expansion of the European Union in the 2000s, these subjects are simultaneously
marginal to the urban centers of Poland, and to Europe.

This paper offers a new interpretation of Sociological Record by drawing on post-Communist art theoretical discourse, in particular Boris Groys’s concept of the “close Other.” Dominated by global powers, post-Communist countries — like postcolonial nations — seek autonomy while reckoning with the lasting effects of an imposed culture. However, the proximity of Central Europe to the west complicates the comparison to overseas colonies. As a close Other, Poland falls into what Madina Tlostanova has theorized as the “void” space of Europe: not “exotic enough” to warrant careful parsing, yet not sufficiently Western to enter the art historical canon. Rydet pictures the people of this void, filling with specificity the space that would otherwise remain “non-viable” from a global view.

Sophie Lynch, University of Chicago, Cinema and Media Studies

The Blur of Twilight Labor: Sabelo Mlangeni’s Invisible Women Series

This paper considers the photographic blurs that emerge across South-African photographer Sabelo Mlangeni’s Invisible Women works, a series of black and white photographs that foreground the movements of women cleaning the streets of Johannesburg between dusk and dawn. Photographed over an eight-month period between 11 p.m. and 3:30 a.m., the blurry photographs express the motions of exertion through hazy long exposures, poetically portraying the everyday movements of usually unseen physical labor. As a visual effect, blur is often an indication of movement that could not be apprehended: residue of that which eluded the speed of the shutter. In contrast to the indistinctness of early photography’s blurred “accidents,” Mlangeni’s photographs embrace indeterminacies and temporal complexities to challenge commonly held assumptions about photographic fixity. By failing to depict labor through legible forms, the series questions the ability of a photograph to function as evidence, shining a light on the socio-economic conditions of nighttime street sweepers who often remain unseen. In these works, photographic blurs emerge as visible manifestations of what is “in-between,” leading to considerations about the boundaries between representation and abstraction, visibility and invisibility, and day and night. Through a focus on relations between blurred photographs and nighttime labor in Johannesburg, this paper argues that blurs caused by the movements of working women come forth as sites of temporal disruption, fugitivity, and resistance.

Panel III: Spatial Media

Kelsey Chen, Stanford University, Modern Thought and Literature

Things Adrift: Trinh Mai’s Bone of My Bone as Feminist Refuge-Making Craft

Bone of my Bone, a 2014 mixed-media sculptural series by Vietnamese-American artist Trinh Mai, is a series comprised of ten bone-like sculptures made of driftwood fragments, meticulously splinted and mended with embroidery string and fabric scraps. Taking the quality of the materials — material which “drifts” — as a prompt to consider the human histories of diaspora, displacement, and unbelonging that are addressed in the work, I investigate collective human histories and the personal history of the artist as sculptural forces which shape the configuration of the art objects, working with close readings of the artwork, ethnographic interviews with Mai, and Vietnamese-American refugee histories.

Mai’s mending of the driftwood is a tactic of historical witnessing, attending to the deep and incessant trauma of human life, and a strategy of emplacement and care towards people from different times and places that have been hurt by vast forces which far exceed their control — an approach which I come to describe as “feminist refuge-making craft.” Engaging with theories of transnationality, postcolonialism, and new materialism, I propose a critical framework to understand Bone of My Bone as intelligent-empathic craft which not only undertakes the project of home-making amidst catastrophic loss and tectonic dislocation, but also unsettles hierarchies of being between humans (“subjects”) and things (“objects”) in an unlearning of humanity’s self-exile from and self-instituted unbelonging within the world of non-human things and beings. War and sea are enormous interstices — they set matter into motion and catch people and wood inside a torrential, transfiguring flux. How does matter cast adrift find its way home — or make its home amidst the pitching waves? How do Mai’s tender crafts recover lost objects and people, lay bodies to rest, and make new homes amidst shifting territories — amidst an ever-changing shoreline, on the surface of an archipelagic, trembling earth, as in Edouard Glissant’s words?

Zina Wang, UC Berkeley, Rhetoric

Hydroelectric Atlantis: Media against Mediation

Can environmental media defy its substrates? In 1959, two years after China’s first Five Year Plan, Chun’an on the Xin’an River was submerged by a dam that served as a source of hydropower for Nanjing and Shanghai, displacing over 50,000 households and leaving behind an empty valley of towns and villages. Since 2000, after the area was redeveloped as a tourist attraction under a new name (Qiandao or Thousand Island Lake), new media forms emerged to access the low-visibility underwater environment under the reservoir, which was barely documented before the flooding. First circulated unofficially for tourism promotion, photographs, and video footages from underwater Chun’an made their way into national television system, culminating in the largest underwater live broadcast in Chinese television history in 2012 marketed, if ironically, as the “discovery of an Oriental Atlantis.”

This paper examines how a non- or super-mediational experience of visual media emerges from this peculiar conjuncture of optical, mnemonic, technological, and infrastructural channels of (re)production. It challenges the standing models of environmental media which either portray underwater milieu as a radical alternative to terrestrial life or as a metaphor that reveals the latter’s unacknowledged medial background. Rather, encounters with the exclusion zone of Chun’an, always happening at once across many levels of sensuousness, gesture towards the im-mediation at heart of media — an im-mediation that cuts through even our most deeply ingrained mediatory processes and activates the uneasy timings that exceed all takings-form. By taking on a range of media works and distribution networks across what I call the “water-television apparatus,” this paper explores how the often-unsuccessful attempts to reproach Chun’an and its traumatic past reveals the momentary middling in an existence too untimely to measure from an external or localisable reference point.

Kara Plaxa, Princeton University, History and Theory of Architecture

Othering Worlds: Leatherspace, Dyke Community, and the American Small City

Famously known in the leather community as the “Queen of Kink,” “Professional Slave,” “Activist and Storyteller,” and “Mother to all Boys,” Mama Vi, legally known as Viola Johnson, would also be referred to as the “Matriarch of Judson Street,” in Evansville, Indiana. With multiple housing purchases, she established a collection of homes for “kinklings” on Judson Street, her Carter Johnson Library’s inauguration, and various social gatherings. Mama Vi’s manifestation of a leather gayborhood in Evansville underlines a challenge to the metronormativity that has defined small cities. Yet, by reading Mama Vi’s spatial production, BDSM and leather culture can become understood as spatial disciplines that create a specific kind of American queer cultural geography and a utopic territorial claim to otherwise heteronormative landscapes aside from major metropolitan areas such as New York and San Francisco.

I call Mama Vi’s environments transgressive leatherscapes and argue that they are integral to the discipline of architecture. Indeed, studying Mama Vi’s journey, her life in leather, and the spatial technologies she produced, challenges conventional architectural binaries and puts queer studies in conversation with literature on mini-urbanism and rural places. Moreover, Mama Vi is crafting environments as built manifestos that extend and interrogate heteronormative landscapes and open apertures into utopian thought.

So, what does it mean to want to create a leather gayborhood by reclaiming a collection of single-family homes? How does this practice push against the kinship norms that the spaces assume? And how do the resulting spaces disidentify with cis-heteronormative architectural expectations while also imagining a kind of utopianism?

Othering Worlds: Leatherspace, Dyke Community, and the American Small City adds to the study of the larger historical context of queer spatial practices. It begins to examine what challenges metronormativity and homonormativity through the building of a leather gayborhood and the objects that redefine space.

Sadie Barnette’s multimedia practice illuminates her own family history as it mirrors a collective history of repression and resistance in the United States. Barnette has a BFA from CalArts and an MFA from UC San Diego. Her work is in permanent collections, including LACMA, Brooklyn Museum, Studio Museum in Harlem and the Guggenheim, as well as a permanent, site-specific commission at the LAX International Airport forthcoming in 2024. She lives and works in Oakland, CA and is represented by Jessica Silverman gallery.

Jennifer A. González is Professor of History of Art and Visual Culture at the University of California, Santa Cruz, and a faculty member in the Whitney Museum Independent Study Program, New York. Her research explores contemporary art in relation to political and theoretical questions of representation, with an emphasis on the body read through discourses of race and gender. She has received fellowships from the Ford Foundation, the American Association of University Women, and the American Council of Learned Societies. She has published in widely in journals such as Camera Obscura, Bomb, Open Space, Art Journal, Aztlán, and The Journal of the Archives of American Art and in numerous exhibition catalogs, most recently in Diego Rivera’s America, SFMOMA (2022) and Amalia Mesa-Bains: Archeology of Memory, BAM/PFA (2023). Her first book Subject to Display: Reframing Race in Contemporary Installation Art (MIT Press, 2008) was a finalist for the Charles Rufus Morey Book Award. Her second book focused on the MacArthur-award-winning artist Pepón Osorio (University of Minnesota Press, 2013). She is the chief editor of Chicano and Chicana Art: A Critical Anthology (Duke University Press, 2019), which was included in the top art books of the decade by ArtNews in 2020.

Kelsey Chen is doing her PhD in Modern Thought and Literature at Stanford University, investigating the nesting of ancient and future worlds in science-fiction and speculative art. Her work focuses on how silkpunk and Asian American sci-fi build future-worlds that invoke ancient wisdom traditions to reconceptualize what technology is and could be; show how the technic can exceed the language of dominion, control, and optimization; and offer critique of and alternatives to the wreckage of the present world and the conditions which threaten the very possibility of a future. Her work is supported by the Center for Comparative Studies in Race and Ethnicity.

Susanna Collinson is a doctoral candidate in the Visual Studies program at the University of California, Santa Cruz, where she writes about landscape, settler colonialism, and material cultures of the Pacific. Recent publications include “Infrastructure of the Image” in Media Fields 15, and “Light Writing in Aotearoa New Zealand”, in ArtMatter 2: Agency and Aesthetics.

Keoni Correa is a PhD candidate in Rhetoric at the University of California, Berkeley. Keoni researches indigenous political movements and aesthetic production in the Pacific, with a focus on Hawai’i as well as other island groups situated between Japanese and American empire. He is especially interested in how indigeneity unsettles conceptions of modernity and traditionality that underlie disciplinary formations in the humanities and social sciences.

Sebastián Eduardo Dávila studied art history and film studies at the Free University in Berlin, the Friedrich Schiller University in Jena, and the National Autonomous University in Mexico City. His PhD project deals with materiality in art practices from postwar Guatemala. He forms part of the research training group “Cultures of Critique” at the Leuphana University in Lüneburg and is now a Visiting Student Researcher at Stanford University. He has published articles and reviews in exhibition catalogues, magazines, and journals, as well as in the anthology Museums, Transculturality and the Nation State, edited by Susanne Leeb and Nina Samuel. Together with other colleagues from the training group, he edited the anthology On Withdrawal: Scenes of Refusal, Disappearance, and Resilience in Art and Cultural Practices that will be published this summer. He has spoken at conferences like “Worldviews: Latin American Art and the Decolonial Turn”, organized by Cambridge University and the University of the Arts in London and held online in 2021, and the Graduate Student Conference “Seeing more Queerly in 21st Century” at the University of Miami in 2020. This year, he will participate with a co-curated panel and a presentation at the Latin American Studies Association Congress in Vancouver. He is part of the political group “VOCES de Guatemala en Berlín”.

Christina Hiromi Hobbs is a curator and writer based in the Bay Area. She is a PhD student in Art History at Stanford University with an emphasis on art of the Asian diaspora and the intersections of history and memory, race and aesthetics, and the archive. Her recent projects include co-curating the exhibition No Monument: In the Wake of the Japanese American Incarceration at the Noguchi Museum in New York.

Sophie Lynch is a PhD candidate pursuing a joint degree in the departments of Art History and Cinema & Media Studies at the University of Chicago, where she studies modern and contemporary art, photography, and film from the late 19th century to the present. Following her interests in historical intersections of bodies and technologies and relations between visual representations and belief, her dissertation considers blurred images in works of photography and film from the late 19th and early 20th centuries. She has held curatorial and museum positions at the Smart Museum of Art, the Metropolitan Museum of Art, the National Gallery of Canada, and the Montreal Museum of Fine Arts, and she is currently a Dangler Curatorial Intern in the department of Photography and Media at the Art Institute of Chicago.

Eric Mazariegos is a PhD candidate in Columbia’s Art History & Archaeology program, and an alumni of UCLA’s art history undergraduate program. He is a specialist in Pre-Columbian art with a research focus in the “Intermediate” or “Isthmo-Colombian” area of the ancient Greater Caribbean. His dissertation analyzes art and architecture made by the Tairona, a civilization that thrived on the ancient northern coast of what is today Colombia, with considerations of phenomenology, visual perception, materiality, and the ecology. At Columbia, he was the 2021–2022 Alex Gordon Graduate Fellow in Pre-Columbian Art History. He is also interested in Latinx art, and in 2021 received Honorable Mention from the Ford Foundation Pre-Doctoral Fellowship for his research on Chicanx muralism and contemporary photography.

Joanna Szupinska is a PhD Candidate at UCLA, where she is writing a dissertation on the work of Polish photographer Zofia Rydet (1911–97). Previously, she earned her MA in Art History at UCLA, MA in Curatorial Practice at the California College of the Arts, San Francisco, and BA in Art at UCLA.

Zina Wang is a Rhetoric PhD student at UC Berkeley studying media, philosophy, and theories of representation. Her work focuses on the relation between immanence and digitality (algorithm, periodisation, photography). She received her BA and MA from UChicago.