| Figures | ||
| 1.1 | Decay Cyphers, installation view I. | 15 |
| 1.2 | Decay Cyphers, installation view II. | 18 |
| 1.3 | Decay Cyphers, notebook examples I–VI. | 19 |
| 1.4 | Decay Cyphers, notebook example VII. | 20 |
| 2.1 | Prompt: “Create a painting or drawing or collage that shows the racial and gender bias found in DALL-E 2 generated images”. | 26 |
| 2.2 | Warm-up drawing using chalk pastel. | 26 |
| 2.3 | Prompt: “Create an image that represents algorithmic bias in machine learning”. | 27 |
| 2.4 | Prompt: “Create a painting or collage that represents algorithmic bias”. | 28 |
| 2.5 | Prompt: “Generate an image about algorithmic bias as emojis”. | 28 |
| 2.6 | Prompt: “Generate an image about negative AI bias in the style of emojis”. | 29 |
| 2.7 | Two images created to respond to data bias through emojis. Paint, pencil crayon and marker on paper. | 29 |
| 2.8 | Prompt: “jlllkjhj hehyhyg jhy2 htt1”. | 30 |
| 3.1 | Languaging experiment, ink on muslin and snow, 2020. | 41 |
| 3.2 | Untitled (2020), Adam Wolfond wrapped rubber bath toys, Tabasco bottles, sticks, colored yarn. (In the background are the poet-trees—branches Wolfond found on walks to ground him during the pandemic). | 42 |
| 4.1 | 3:3: (Source: Roni Raviv & jelena aleksic, 2023). | 50 |
| 4.2 | Here and There: Melbourne and Tel Aviv (Source: jelena aleksic and Roni Raviv, 2023). | 53 |
| 4.3 | Here and There: Tottenham and Trieste, 2023. | 53 |
| 5.1 | Orientation (Source: Emese). | 57 |
| 5.2 | Reappropriation (Source: Rachel & Emese). | 57 |
| 5.3 | Butterflies (Source: Emese). | 58 |
| 5.4 | Treasure Trove (Source: Rachel). | 58 |
| 5.5 | Butterfly Envelope with Blackout Poem (Source: Rachel & Emese). | 59 |
| 5.6 | Differences (Source: Rachel & Emese). | 59 |
| 5.7 | Inside Out (Source: Rachel). | 60 |
| 5.8 | Stitched Square (Emese) & Random Composition (Rachel). | 60 |
| 5.9 | Cylinders (Emese) & Scrunchie (Rachel). | 61 |
| 5.10 | Round Peg, Square Hole (Source: Rachel). | 62 |
| 5.11 | Set Me Free (Source: Emese). | 62 |
| 6.1 | Convergence of form and content. | 71 |
| 6.2 | Painting as a framework for thinking in research. | 72 |
| LeRue’s larger paintings on site, in progress (Site: Bâtiment 7, in the Pointe Saint Charles neighborhood). | 80 | |
| 7.2 | LeRue’s small works on site, in progress. | 81 |
| 7.3 | Mapping Migrations, Bacho Se Tabdeeli (Source: Drawing by Rimsha from Chakra Virsa, 2013–2014). | 82 |
| 7.4 | KYI Karachi wall project; public spaces, Bacho Se Tabdeeli, 2015. | 83 |
| 7.5 | Example of student painting from plein air exercise, 2023 (Source: created by Lou). | 84 |
| 7.6 | Landscaping the city final student project. 45 tiny watercolors representing a walk through the neighborhood, 2023 (Source: created by Jaclyn Turner). | 84 |
| 7.7 | Puppy, 2023 (Source: Rabeya Jalil. Acrylic on Canvas). | 88 |
| 7.8 | Siblings, 2023 (Source: David LeRue. Oil on Canvas). | 89 |
| 8.1 | What are microplastics? 2023 (Digital drawing by Nicole Rallis). | 97 |
| 8.2 | Pigments, products, plastics, 2023 (Digital drawing by Nicole Rallis). | 97 |
| 8.3 | response-ability, 2023 (Digital photograph by Nicole Rallis). | 99 |
| 8.4 | Bodies of blood & water, 2023 (Digital drawing by Nicole Rallis). | 100 |
| 8.5 | making the “baby legs”, 2022 (Digital photograph by Nicole Rallis). | 101 |
| 8.6 | Collecting by the water, 2022 (Digital photograph by Nicole Rallis). | 102 |
| 8.7 | a living curriculum, 2022 (Digital drawing by Nicole Rallis). | 103 |
| 9.1 | Gabbi’s garden (2023) (Source: Stephanie Loveless). | 107 |
| 10.1 | One Hundred Days of Walking, 2022. (Source: Rachel Epp Buller, 100 accordion books with watercolor (detail). Collection of the artist). | 120 |
| 10.2 | Listening with Trees #1, 2022 (Source: Rachel Epp Buller, Laser-engraved graphite drawing. Collection of the artist). | 121 |
| 10.3 | Process documentation from Winter Walking series, 2022 (Source: Rachel Epp Buller, Digital photograph. Collection of the artist). | 125 |
| 11.1 | Screenshot from landing page of Intuition Commons, 2018, Christine D’Onofrio (Source: Image courtesy of Christine D’Onofrio). | 129 |
| 11.2 | Still from I am an artist. My name is … (Linda Duvall), 1986, Elizabeth MacKenzie and Judith Schwarz (Source: Image courtesy of Elizabeth MacKenzie). | 129 |
| 11.3 | Image from Intuition Commons contribution by Laiwan “Tea with Trinh Minh-ha”, 2018 (Source: Image courtesy of Laiwan). | 132 |
| 11.4 | Day 114 of Winter Walking, 2022 (Source: Rachel Epp Buller). | 136 |
| 11.5 | Journey through Intuition Commons, 2023 (Source: Christine D’Onofrio). | 137 |
| 13.1 | Container of the Uncontainable, 2023, Linda Kourkoulis. Etching, aquatint, & silkscreen, 30 × 22 inches. | 154 |
| 13.2 | The Carrying, 2023, Linda Kourkoulis. Etching and aquatint, unique print, 30 × 22 inches. | 154 |
| 13.3 | Sea Vessel II, 2023, Linda Kourkoulis. Silkscreen, 11 × 14 inches. | 155 |
| Matrices, 2023, Linda Kourkoulis. Resin, beeswax, oyster shell and plywood, 6 × 6 inches. | 155 | |
| 13.5 | Hagar, 1875, Edmonia Lewis. Carved marble, 52 ⅝ × 15 ¼ × 17 ⅛ inches (133.6 × 38.8 × 43.4 cm), Smithsonian American Art Museum, Gift of Delta Sigma Theta Sorority, Inc., 1983.95.178. CC0. | 161 |
| 13.6 | Mothers of Gynecology, 2021, Michelle Browder. found/donated/discarded metal objects and other media, 15 feet, More up campus, Montgomery, AL. | 161 |
| 14.1 | DRW in the dance studio (Image description: A bright dance studio with wood floors and a mirror the length of one wall. In the mirror’s reflection, Carolina is standing in front of windows with daylight streaming through them. She is taking a photo of several pieces of paper that are arranged in loose semi-circles on the floor). | 164 |
| 14.2 | DRW in the studio (Image description: Carolina is in a bright dance studio with pale wooden floors and big windows on two sides. In the foreground, pieces of paper are scattered on the floor. In the background, Carolina is on the floor on all fours, with her face close to her hands. She is writing). | 166 |
| 15.1 | The Ancestor’s Forest, 2021, Myrtle Henry Sodhi. Watercolor and gold. (This painting was inspired by a quote by Dr. Jaiya John that speaks to our role as the ancestor’s forest. It represents the transtemporal orientation we are meant to embody by both living in the present, drawing from the past, and growing into the future). | 170 |
| 15.2 | Sankofa symbol, 2023 (Source: Myrtle Henry Sodhi). | 174 |
| 16.1 | Work in progress of the Wakame scroll—Kako (過去 the past), 2024 (Source: Catherine Rosamond, Ink and seaweed on washi paper, 12 inches × width not yet determined). | 184 |
| 16.2 | Intersecting Planes, 2008 (Source: David Eppstein, Digital drawing. CC0). | 187 |
| 16.3 | Intersecting (Oppositional) Planes, 2023 (Source: Catherine Rosamond, Digital drawing). | 187 |
| 17.1 | The Lake House: Interior, 2021 (Source: Rébecca Bourgault, Digital photograph). | 192 |
| 17.2 | Attributed to Minamoto Toshifusa—Lotus Sutra, chapter on “Expedient Means” (法華経方便品, kengukyōzankan). Part of the Chikubushima Sutra written on paper decorated with drawings of plants and animals, 10th century. CC0. (Left). Wreath and seedpods, 2021, Rébecca Bourgault. Watercolor and collage on paper (right). | 195 |
| 17.3 | Layers, 2023 (Source: Rébecca Bourgault, Digital collage). | 198 |
| 17.4 | Margins, 2023 (Source: Catherine Rosamond, Digital collage). | 199 |
In: Disruption and Convergence
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Rébecca Bourgault
Rébecca Bourgault
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