FIDELIA LAM // 林安慈 is an artist, scholar, and facilitator whose research and teaching engages digital and computational media together with critical theory and embodied interaction to surface obfuscated narratives embedded in urban media environments and systems. Through site-specific research, participatory media-making workshops, and transmedia research-creation including custom software and media systems, their work queries and cultivates possibilities of shared public spaces and facilitates invitations to collectively shape and re-write our sociotechnical imaginaries in the face of multiple ongoing global crises.
Trained as a musician, performer, and interaction designer, their practice involves deep listening and embodied attention to their situated environments and geographies in concert with engaging critical texts. They cultivate performative systems and processes that diffract into multimodal expressions and forms, often attending to the intimate, messy, and overlooked sites encountered at the uncertain edges of objects and language. The resulting works — intertextual and recursive compositions of code, light, sound, bodies, writing, and critical inquiry — are critical questionings of our everyday relationships to technology and each other that seek to reveal and resist current neoliberal demands of production and display while acting as inflection points towards more hospitable collective futures.
Their earlier research examined the tensions within contemporary techno-cultural and aesthetic imaginaries and practices of science fiction and digital technologies as they are undergirded by histories + logics of gendered and racialized capital, spectacle, capture, display, and labor within North America and across the transpacific, with particular relation to Hong Kong. Their current research practice builds on this foundational context to explore the performative, material, and interactive possibilities of bioplastics in attending to our intimate and queer relations. They often draw on areas of Asian/American and diaspora studies, feminist science and technology studies, feminist new materialism + affect studies, and media, data, and infrastructure studies in relation to contemporary cultural productions.
They have exhibited and presented work at Human Resources Los Angeles, Geidai Games Online at Tokyo University of the Arts, *Architecture, Media, Politics, Society* (London), TongLau Space (Hong Kong), American Studies Association (Montreal), ISEA (Barcelona), *Arts for the Society of the Present* (Los Angeles), Flow34 @ International Association for Media and Communication Research (Nairobi), among other venues. They hold a PhD in Cinematic Arts, Media Arts + Practice from the University of Southern California, and an MA in Media Arts, Performing Arts Technology from the University of Michigan, Ann Arbor. They are currently Assistant Professor, Critical Computational Media in the department of Digital Futures at OCAD University in Tkaronto, Canada, and a Visiting Scholar at the Richard Charles Lee Canada-Hong Kong Library at the University of Toronto.
Trained as a musician, performer, and interaction designer, their practice involves deep listening and embodied attention to their situated environments and geographies in concert with engaging critical texts. They cultivate performative systems and processes that diffract into multimodal expressions and forms, often attending to the intimate, messy, and overlooked sites encountered at the uncertain edges of objects and language. The resulting works — intertextual and recursive compositions of code, light, sound, bodies, writing, and critical inquiry — are critical questionings of our everyday relationships to technology and each other that seek to reveal and resist current neoliberal demands of production and display while acting as inflection points towards more hospitable collective futures.
Their earlier research examined the tensions within contemporary techno-cultural and aesthetic imaginaries and practices of science fiction and digital technologies as they are undergirded by histories + logics of gendered and racialized capital, spectacle, capture, display, and labor within North America and across the transpacific, with particular relation to Hong Kong. Their current research practice builds on this foundational context to explore the performative, material, and interactive possibilities of bioplastics in attending to our intimate and queer relations. They often draw on areas of Asian/American and diaspora studies, feminist science and technology studies, feminist new materialism + affect studies, and media, data, and infrastructure studies in relation to contemporary cultural productions.
They have exhibited and presented work at Human Resources Los Angeles, Geidai Games Online at Tokyo University of the Arts, *Architecture, Media, Politics, Society* (London), TongLau Space (Hong Kong), American Studies Association (Montreal), ISEA (Barcelona), *Arts for the Society of the Present* (Los Angeles), Flow34 @ International Association for Media and Communication Research (Nairobi), among other venues. They hold a PhD in Cinematic Arts, Media Arts + Practice from the University of Southern California, and an MA in Media Arts, Performing Arts Technology from the University of Michigan, Ann Arbor. They are currently Assistant Professor, Critical Computational Media in the department of Digital Futures at OCAD University in Tkaronto, Canada, and a Visiting Scholar at the Richard Charles Lee Canada-Hong Kong Library at the University of Toronto.