That's  how  I  looked  to. Yeah. Yeah.  H.  I  was  like  what. H. No. Yeah.  Second  trust  fund. Go  check  go  check. Worry  about  it.  I  get  it  right  here. Just  hide  it  behind  here  we  put  it? Brim.  We  do  a  checks. We  have. H. Let  me  just  have. But  so  you  can  hear  my  voice  microphone. And  if  you  turn  your  head, you  can  still  hear  just  as  well  all  the  times like  on  the  other  panel  when people  turn  their  heads,  so  it's  hard  to  hear. Okay. Awesome. Hello. Nice.  You  have  a  side? Actually,  are  you  okay  if  side? Brandon.  Nice  to  meet  you.  Oh,  yeah. Are  you  okay  sitting  on  that  side?  Hello. You  know  that  comedian? He  goes  around  and  they  sing. No.  He.  You  go  to  do  that? I  could  do  an  interpretive  day. We  can  sing. What? No,  I  think  we're  good.  They  sound  so  cool. They  sound  good  to  me.  Is  good. Take  a  seat  and  let's  see  if  it  causes any  reverb.  Look  at  that. Do  you  know  why  that's  causing? Are  they  too  loud?  Test  test?  Can  you  hear  us  okay? Even  when  there's,  will  be  a  buzz  in  the  room. Mine?  I  don't  know.  567. Mine  is  on,  but  it  isn't.  Yeah,  it's  on. They  both?  Am  I  to  Is  closer  to  her  mouth? Yes.  Yes.  This  is  so  nice  because  mine. Are  we  too  close  to  each  other? Hey,  Katherine  good. Yeah.  Sometimes  if  we're too  far  back,  it  causes  an  issue. But  it  seemed  to  do  that whenever  we  were  close  to  each  other.  No  far  back. Yeah. Keep  talking.  So  today,  for  breakfast. Yeah. Yeah. Can  I  go  to  the  restroom? Yeah.  I  can  wait  10  minutes  we  have  time. I  can  turn  that  off  or  I  can  just  take  it  tak  it  off. No,  no.  We  don't  want  to  take  it  off. It's  kind  of  perfect  right  now. We  can  just  turn  it  off. Hello.  Hello,  test  test. Test  test  Testing. Testing  testing  testing  testing  testing  testing. So  it  might  be  too  close  to  the  speaker.  Testing  testing. Testing  Testing.  Testing  12y. Test  two,  Test  one,  two,  test  12. Test  test  intestine  test  intestines  intestine test  test  test  intestine because  you're  closer  speaker. Okay.  So  if  that  happens, just  go.  Okay.  Go. I'm  on?  Yes,  I  am. Who?  I  always  forget. Got  to  text  my  husband. You  right?  Yeah. Hello.  Good  evening. So  glad  to  see  everybody  here. Thank  you  all  for  coming. I  really  appreciate  it. Since  their  inception,  libraries  have  been connecting  people  to  information  and  scholarship. While  we  typically  think  that work  that  this  work  happens  through  books, libraries  continue  this  mission  in  a  variety  of  ways. We  connect  people  to  information and  scholarship  through  technological  tools, academic  journals,  digital  media, and  art,  which  is  why  we  are  here  today. My  name  is  Leslie  Sharp, and  I  am  Dean  of  Libraries  here  at  Georgia  Tech. So  welcome  to  the  space. I'd  like  to  also  welcome  you  to  the  opening  of the  Georgia  Tech  third  artist  in  residence, doctor  Boyana  Gin  opening  of  Orchid  Dreams. Y'all  are  in  for  a  treat. Tank. I  also  have  the  pleasure  and  honor  to  welcome  you to  the  official  opening  of the  library's  Interactive  Media  Zone, known  as  the  IM  Z. The  IMZ  will  allow  faculty  and  visiting  experts  to  hold short  form  impromptu  lessons  while  utilizing the  IMZ's  unique  interactive  capabilities. It  will  operate  as  a  large  scale  digital  sign, promoting  both  library  and  campus  events, University  research,  student  life, and  Georgia  Tech  stories. Finally,  it  will  serve  as a  digital  exhibit  to  feature  animations  and  live  data, like  you'll  see  tonight  with  orchid  dreams. This  allows  users  to  interact for  fully  immersive  experience. Thank  you  to  our  team  that  made  the  IMZ  possible. Lindsay  Cottingham  for  the  Construction, Stuart  Rom,  and  Hunter  Spence  for  the  Configuration, Jeff  Wyatt  from  Dream  Lab,  for  production, and  the  library's  own  Jason  Wright  for  Content  creation. Thank  you  want  to  thank. Thank  you  to  our  library's  project  team who  brought  the  IMZ  to  life. Kim  Sheldon  served  as  the  project  manager. Jason  Wright,  Kimel  Wynn, Quincy  Thomas,  Liz  Holdsworth. Charlie  Bennett. We  got  more  Michael  Patton  and Gregory  Oliver  all  from  the  library. Help  bring  it  to  life. Tonight,  we'll  have  library, media,  artist  and  residents, doctor  Bojana,  again,  in  conversation  with our  residency  manager  and  librarian  Katherine  Mance. Following  this  conversation,  we'll  all  convene downstairs  by  the  Exhibition  for  a  reception. I  hope  that  all  of  you  will  join  us, and  I  hope  we  pick  up  some  students  along  the  way  too. It'll  give  you  an  opportunity  to  see  orchid  dreams. But  before  I  introduce,  doctor  Gin, I  would  like  to  thank  the  Price Gilbert  Junior  Memorial  Fund for  providing  support  for  the  residency. The  Interdisciplinary  Interdisciplinary  Media  Arts  Center for  partnering  with  us  on  this  residency. And  all  of  our  amazing  colleagues, including  Katherine  Mansey, and  students  who  met  with  and  worked  with doctor  Gen  to  make  this  residency  a  success, and  to  the  library's  public  programming,  events, and  building  teams  who made  tonight  possible.  So  thank  you  all. Thank  you. And  it  is  now  my  honor and  privilege  to  introduce  doctor  Bohana  again, Award  winning  interdisciplinary  artist, former  medical  doctor,  and  scientist. Doctor  Bojana  again  works  at the  intersection  of  art,  science, and  technology,  and  I  would  like  to  add beauty  because  everything  that  she  creates  is  beautiful. Ginn's  journey  from  medicine  to  the  rts  is  a  testament  to her  belief  in  the  healing  power  of  creativity. Her  work  transcends  traditional  boundaries, advocating  for  Health  as a  fundamental  human  right  and  exploring  the  body  and landscape  in  the  context  of digital  and  biotechnological  advancements and  climate  change. Currently,  Georgia  Tech  Media  Artist  and residents  again  is  a  recipient of  the  Ellsworth  Kelly  Award, granted  by  the  Foundation for  Contemporary  Art  in  New  York. She  was  a  finalist  for the  World  Technology  Award  and  Art, and  again,  also  served  as  a  fellow at  the  World  Technology  Network  in  New  York. Her  work  has  been  exhibited  at the  Venice  Architectural  Banali, the  Museum  of  Art  and  Design  in  New  York, the  Esparza  Institute  of  Art  and  Culture  in  Barcelona, the  Museum  of  Contemporary  Art  of  Georgia, the  David  J  Sensor  CDC  Museum  in  Atlanta, the  Cyber  Center  in  Augusta,  Georgia, the  Interny  Magazine  platform  in  Milan,  Italy. And  New  York's  Art  and  Science  and  America, among  many  others. As  a  writer,  curator,  and  public  speaker, Gin  has  curated  Sirt  content  and  wrote an  Art  and  Science  column  for  Burn  away  Magazine. Gin  has  delivered  keynote  speeches  for Beings  2015  International  Conference of  Ethics  and  Bio  engineering, and  for  International  art  and  Mathematics  conferences. Gin  often  collaborates  with  scientific  institutions, most  notably  her  partner  or  partnership  with the  Georgia  Institute  of Technology  Department  of  Astrophysics in  collaboration  with  NASA, Emery  University  and  now  the  Georgia  Tech  Library. Please  join  me  in  welcoming  doctor  Bojana  again  in conversation  with  our  public programming  librarian,  Katherine  Mansi. Hi,  Bana.  Hello.  Hi,  everyone. I'm  Katherine  Mancy. I'm  a  public  programming  librarian  here, and  I  have  the  great  honor  of  running the  artist  residency  here  at  the  Georgia  Tech  Library, which  I  should  say  is  the  best  job ever  because  I  get  to  work  with  people  like  Boyana. So,  Boya,  we've  been  in  conversation  for  six  months  now. But  I  want  to  kind  of  look at  the  beginning  and  ask  you  know, just  about  the  title  orchid  dreams. Most  artists  that  we  work  with, the  title  is  like  one  of the  last  things  that  comes  together, but  you  came  to  us  with  a  title. So  let  me  ask  Orchid  dreams is  a  beautiful  and  evocative  title. Can  you  tell  us  more  about  the  inspiration  behind it  and  the  sculpture  and  how  you  conceptualized  it? Yes.  Well,  first  of  all, I  want  to  thank  you  and  I  want  to  thank  Georgia  Tech  and everybody  who  made  this  residency  possible. We  have  a  little  room. Yeah.  Let  me  see  if  I  can  turn  this  down. Is  Brandon  here  our  AV  person? Library  folks  message  Brandon  and  tell them  we  need  him  to  be  here.  Brandon  Hesen. Maybe  we'll  work.  We'll  see. Yeah.  Oh,  that's  smart. It's  not  me.  It's  not. You. Definitely.  Is  this  good? Yeah.  It's  all  good.  You  can  hear  me? Perfect.  Yeah.  It's  better  than the  Yeah. I  think  that  sounds  good.  Yes. Many  thanks,  everybody  for  creating this  fantastic  opportunity  for  artists  like  me. It's  been  a  phenomenal  experience. Thank  you  all  for  coming. The  first  question  was  about  the,  the  orchid  dreams. Yes,  ally  for  me, title  comes  after  I  create  work. For  some  artists,  they  have  a  title. The  more  like  a  based, and  for  me  as  an  artist  who I  see  art  as  a  discovery  process. Title  comes  at  the  end. But  I  created  this  body  of  work. I  started  creating  it  more  than  a  year  ago. I  came  here  with  a  title  and  everybody actually  wanted  me  to  work  on  chi  dreams. It  was  a  body  of  art  that  started actually  as  a  collection  of  AI  imagery. I  really  believe  that  art  is what  I  create  is  always  what  I  think  about. I  don't  even  have  to  try. Whatever  is  in  my  head  comes  out  with  my  hands. For  more  than  a  decade, I've  been  thinking  about  this  connection of  body  and  technology because  we  live  in the  world  that's  drenched  with  technology. I'm  not  thinking  just  about  digital  technologies, but  also  any  kind  of  technology  that  it's  used  in creating  the  products  that  we  use, materiality,  which  we  build  the  world  around  us. That  eventually  goes  on  the  landfills and  in  the  water  or  the  fields,  and  so  on. All  of  these  questions  about  what  it means  to  be  alive  in  this  time, technology,  global  warming,  wellness, wellness  of  individual  wellness  of  the  nature  around  us. I've  been  really  thinking  about  that. I  remember  there  was  a  moment  I  was  in my  porch  and  I  was  sitting  and  I love  sitting  there  because  there's this  foliage  all  around  me  and  some  flowers, and  we  have  bunny  rabbits,  and  of  course, squirrels  and  red  birds  and  bluebirds, and  robins  and  hummingbirds.  It's  just  wonderful. I'm  thinking  how  to  imagine  world, and  we  as  humans, we  took  things  over  and we  always  talk  about  our  dreams,  right. Like,  Oh,  I'm  going  to  start  a  business, I'm  going  to  be  this,  so  I'm  going  to  do  that. But  what  about  the  dreams  of non  human  animals  or  flowers, and  it's  just  this  not  text  based, but  just  a  visual  picture came  to  me  that  was  so  beautiful. When  I  say  it,  it  seems  clumsy, but  it  was  just  like  orchid  like flowers  dreaming  and  just  kind  of  question, how  would  nature  imagine  the  future. And  I  got  inspired  with  that  and  wanted  to  create  like floral  inspired  forms  and  it  kind  of started  with  there  with  orchid  dreams.  Mm  hmm. That's  amazing.  So  I  want  to  ask  a  little  bit  about your  creativity  and  also  your  time here  as  an  artist  and  residence  at  Georgia  Tech. I  mean,  can  you  tell  us  a  little  bit  about some  experiences  that  you  had  that  maybe  were serendipitous  or  some  connections  that  you  made  at Georgia  Tech  that  really maybe  couldn't  be  made  anywhere  else? I'm  so  happy  to  be  here. I'm  actually  going  to  have  this  another  floral  metaphor. I  was  talking  with  one  of  my  best  friends  the  other  day and  she  had  this  plant  that  she  couldn't  keep  alive, and  she's  not  much  into  plants, so  she  keeps  killing  them. She  puts  it  there  and  gave  it  water,  whatever. It  just  nothing  worked. Then  she  just  move  it  like  a  couple  of  feet  to  the  right. And  it  was  surrounded  with  different  flowers, maybe  got  a  little  bit  different  sun. And  suddenly  this  plant  just became  alive  and  grew  and  gave  flowers. And  we  were  just  talking  what  amazing  metaphor that  is  for  life,  right? That  depends  like  where  you  are. Who  surrounds  you,  you  might  surprise  yourself, like  what  comes  out. For  me,  being  a  Georgia  Tech, I  feel  like  everybody  I  meet  is  so  familiar because  everybody  here  is  discovering  something, working  on  something  very  interesting, open  to  new  ideas,  open  toward  art. I  had  the  most  amazing  conversations that  went  in  all  different  directions. When  you  say  serendipity, So  I  came  here  and  it's  a  part  time  position. But  I  was  like  Georgia  Tech  has  so  many  resources. I'm  not  going  to  do  part  time. This  is  going  to  be  my  extra  full  time, and  everything  that  I  can  use,  I'm  going  to  use. I  came  in  in  front  of  IM  Z, and  we  were  talking,  Okay,  this  is  interactive  media. I  would  be  great  to  collaborate with  somebody  and  then  Super  Team  Pie, who  is  my  collaborator. Super  teams  in  the  back. He's  amazing,  a  wonderful  person. I  told  him,  well,  we're  searching for  students  who  might  be  interested  and  he  said, Yeah,  I  want  to  do  it. I  was  like  seriously, you  have  to  really  commit. I'm  really  serious.  I  want  to  do  it. I  was  like,  Okay,  good. We  didn't  even  have  to  ask  anybody. He  came.  Then  one  of the  projects  that  I  wanted  to  work  on  is  bio. For  you  who  know  me  for  more  than  a  decade, I've  been  working  with  video  projection, different  digital  technologies,  but  with  wool, like  a  sheep's  wool  as a  material  that  represents  the  body  because  it  is  a  body, it's  organic,  it  has  all  of  that  good  qualities. But  I  wanted  to  create something  that  it's  less  gentle  and  ephemeral, but  more  of  like  a  sculpture  that  can  stand the  time  that  I  can  keep  in  my  home. Because  like  I  did  all  these  installation  for  years, and  then  you  come  to  my  studio  on  my  home, there's  nothing  there  because  they  just  live, you  know,  on  photographs. So  I  I  decided  I  learned  about  this  material, bioplastics,  and  I  loved  it. But  it's  very  expensive and  very  hard  to  get  in  the  sheets, and  I  am  still  waiting  for  it. But  in  the  meantime, I  discovered  this  polyester  thermoplastic that  at  least  it's  recyclable. Actually,  I  was  introduced  to  that  material, the  architect  Michael  Caro. Thank  you,  Michael,  Yeah. But  then  I  was  reading all  these  books  and  I  discovered  there  are these  organisms  like  fungi  who  can  biodigrad  plastics. I  was  like,  I  want  to  try  that. I  want  to  see  how  would  fungi  work  on  this  material? I  was  talking  on  a  tour  at the  Media  lab  or  material  of  the  maker  spaces. Yeah.  I  was  just  telling  students about  we  ordered these  mushrooms  and  everything  and  she  said, Oh,  but  there's  a  student  here  at  the  campus that  works  with  that  process. I  was  like,  that's  amazing. Can  you  get  us  in  touch? Then  I  got  in  touch  with  Maya and  then  she  got  me  connected  with  Ben  Collins, who  is  here,  who  helped  me. Yes.  I  was  like, that's  the  thing  about  collaboration. At  this  point,  I  know  that  I  can  learn  new  program. I  can  learn  how  to  grow  mushrooms. At  YouTube  University. But  it's  so  much better  to  have  somebody  who  already  been  through the  process  and  knows all  the  things  that  that  can  go  this  way  or  that  way, and  I  was  like, Well,  this  is  fantastic. I  immediately  got  a  team, and  then  we  start  working. So  I  guess  Georgia  Tech is  there's  so  many  professionals  working here  that  I  think  that people  who  work  at  Georgia  Tech  don't know  about  everything  that's  going  around. For  me,  I  was  just  So  let  me  ask  you  this. I  mean,  you  collaborated  with  all  of  these  scholars. Do  you  consider  your  work worked  dreams  to  be  a  work  of  scholarship? Hm. That's  a  curveball  question  for  you. Yeah,  that  wasn't  on  the  list. I'm  just  curious. No,  no,  it  is. I  always  feel  like  all  my  art  is  half  academia, half  intuition,  and  I  love  that because  I  always  collaborate  with  myself. I've  been  through  lots  of, you  know,  even  high  school, my  high  school  diploma  is  associate  in  natural  sciences, and  then  you  have  the  whole  medical  school. Learning  from  chemistry,  genetics. There's  lots  of  these  wonderful ideas  that  are  always  with me  and  you  can  create  you  know, several  lives  of  work  just  based  on  those  concepts. So  this  work  is  definitely  that.  Absolutely. Yeah.  Yeah.  I  think  so  too.  Mm  hmm. I  want  to  talk  about  the  technology  that  you  used. And  so  you  integrate  technology  in  organic  forms. How  do  you  go  about  blending  those  elements? I  mean,  do  you  think  they  kind  of are  in  competition  with  one  another, or  do  you  think  they  work  together? That's  a  good  one.  I  love  Catherine  because she  I  loved  it  via  off  script. It's  much  more  fun.  Yes,  because then  when  you  have  a  script, you  keep  thinking,  will  you  remember  things, but  when  it's  off  script, then  you  just  go.  What  was  the  question? So  blending  technology  and  organic  forms. I  mean,  do  you  think  that  they  work together?  Are  they  class. Yeah,  yeah  yeah.  Actually,  they  absolutely  work  together. And  what  this  question  remind  me of  was  actually  when  I  was  a  student, something  very  interesting  happened  was  that totally  without  me  thinking  about  it  and  working  with, like,  concepts  of  biology  and  art, I  got  connected  with  mathematicians. Who  were  working  and  making conclusions  such  similar  through  mathematics, and  I  don't  know  anything  about  mathematics. Last  time  I  did  math  was  in  high  school  and, I  mean,  I  was  good  at  it, but  wasn't  passionate  about  it. So  it  was  clear  to me  then  that  there's  no  distinction  like biological  mathematical  or  biological artistic  or  mathematical  artistic. It  all  depends  like  how  deep  in  a  microscope  go. I  find  them  all  being different  interpretation  of  the  same  thing. You  can  Freeman,  the  scientist, when  he  was  talking  about  flower,  he  says, scientists  can  understand  flower  better than  artists  because  they can  go  into  microcosms  of  functions  that  flower  does. That  is  amazing.  I  disagree because  then  you  may  have  a  roomy  and he  can  give  you  a  poem  about the  flower  that  tells  something  completely  different. This  connection  of  art  science  and even  spirituality  for  me  is  always like  just  a  different  lens that  we  use  to  analyze  the  world  around  us. Yeah,  I  love  it.  And  I  think the  piece  really  brings  that  lens. It  ts  forms  the  space. I'll  keep  us  on  script  a  little  bit. I  like  this.  So  what  role does  interactive  digital  media  play  in  your  work? I  mean,  have  you  done  interactive  digital  media  before, and  what  do  you  hope the  audience  will  get  from  that  engagement? I  did  one  project  long  time  ago,  and  actually, I  was  collaborating  with  my  husband, Brian  in,  who  actually  taught  me  technology. I  married  into  Tech  genius, and  I  didn't  know  anything  about  tech  and I  was  terrified  of  technology. I  mean,  I  was  one  of  those  people  kind  of  like, what  if  I  press  this  and everything  is  just  going  to  fall  apart. So  actually,  you  know,  living  and  seeing somebody  who  works  with  Tech  was  very  inspiring, and  we  created  this  piece  that was  interactive  sound  sculpture. I  did  a  little  bit  of  interactivity  with the  how  do  you  call  it  oculus? V.  Yeah,  V,  but  this  is  another  level. And  for  me,  you  know, I  figured  that  instead  of  me  constantly  learning new  programs  and  trying to  venture  into  the  new  technologies, I  can  actually  collaborate  with  people  who  already  know how  to  do  that  and  we  can together  make  something  bigger  than, you  know,  that  only  I  or  only  them  can  create. So  Coming  here,  meeting Super  Team  and  making  this  happen  was  really  wonderful. For  this  particular  project, we  wanted  to  do  I  wanted  to work  with  biomarkers  because  body  is  so  important  to  me. I  was  thinking  about  these  concepts of  health  care  as  a  human  right. Because  as  activists,  we  can  always vote  or  do  different  things  to  actually  bring  healthcare. But  as  an  artist, you  can  talk  about  things, bring  some  concepts  to  the  notice  of  people, and  I  always  liked  Museum,  so  galleries, or  libraries  where  you  can  come  for free  and  experience  something  that  is  good  for  your  body. There's  a  science  behind  the  art  that says  when  you  feel  the  sense  of  wonder, there  are  hormones  of  happiness  released  in  your  brain. I  wanted  to  create  something where  people  will  feel  the  body where  some  kind  of  biomarker  would  create  certain  art, and  we  were  talking  like  what  can  we  used  and  actually a  heartbeat  is  the  easiest  to  of  to  read. So  we  were  like,  Well,  it's  a  beginning. Let's  start  with  a  heartbeat. And  that's  kind  of  how  it  came  about. I  love  it.  So  tell  me, I  would  love  to  hear  a  little  bit  more about  the  collaborations  or just  the  interactions  with  faculty  that  you  had  and, you  know,  kind  of  what  that  how  that shaped  the  show  itself, which  has  multiple  pieces  in  it. It  actually  has  three  pieces  in  the  show. Yeah.  Talk  about  this  collaborations  a  little  bit. Absolutely.  So  the  first the  IMZ  was  collaboration  with  Super  Team, the  Bio  art  was  collaboration  with  Maya  and  with  Ben. Then  I  would  say  the  sculpture  was  collaboration  with Montgomery  machining  lab,  and  with  Scott. Yeah.  Artists  career  can be  very  lonely  career  because  like  usually, I  grab  and  then  I  go  to  my  studio, and  I  am  there  by  myself  all  day  long, which  in  some  Some  aspects  of  that  I  very  much  enjoy, but  you  find  yourself  a  little  bit  lone. And  so  Having  a  collaborative  environment  is  fantastic. I  just  felt  that  somehow  it  happened. The  people  were  perfect. We  worked  wonderfully  together. It  was  always  fun. You  always  felt  more  energized  after  conversation. You  learn  more  then we  connect  each  other  with  other  people. You  have  ideas  about  future  connections and  where  things  can  be. Everything  just  grows. I'm  very  grateful  to  everybody  I  worked  with and  I  hope  we  can  get  in  to  stay  in  touch. Yeah.  I  mean,  this  has  been like  the  hallmark  of  your  residency, these  amazing  collaborations, and  that's  why  I wanted  to  talk  about  it  a  little  bit  today. You'll  experience  the  pieces, but  you  don't  always  kind  of  see  the  back  end of  what's  happening  and  all  these  amazing  relationships. And  you're  so  great  at  facilitating  that. It's  been  such  an  exciting  adventure. Um,  and  I've  learned  so  much. I  was  working  with  you. By  the  way,  Catherine  is  most  amazing  person, and  I  am  jealous  of  Georgia  Tech. You  know,  because  I  think  every  artist  just  dreams, having  somebody  like  you. She's  super  organized. She's  extremely  smart. She  can  find  everything  about  anything,  connect  the  dots. Connect  the  people.  Everybody  is so  comfortable  in  your  presence. Sometimes  artists  can  be  awkward. Sometimes  I  don't  know, I'm  like  happy  having  people  around, but  sometimes  I  don't  want  anybody  to ask  me  anything  because  I'm  in  the  zone. But  you  always,  also, we  had  the  conversation  with  Arthur  I  Miller. That  was  I  think  a  lovely  collaboration with  a  wonderful  writer, and  for  you,  for  anybody  who  didn't  see  the  conference, I  would  recommend  some  of  his  books. Well,  specifically  colliding  Worlds, which  is  a  book  about  Connection  and  Art  and Science  historically  and  presently, it's  incredible  book,  and  his  name  is  easy  to  remember. It's  like  Arthur  Miller, but  Arthur  I  Miller. Um,  so  it  was  wonderful  to  have  him come  and  talk  about  techno  future  and, it  was  very  thought  stimulating. Absolutely.  And  as  a  librarian, I  love  working  with  an  artist  that  says, L  et's  bring  in  an  author. I'm  reading  all  these  amazing  books. You  know,  Let's  continue  this  conversation. And  if  you  haven't  seen any  of  Arthur  I  Miller's  lectures, they're  a  bit  scandalous  to many  people  because  he's  talking  about  the  future, so  it  was  a  really  exciting  event. Arthur  really  I  think  he  thinks  us  merging  with  machines and  elongating  human  life to  not  just  a  couple  of  years,  but  a  lot. And  I  know  my  hand  too. He  always  wanted  to  have  a  computer. He  is  a  a  computer. But  that's  why  I'm  sorry.  I  love  you. That  was  awkward.  But  now  there's  something about  technology  and  tech  people  that  attract  me. But  I  am  definitely  more  like  nature  biology. I  think  biology  will  save  biology. I  believe  in  synthetic  biology, I  believe  in  bioming, using  that  for  betterment  of  world  and  world  around  us. We'll  talk  about.  I  mean, I  think  that's  really  interesting. From  the  beginning,  you've  always  said  to  me, you  know,  I'm  terrified  of  the  technology, but  behind  the  scenes, she's  actually  very  good  at  it, so  don't  let  her  convince  you that  she  doesn't  know  very  much.  I  agree. Right?  We  live  in  the  t  first  century, so  you  can  either  be  a,  you  know, hermit  and  say,  I  don't  like  this and  grow  your  vegetables,  which  is  awesome. Or  you  can  kind  of  say, well,  I  have  to  confront  this  thing. And  it's  very  hard  in  the  beginning. But  after  several  projects, I'm  like,  Oh,  I  can  actually  do  this. I  actually  do  this  better  than  most  people. Wow.  I'll  say  I  will  say  most  people. But  I'm  interested  in  that,  you  know, the  kind  of  the  intellectual  response  that  people  have to  technology  is  something good  or  something  that's  really  scary. What  do  you  hope  that  people  respond  to  in your  piece  that  both  has this  physical  element  of  the  sculpture, the,  you  know,  very naturalistic  element  of  the  mushrooms, but  then  the  digital  element. What  emotional  response  are  you hoping  that  people  will  get  from  experiencing  your  work? Well,  um,  To  say  this  first, I  always  include  body  in  my  work  in  some  ways. Even  when  I  create, I  often  refer  to  my  work  as  digital, like  part  physical  part  digital  because  I  don't  want  to let's  say  this  piece  is digitally  cut,  it's  digitally  imagined. It  was  im  with  me  using  AI and  People  think  that  it's  easy  to  make  stuff  in  AI, it  is  easy  if  you  want  to  copy  somebody, and  if  you're  drawing  from  database  that  already  exists, you  can  create  most  amazing  images. But  if  you  actually  want  to  create  something  that  is  new, has  some  element  on  newness. I  mean  it's  hard  to  create  something  completely  original because  we  are  all  connected  and  we  are  not  islands. But  if  you  want  to  create  something that  looks  like  you  like  Oh, this  is  so  and  so  work. Then  it  get  a  little tough  because  you  really  have  to  think  about prompts  and  you  have  to  experiment  and  learn. After  thousands  of  images  that  I  made, there  were  maybe  20-30  that  I  really liked  and  I  reflect  me  as  an  artist,  and  I  picked  those. It  started  with  AI, and  then  design  in  Adobe, and  then  it  was  digitally  cut  at  Mtongomery  ab. But  then  I  wanted  to  mold  it myself  because  I  have  to  use  my  hand. I  feel  the  happiest  when  I'm  using, you  know,  my  hand,  when  I  walk  to my  studio.  We  are  humans. That's  how  we  you  know,  evolved, and  I  don't  think  it's  healthy  to just  be  just  on  the  computer  or  whatever. Some  people  do  it.  I  admire  them, but  I  could  never  do  it.  I  just  have  to  move. I  just  have  to  have  that  physical  aspect. There's  a  physical  aspect  of  a  body. Something  that's  happening  on the  inside  becomes  divisible, and  there's  a  connection  between  drawing and  art  and  your  body  and  your  heart. I  think  heart  is  also  there's  something  very romantic  about  thinking  of  a  heart. Then  like  this  piece, some  people  say,  Oh,  it  reminds  me  of lungs  or  some  people  say  of  corals. To  me,  it  reminds  me  of capillaries  when  they  come  together. It  has  a  floral  shape. It  has  that  microbiological  or microbiological  together  with some  futuristic  technology  in  it. I  think  it  blends  it  together, but  not  in  a  didactic  way. Then  we  have  biology  of  fungi  who  are  so smart  and  so  wonderful  and  so  close  to  us,  evolutionary, which  is  amazing  that can  present  a  new  solution  for  plastic  waste, which  is  such  a  big  problem. It's  always  like  tech  biotech  bio  biomimicry. Parametric  designs,  stuff  like  that. Yeah,  what  do  you  think?  How  do  you expect  viewers  to  interact  with  the  piece? And  they  touch  it?  Can  they  touch? What  can  they  I  decided  not  to  put  do  not  touch. I  mean,  I  don't  invite  people  to  touch  it. But  if  they  have  to, you  know,  there's  no  punishment. So  yeah,  that's  fine. When  it  comes  to,  you  know,  people usually  ask  that  question.  How  do  you  expect? I  As  an  artist, I  create  art  and  then  I  experience  it. And  if  I  approve  it, if  I  like  what  I  experience,  that's  it. Once  when  you  put  art  there, you  don't  have  a  control. I  think  if  you  really  want  to  control  how  people  react, that's  more  like  in  the  realm  of  design. Good  point.  Yeah.  But  with  artist  objective, sometimes  lots  of  people  like  it, sometimes  just  several  people  like  it. It's  a  little  emotionally  scary, but  I  don't  know.  I  hope. Hope  they  like  it.  Yeah,  I  don't  know. I  think  so.  And  I  will  note  you  can  touch  the  sensor. Yeah,  that  as  people  walk  up, there's  a  sensor  that  will  react  to  your  heartbeat. There's  instruction  there. Yeah.  I'm  going  to  ask  you  one  last  question. Which  is,  how  do  you  see  your  experience  at  Georgia  Tech informing  your  future  projects  or  artistic  explorations? I  think  definitely  it's  going  to  influence. For  me,  every  time  I  do  a  project, I  come  with  something  that  I  learned  on  my  previous  work, and  then  I  go  to  something  that  tickles  my  curiosity, and  it's  so  much  been  done. I  have  to  digest  it,  so  many  connections  are  made, so  many  ways  to  go  this. We  can  go  more  academic  ways  and publish  and  write  about  it and  contact  other  universities. Maybe  continue  the  collaboration, maybe  include  some  other  people  with  collaboration. Definitely  for  my  personal  studio, there  are  things  that  I  can  do  now that  I  didn't  know  how  to  go  about. So  I  got  lots  of  answers. So  yeah,  in  multiple  levels. It's  going  to  be  very  useful. Well,  thank  you  for  being  here  also  at  Georgia  Tech. So  this  is  a  Way  relationship. You  know,  not  only  did Georgia  Tech  have  something  to  offer. Doctor  Gin,  but  you  have  offered  us  so  much, and  I'm  excited  to  see  all  of  the  students  and  staff and  faculty  experience  this work  as  well  as  all  of  us  tonight. So  you've  heard  us  talking  about  it  for  a  while, but  I  think  we  should  go  see  the  piece. Before  we  do  is  Jason  Freeman  here. I'm  gonna  let  our  associate  vice  provost  for  the  arts. Jason  Freeman  make  a  quick  announcement, and  then  we'll  head  downstairs  for  the  reception. Hi,  Jason.  Thanks  so  much  for  an  excellent  discussion. I'm  really  looking  forward to  seeing  that  work  downstairs. Just  a  few  quick  things. If  you  are  a  student, and  I  know  I  saw  a  few  of  you  here, be  aware  that  we  have  a  small  grant  program  that is  launching  later  this  week  where  you can  get  support  for  doing your  own  artistic  work  on  your own  or  with  a  registered  student  organization. So  keep  your  eyes  out  for  that  detail. If  you  are  faculty  or  staff, we  have  a  couple  of  our  art  salon  series  coming  up  soon, one  on  November  6  at the  First  Center  in  conjunction  with  the  launch  of the  new  faculty  and  staff  rt  Exhibit  in the  First  Center  lobby  called  Art,  uh  huh. And  then  another  with  the  Institute  for People  and  Technology  on  November  14. If  you're  not  already  on our  faculty  and  Saff  rts  Chat  on  Teams,  let  me  know. I'm  happy  to  add  you  at  any  time. If  the  majority  of  you  probably don't  fit  in  either  of  those  buckets, the  ask  I  have  of  you  is to  engage  with  the  arts  at  Georgia  Tech. Often  it's  kind  of  lurking  beneath  the  surface. It  takes  a  little  bit  of work  to  find  what's  happening  here, but  there  is  such  incredible  stuff  happening. There's  a  wonderful  exhibit  right now  at  the  Museum  of  papermaking. The  first  center  for  the  Performing  Arts  is  re  opening  in about  two  weeks  after  a  closure  for  repair  to  the  roof, and  it  has  a  wonderful  season  of  programming  ahead. There's  all  kinds  of  other  stuff  waiting  for  you even  in  this  building  or  public  art  around  campus. So  please  ask  us  if  you  need  help  finding  your  way, and  you  can  always  go  to  rt  dot  GA  Tech  dot  EDU to  learn  more  about  what's  going  on.  Thanks  a  lot. I'll  pass  it  back  to  Katherine. So  a  quick  note  about  directions. I've  got  a  few  colleagues that'll  help  guide  us  downstairs. My  colleagues  can  you  all  kind  of  wave  at  us. We've  got  Kim,  Alex,  Dean  Sharp. We're  going  to  go  down  one  floor  to  the  ground  floor. If  you  come  out  of  these  doors  and  take a  left,  there's  stairs  there. You  can  also  take  a  right and  go  around.  There's  more  stairs. But  if  you  need  the  elevator, please  go  out  of  these  doors,  take  a  right, and  then  take  another  immediate  right, and  that  will  take  you  to  the  elevator to  take  you  down  one  floor. We've  got  refreshments,  and we'll  have  doctor  Gin  and  then  a  few  of our  folks  that  helped  collaborate  on these  projects  downstairs  to talk  with  you.  Thanks  for  coming. Everything  you  said  about  Gaz  and  the  Yes.