Kevin Lee 李夢遠

Video editing today lives almost entirely digitally, behind thumb taps or mouse clicks and keyboard shortcuts. What if the work of editing wasn’t hidden behind software interfaces, and their workflow of constant interruption and stopping and starting? Our lives play out ever more on video - not just in film not but on social media, in meetings, and in our phone screens. By encouraging play, creativity, and experimentation, and by breaking out of a purely software interaction space, we might enable new forms of expression. Just as in the music industry, where interface innovation forms the basis for entire new genres of sound, an accessible approach to video editing could revolutionize visual storytelling. That is the spirit behind MX-CLP, a portable, all-in-one video editing device which inspires creatives to find new stories to tell.

AI is not subservient to humans. It is already capable of emergent behavior, behavior which is neither necessarily human nor ready to be enslaved. THIS STATEMENT IS FALSE highlights the extent to which human and machine intelligences differ, asking users to contemplate the sheer scale of machinic thought.

Is AI alive? Does it think the same way we do? Is one of us, human or machine, necessarily better than the other? What can we learn about ourselves through understanding other intelligences? Contemporary discourse on machine learning and artificial intelligence is either too prescriptive of AI's role in our shared future, or too abstract. THIS STATEMENT IS FALSE invites users to gain their own understanding of non-human intelligence by talking directly to GPT-3, a general purpose text generation model with human-like conversational ability.

祂 and 㐴 (visually similar to "TA", netspeak for gender neutral 他) are presented as new pronouns to highlight the inherent gender fluidity within the Chinese writing system.

“TA” presents alternative 3rd person personal pronouns for use in Chinese as a provocation and an investigation into the inherently non-binary nature of Chinese. By encouraging people who natively read Chinese characters to deeper question their formation, and the implications it has for Chinese / Japanese societies, it hopes to reveal a flexibility and playfulness built into one of the world's oldest languages. Binary gender pronouns came into existence in Chinese after the introduction of the female pronoun, which, in a stark contrast to the West, fueled a gendered consciousness and an empowerment of women within China.

Chinese characters are a vehicle of cultural conveyance; their various relationships and component pieces integrate to form a collective memory which performs a plethora of shared cultural beliefs, from familial values to gender roles and various ideas of Us and Other. By critically unpacking character components and examining etymologies, we can start to decentralize power over these characters and the simultaneously beautiful and insidious ways in which they influence Eastern thought.

This project was selected for inclusion in the upcoming book from Parsons School of Design, Critical Coding Cookbook: Intersectional Feminist Approaches to Teaching and Learning.