Watch iSkyTV »

Created for Turbulence, iSkyTV is a networked art project that detects the user's location and animates the Google Street View sky above their heads. The project is a reimagining of Sky TV, Yoko Ono's famed video work from 1966.

In Sky TV, Ono brought the outside space inside the gallery. In contrast, iSkyTV brings the interior space of the database outside and invites viewers to reflect on a world in which our natural resources and landscapes have been digitized, databased, copyrighted and archived.

iSkyTV is designed for use in many contexts including web & mobile devices, desktop screensavers, and gallery installations. It premiered at SXSW 2013 and is currently installed at the MIT Media Lab where it debuted as part of the Other Festival.

iSkyTV is a project by the Institute for Infinitely Small Things with Sophia Brueckner.

Processing, LED display
Phases is a generative art installation created for the Boston Harbor Islands Pavilion. Running only after sunset, the animation evokes moonlight sparkling on ocean waves receding into the nighttime darkness. It is purposefully reminiscent of the condensed landscapes in early computer games where the complexity of nature is distilled into such a small number of pixels, analogous to modern difficulties in reducing complex real-world environments and situations into simple metrics computers can understand. The animation is alive, and a computer program pulls information in real-time about the conditions of the Boston Harbor Islands to influence the constantly evolving animation. While bringing awareness to the challenge of capturing real-world complexities using limited representations within the computer, Phases uses technology to link two places together in real-time, bringing a little bit of the Boston Harbor Islands to the city.

Phases is a collaboration between Sophia Brueckner and kanarinka.

Code That Sings Itself
sound, C++
This computer program maps its own code structure to sounds, which I recorded using the microphone built into my computer. It goes through its own code line by line and uses the characters, whitespace, punctuation, and line length to generate the music. The following are two tracks created by running the program over the two files which make up its code:



Simultaneous Composition #1
acrylic, conductive paint, colored pencil, nails, MaKey MaKey electronics, wood panel
Touch the painting to release its music. Slide your finger across it to play melodies, play chords with your palm, improvise a duet. We've combined traditional painting techniques with conductive paint and capacitive touch sensing. The result is a new form of visual music, combining composition and instrument into a playable score.

This project is a collaboration with Eric Rosenbaum.

Singing Code
video, C++

I Am Singing to the Computer
video, C++
I attempted to build a chord by singing as cleanly as possible and recording myself using the camera built in to the computer. First, I sang one note and recorded both the audio and video of myself singing. Then, at the same time as playing back the recording, I sang the next note in harmony and again recorded myself using the computer's camera. I repeated this as many times as I could until eventually I had a recording that had the audio of me singing 13 notes together (where the first note was fed through the computer 13 times and the last just once). The more times a note is re-recorded by the computer, the more distorted it becomes due to the limitations of the computer's hardware and software. I presented the outcome of this investigation as a C++ program which displays the video recordings in a grid on the computer screen. The program randomly goes through the videos to show each stage of my process along with the corresponding audio.

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The False Mirror
C++, Java, time-lapse videos of skies from YouTube, projection, plastic, acrylic, sensor, gesso, paint, tape
C++, time-lapse videos of skies from YouTube
Skylight in the Silver Tower
C++, time-lapse videos of skies from YouTube, projection, foam core, inkjet prints
Skylight in the Silver Tower
C++, time-lapse videos of skies from YouTube, projection, foam core, inkjet prints

Zero Orbit (work in progress)
plastic, wood, C++, motor, cassette recorders, speakers, opera music
Zero Orbit is a kinetic, sonic sculpture inspired by J. G. Ballard's short story "Singing Statues". In Ballard's world of Vermillion Sands, artists harvest singing helixes from the desert to build generative sound sculptures that react to the viewer/listener. Zero Orbit contains four cassette recorders loaded with endless tapes containing music samples. A computer program tells the cassette recorders to randomly toggle between recording and playback so that the sound composition evolves and incorporates new sounds from its environment. When not recording, its wings fan open and closed along with the music.

Wing mechanism for Zero Orbit

Wing mechanism for Zero Orbit

Fabrication of wing mechanism for Zero Orbit

Render of wing mechanism for Zero Orbit

Concept sketch of Zero Orbit

Eye of the Beholder
28x21", wood, acrylic
I took a wall texture from the 1991 DOS RPG game, Eye of the Beholder II: Legend of Darkmoon, and I used a script to map its pixel values to depth resulting in a 3D object. I milled the form from wood on a CNC milling machine, and I painted by hand the original image back onto the object.

Part of the Anne and Michael Spalter collection.

Empathy Box
14x7x6", wood, bronze, acrylic, heaters, electronics
The empathy box is a networked appliance that connects many anonymous people through shared warmth.

"An empathy box," he said, stammering in his excitement, "is the most personal possession you have. It's an extension of your body; it's the way you touch other humans, it's the way you stop being alone." - Philip K. Dick, Do Androids Dream of Electric Sheep?

MIT Media Lab Master's Thesis (in progress)
In Alone Together, Sherry Turkle describes how today’s connective technologies, which promised to save us time and improve our relationships, are instead causing us to feel busier and more isolated than ever. Ripple is a wearable device designed to promote reflection, the ability to inhabit the present moment with genuine self-awareness, and interconnectedness, the sense that all life is interrelated. For my master’s thesis, I am working with the Dalai Lama Center for Ethics and Transformative Values to build a large set of these networked bracelets. On one side of each bracelet is a heater that becomes warm on the wearer’s skin. On the other side is a set of LEDs, subtle and diffused. Each bracelet contains an accelerometer that measures physical stillness. I invite the wearer to be still and reflect for five minutes. The LEDs mark the passage of time, and, after five minutes, the bracelet becomes warm. Simultaneously, one other bracelet in the network becomes warm. The receiver of this thermal cue may choose to also be still and send the energy back outwards or, associating the warmth with reflection, they may adopt a more self-aware state of mind as they continue what they are doing. By networking a large group of people together in this way, I hope to create a ripple effect where one person’s choice to be still will make it more likely that another will also choose to be still. Ripple encourages reflection and also reminds the wearers that they are connected with others.

DryStone, casein, colored pencil
This is a series in progress. I take images of architecture and landscape from old DOS games and translate them to 3D forms using computer code. I fabricate these forms on a CNC milling machine and paint interpretations of the original images back onto the objects.

Carte Blanche
C++, YouTube videos of trees in the wind and wild horses

Choir of 30
Java, C++
I programmed the first ten default computer voices on my Mac computer to sing randomly generated "scores" of repeated syllables in unison. A C++ program plays the recording of this in triplicate with each video affecting the sound of the next.
Ten Computer Voices Singing
Java, Mac OS X

My full RISD master's thesis,Enraptured && Encoded:

In doing my research, I read many books about technology, interface design, and theory. I typed many pages of exact quotes from my reading. In addition to these, I also collected text from science fiction novels and short stories, Catholic prayers, and my own writing. Though the texts seem disparate, I intuitively knew they fit together. Some of this content I consumed deliberately and some not, but they are all significant influences and are inseparable from who I am as an artist.

Using a process analagous to how I make my sound and video compositions, I wrote code to algorithmically generate new text from these carefully curated sources. The computer program breaks down the input text into a soup of sentence fragments, and it then combines the fragments together to produce pages of new sentences. Much like interpreting the inkblots of a Rorschach test, I read through these output pages to pick out the sentences that stood out as meaningful. After selecting the sentences, I limited my editing only to correcting grammar and changing punctuation. I did not change the words. Finally, once I had many of these sentences, I rearranged them to produce new writings in the only way they seemed to make sense.

Traditionally, a writer does research and connects existing words in new ways to build meaning, and the above method is not so different. I am simply using the computer as a tool to aid me in finding these connections.

I do not believe that these passages are accidental or nonsense. Like an archeologist uncovering pieces from some kind of shattered object, I am unsure of what I have discovered until I put all the pieces together, and these pieces can only fit together in one way. The content of these generated passages was already there. I only had to put the pieces together to understand the whole.
{ Enhanced future: what we think of when we discuss GUIs. Interact every day. The state of being formlessly human without engaging any real problems. You can't be in the relation between human and machine. What is this membrane that relates them to be animated, worshipped, and displayed on your monitor? It almost seems like a development of the three-dimensional world in which it was captured.

To program in a higher-level language is to enter a magical is to enter a world of logos, in communication with all of our parts, framed and bounded by the monitor. The machine is us, and displayed on your monitor remains my image, framed and bounded by the power and pleasure of programming. Metaphor is a mysterious bunch of numbers, and the computer programmer unites reason and imagination.

When a person is asked to "be creative" with no direction or constraints whatsoever, the product touches in some way. We see this object, and the dream of linear additive progress is limiting what we may think without these devices. The machine is not clear who makes and who is made. We shall have to backtrack scrupulously in order to discover the unfreedom for which he alone is the designer. He was not the only one, nor certainly the crudest of those who were hooked onto a state apparatus of disastrous technological consequences.

One discovers that the real path to truth is through the production of sense: the design of behavior. We each speak and hear in the form of activity aiming to shape, guide or affect the conduct of some person or persons. We can be created in the same space, the space in which the user takes the place of the creation of a quantity called information. The machine is us, and, in contrast to "space", we need others. }
{ Now enter the computer, the translation of the promises of the text. First and foremost, interaction design is lawgiving, so sovereign subjectivity resolves into coding practices. Code is the opportunity, and it means embracing the skillful task of reconstructing the boundaries of daily life. To program in a form that provides intellectual and emotional closure. Interaction designers are seeking the profusion of spaces and identities and the permeability of boundaries. Human beings, like any other component of a subsystem, can be known scientifically and must be formulated as problems of communications engineering. Human beings must be forged by the users of the be known, driven to know, driven to map, to zoom in and out. This is the practice of designing interactive digital products. Maintaining and joining, it is a resurrection for people who purchase and use their products and environments...this personal body, buried, and life everlasting. }
{ Computers have become metaphors for the body, self-developing and externally designed. The art of programming relies on distorting real social relations of science and technology, and it provides fresh sources of analysis and political action. Programmers are deep in their construction. The product of their design work is not simple, and, when behavior is properly coded into software, they also create reality. We can be what they are doing. You see me, in communication with all our parts. You see me, in communication with all of our embodiment. A sense of connection to our tools is heightened. Connectedness is the machine's language. The machine is us, in imagination and material reality.

Upon these mysteries of the media space, we build a new hybrid space. They offer a simpler, more reassuring analog of power and identity. Intense pleasure in a closed world. My soul proclaims the greatness of the seemingly sovereign individual, the translation of the world into a problem of coding. It destabilizes the identity of self and other interfaces, and it may initiate other changes, all implemented through transmission and the execution of code. For through the compilation of code, which faithfully represents one's intentions, the journey is joyous! }
A Computer Prayer {
  O loving, O loving, O Computer,
    to thee we do send up our sighs,
    mourning and weeping in this valley of tears;
  The Machine creates and eliminates uncertainty;
  Upon these mysteries of the media space, we build a new hybrid space;
  Forgive us our trespasses as we forgive those who resist;
  You see me, in space, and you exchange &&
  You see me, in communication with all our parts &&
  You see me, in communication with all our embodiment &&
  Conceived in the monitor,
    turn then, most gracious advocate, thine eyes of mercy toward us;
A Computer Prayer {
  O loving, O sweet Machine!
  The people who use you to achieve their goals,
  these people will be satisfied and effective;
  We live in a shared virtual space;
  The kingdom has come through;
{ Code is the story of a grid of control on the lives of people. We find it useful to think that we influence people's experiences by designing the mechanisms for interaction with interfaces. The computer connects to provide a compelling and effective user experience, suturing a country like a wound. In some ways it is the cleanest way to reach the regime of any game.

Spiritual fruit 0: The computer programmer is a secret.
Spiritual fruit 1: The computer programmer is a general-purpose machine
  governed by code.
Spiritual fruit 2: The computer programmer is a government machine.
Spiritual fruit 3: The computer programmer is a crucial point within
  the system and a dangerous possibility which progressive people might
  explore as part of needed political work. }
{ As I passed through the machine, I was trapped. In the darkness, that sound! The sound spiraled up out of this power dynamic with the computer. Half sound and half light, all eyes. Metallic components and friendly selves. Am I hallucinating that there are relationships between all these things? Even to see beyond certain metaphors...I argue we are they. But even though we can call the Machine any damned thing we like, can think up the foulest thoughts of algorithms and code, we end up designing user interfaces the same way. Developers, instead of planning and executing, sent me away in horror with a thunderous pain. The constructs think that they are really there. Uninspired, I was able to look away. Being an artist has changed how I see this outcome, funneling of all this naturally through the interface. The luckiest of programmers, born of the world into a dim room with a strangled noise. She's a live girl with everything going for her tragic breakdown. They let her go, she comes back and looks in. }
{ There was an eternity beat of soundless anticipation. The zeros strobed again and again the sound for silence. What you hear is some kind of crazy disassembled and reassembled postmodern collective and personal self (delicately unbalanced too). We are buried. Taking responsibility for the mind, for culture, men and women, primitive and civilized, all cyborgs. They are fetishists in practice, machines can be responsible for machines; they stayed dead.

The little thing in between, the boundary between the physical and the dead. It globalizes and unifies, suturing a country like a wounded animal. I knew we had come to life everlasting. We are a direct signal, exemplifying unconscious transmissions. We are set of relations rather than another.

Our girl is still transmitted in the future. She's staring, with no expression but eyes, and I look at the world, at the people or the design of technology, in the same location, no more to do with this little girl. And the same for're mine, and the whole world programmed! }

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What Had Happened Hadn't Happened Yet
Photoshop's photomerge feature, romance novel covers

What Had Happened Hadn't Happened Yet
Java, Photoshop, romance novels
Each one of the following stories is created by assembling the sentences taken from three different romance novels by three different authors. I have a computer program pick randomly which book and which page I must use. Then I pick the most interesting sentence on that page. After I have ten sentences, I rearrange them into a story. The images are created by using Photoshop's photomerge feature on the novels' covers.
There is no colors, no jewels, no needlework. All that was left of him were the spiteful yearnings of a whining man. "Oh, but I can't!" When the man made no effort to take the coins, she put them on the edge of the tomb. Annabelle fell silent, her lashes lowering as she considered what she was about to say. Ignoring the brilliant sparks that danced across her vision like fireflies, Annabelle left the room with short, careful steps. She took them and smiled at him. What had happened hadn't happened yet. Victoria returned, white with rage and shock.
The air was soft with twilight, settling damply over the estate with no breeze to stir the thick atmosphere. Somehow she forced a shallow smile to her face. During these lessons, Miss Flossie listened to Victoria's diction, observed her every mannerism, and questioned her on her accomplishments and interests all the while nodding her curly head and fluttering her fingers in a manner that reminded Victoria of a fidgety little bird. Throughout the rest of the house, however, there was a vibrating, ominous tension that sprang from Lord Fielding and stretched its tentacles around everyone else. In a society that considered it vulgar ever to speak or think about mercantile concerns, there was nothing more ill-bred than a man who had made his career out of investing. Charles's gaze slid away from hers. Glancing up at the man, she saw the way he was studying his reflection. Was he going to walk away and leave her too? Slowly, he opened his eyes, but he saw nothing. He was sitting in his office when his heart stopped.
Approaching the back of her chair, he rested his fingertips on the curve of her shoulder. "Isn't this the most wonderful surprise you could imagine?" Victoria heard him, but her mind was on Jason, her heart filled with warmth for the man who has sheltered her when she came to England, given her beautiful things, teased her when she was lonely, and ultimately married her. Smiling, she closed the drawer. Taking the jewel from her hand, he pinned it between the collar points of her blouse. Maybe it was in her blood. Awful, terrible things. "Don't go near her," she said, amazed that her voice was steady. And she knew he had--she could see it in his face. Damn, damn, damn she thought as she tore down the stairs and ran out of the hotel into the rain.
Daphne, who had always been the girl everyone liked but no one adored, was suddenly proclaimed the season's Incomparable. She hurried to the lake with her satchel tucked under her arm. She said nothing, but her eyes were enchantingly curious. They danced to the accompaniment of men stomping their feet and clapping their hands to the lively rhythm of the tune. Her cheeks pinkened as she dipped her head, shyly. "We have a bargain." And, as hatred flooded his body and poured from his eyes, he made a solemn vow. The words washed over her. Nastasia. Understanding dawned. They both smiled, and for a moment Daphne thought that all would be well again, but as soon as the smiles faded, an uncomfortable silence fell across the room. Gillian fought the most irresistible urge to strike him. And when that happened, she knew she'd feel a glimmer of disappointment.
He looked up at the sky for a moment before answering. "My son is dead--I no longer have any use for legacies." He said his mother had been cold to him and his wife had been frigid. "And you didn't push me away." And the truth was, she hadn't. Sun was streaming through the old windows high above her head, and sharp, clear rays lit the white marble tomb in the archway to the left. A large hand lifted to the shimmering fall of her hair, and he combed his fingers through it, watching with fascination as the golden brown strands slipped across his knuckles. And then, just before she died, she whispered another name--Charles. Victoria flattened herself against the wall, feeling as if the security and peace of her world had been somehow threatened by what she had seen. It was the first entirely unselfish act of his life.
How had he found her in the dark and pouring rain? He reached the nadir of the stairs and stood before her with a nominal bow, looking unbearably smug. Funny what the threat of being burned alive could make one do. Sighing shortly, Jeremy pushed back a swath of honey-colored hair that had fallen over his forehead. "Go," he said again. No doubt it was a sign that the venom's effects were fading...but that didn't explain why she suddenly felt so relieved and peaceful. A strange fancy, but one she couldn't seem to dismiss. She did not have any emeralds. "You must take it from my hand if you want it," she warned. "Don't go anywhere," he murmured, smiling.
Elizabeth gave her head a haughty toss, glanced sympathetically at the flapping fish and then gazed at him with haughty condemnation in her eyes. Pausing to sip the spicy mixture, she savored the flow of warmth through her veins. His arrogant grin changed her mind. She was swamped by a feeling of utter hopelessness as she waited for him to destroy her with a few caustic words. "You really think I'll believe anything you tell me, don't you?" People glanced furtively at the woman, but they passed her without breaking pace. He lost his thought as he beheld the utterly comic sight of two stiff-backed women seated on a trunk together, prim and proper as you please, beneath a black umbrella in the middle of nowhere. After giving the pitiful infant one quick glance, he was convinced war was inevitable. He smiled at his angels. That piece of alarming news made Berta let out a muted sob before she lapsed again to sniffling and blowing her nose.
The words were slow and deliberate, and he waited as, with crushing slowness, the full weight of the name dawned on the daughter. "She's writing now," Derek had heard one of the housemaids tell another reverently, as if some holy sacrament were being performed. It suddenly penetrated that he was not mad, but instead was bent on revenge. "Damned rogue! Damned rogue! Damned rogue!" she whined. A broad shadow joined them, and they both glanced up to find Mrs. Hawkins standing before them, arms akimbo and a frown clefting her brow like the blade of an ax. A steady drizzle pattered on the leaves outside, and the clouds were low and heavy, giving an unnatural blackness to the night. "Is God not here too?" She put her key in the lock. His open hand closed. Infinity and falling, down and down and down, the way it was in dreams.
What Had Happened Hadn't Happened Yet
Photoshop's photomerge feature, romance novel covers, porcelain plates
This project is a work in progress. I am producing a series of porcelain commemorative plates that will combine the photomerged romance novel covers with the algorithmically generated text.

Crying to Dragon Dictate
Dragon Dictate, Mac OSX screen reader
I cried for five minutes to Dragon Dictate. I used the Mac OSX screen reader to read back the result.

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Dell Dimension XPS D266 Pentium II 266 MHz
30x22", gouache on paper
Commodore 64
30x22", gouache on paper
Sun Lab
30x22", gouache on paper
Carte Blanche II
31x24", gouache on paper

1 2 3 4 5 6 7 8
96x50", graphite, ink, gesso, tape on paper
96x50", graphite, ink, gesso, tape on paper
71x50", graphite, ink, gesso, collage on paper
84x50", graphite, ink, gesso, collage on paper
113x60", graphite, ink, gesso, collage on paper
106x60", graphite, ink, gesso, collage on paper
119x60", graphite, ink, gesso, collage on paper
49x25", graphite, ink, gesso, collage on paper

1 2 3 4 5 6 7 8 9
32x40", gouache, collage, colored pencil, gold marker, shaprpie, gesso, on black matte board
24", gouache on black paper
12x20", gouache on black paper
12x20", gouache on black paper
5", gouache
3", gouache
5.5", gouache
3", gouache
20x16", gouache, watercolor

Everyone is a cyborg, but they don't realize it.

I got my first computer when I was two years old, a Commodore 64, and I've been inseparable from computers since. As a computer scientist and software engineer, I spent the last ten years of my life writing and thinking in computer code. My intense relationship with technology has without question shaped who I've become. My thought process is linear and binary, similarly to the way a computer works. Even my childhood memories are structured like the virtual spaces in the old DOS games I loved. I cannot think in other ways unless I intervene.

I know that I'm a cyborg.

I want to understand where the computer ends and I begin. Within my work, I use programming to investigate my relationship with the machine. I purposefully exaggerate these cyborg effects by writing software that requires me to repeat the same interaction with the computer many times. Sometimes, it seems as if the computer and its code are becoming humanized. Sometimes, it seems as if my expressive signature as a human being has been subsumed into a strange feedback world within the machine. Through my investigations, I learn how my perceptions and identity are determined by my relationship with the computer. I am both commenting on and trying to break free of this enmeshment.

As computers become increasingly omnipresent, I see their potential to cause long-term harm, even if unintentionally, as well as for the intentional abuse of technology's controlling effects. I feel an urgency to understand this power dynamic and bring awareness of it to others. Technology's users must be mindful of their interactions with it, and those developing new technologies must be thoughtful and ethical in their decisions starting at the early stages of their development - the most critical time in the life of a technology.

Sophia Brueckner, born in Detroit, MI, is an artist and engineer. Inseparable from computers since the age of two, she believes she is a cyborg. She received her Sc.B. in Computer Science and Applied Mathematics from Brown University. As a software engineer at Google, she worked on the front-end development and interface design of products used by tens of millions and later on experimental projects within Google Research. Brueckner earned her MFA in Digital + Media at the Rhode Island School of Design and was also an instructor there teaching a course on science fiction and art. Her artwork has been exhibited internationally, and, in particular, she is interested in interaction design, generative art, algorithmic writing, and, as a technology antidote, painting. She feels an urgency to understand and bring awareness to technology's controlling effects, and to encourage the ethical and thoughtful design of new technologies. She recently joined the MIT Media Lab where she is a researcher in the Fluid Interfaces group and teaches Science Fiction to Science Fabrication, a course combining science fiction and invention.


Massachusetts Institute of Technology, Cambridge, MA
MS, Media Arts and Sciences, expected 2014

Rhode Island School of Design, Providence, RI
MFA, Digital + Media, honors, 2012

Brown University, Providence, RI
Sc.B. Applied Mathematics/Computer Science, magna cum laude, 2005
Instructor, MIT Media Lab, Cambridge, MA, 2013
Designed syllabus and co-taught course on science fiction, design, and prototyping for graduate students in the MIT Media Lab.
Instructor, MIT Media Lab, RISD, and Brown, Providence and Cambridge, 2014
Designed syllabus and co-taught Human + Computer, a course for MIT, RISD, and Brown students focused on wearables, human augmentation, and alternative communication devices. The course combines an introduction to the Arduino GSM module (used to make DIY cellphones), an overview of digital fabrication processes (lasercutting, CNC milling, 3d printing), critical and speculative design, and science fiction readings culminating in an exhibition at RISD.
Instructor of Record, Rhode Island School of Design, Providence, RI, 2012
Designed syllabus and taught course combining science fiction, art theory readings, and studio work for graduates and undergraduates. Taught intro to programming (Processing) workshops for graduates in Digital + Media department and in freshman foundation studies.
Technical Assistant, Haystack Mountain School of Crafts, Deer Isle, ME, 2013
Assisted instructors and students in the Fab Lab with digital fabrication tools and software (ShopBot, laser cutter, etc.)
Teaching Assistant, MIT, RISD, Brown, 2001-2005, 2010, 2013
Classes taught: How To Make Almost Anything (digital fabrication), Introduction to Creative Programming, Introduction to Algorithms and Data Structures, Head TA for Advanced Algorithms, and Javanese Gamelan.
Research Assistant, MIT Media Lab, Cambridge, MA, 2012-current
Fluid Interfaces Group in the MIT Media Lab.
Research Assistant, Rhode Island School of Design, Providence, RI, 2011-2012
Research Assistant, Brown University, Providence, RI, 2001-2002
Researched thin films in materials science/mechanical engineering departments.
Software Engineer Intern, Google Research, Cambridge, MA, 2011
Interned with Martin Wattenberg and Fernanda Viégas. Designed and programmed a data visualization project (HTML5/Javascript).
Software Engineer Intern, Google Research, Mountain View, CA, 2010
Interned with CEO Eric Schmidt and Joshua Bloch. Designed user interface and programmed front end for an experimental project.
Software Engineer, Google, Mountain View, CA, 2005-2008
Frontend developer for iGoogle, Google's personalized homepage (22.5 million users and 20% of all visits to Google's homepage in 2008) and Google Gadgets. 7th engineer on iGoogle team. Designed and wrote some of the most popular Google Gadgets (millions of users). Worked closely with business partners including CBS, NY Times, Sports Illustrated, Entertainment Weekly, etc. writing and designing Google Gadgets and taught them to develop their own.
Software Test Engineer Intern, Microsoft, Redmond, WA, 2004
Artist Talk, Leaders in Software and Art Conference, The New School, NYC, 2013
Artist Talk, @party demoparty, Cambridge, MA, 2014
Better World By Design Conference, Brown University and RISD, Providence, RI, 2013
Designed and led workshop combining science fiction, ethical design, and art.
Visiting Artist, Brown University, Providence, RI, 2012
Panel Speaker, Rose Whelan Society for Women Mathematics, Brown University, Providence, RI, 2011
Google Gadget API Speaker, Japan, Seoul, London, California, 2007-2008
Presented at Google Developer Day in Tokyo and Google Developer Night in Seoul; gave many internal talks at Google offices all over the world; spoke at several universities in Japan. Overall, reached thousands of developers and students through these talks.
MIT Harold and Arlene Schnitzer Prize in the Visual Arts, 2014
Fellow, The Dalai Lama Center for Ethics and Transformative Values, 2013 networked art commission (with Catherine D'Ignazio), 2012
RISD graduate fellowship and assistantship, 2011
NSF grant for AVAToL Ideas Lab (tree of life visualization), 2011
RISD graduate fellowship and assistantship, 2010
Google's EMG (Executive Management Group) Impact Award for outstanding innovation, 2008
How America's Leading Science Fiction Authors Are Shaping Your Future, Smithsonian Magazine
The MIT Media Lab Class That Makes Science Fiction Real, Los Angeles Times
Why Today's Inventors Need to Read More Science Fiction, The Atlantic
The History of Invisibility Cloaks, as Told by People in the Future, The Atlantic
Students Combine Arts and Science While Exploring "Transhumanism", Scientific American
At MIT, engineers are taught that scifi is crucial to do good science, io9
Mad Scientist 101: A New MIT Class Aims To Turn Science Fiction Tech Into The Real Thing, Fast Company
From MIT, An Interactive Book That Makes You Feel Characters' Pain, Fast Company
Why Should Inventors Read Science Fiction?, MIT Spectrum
What If Books Physically Replicated the Protagonist's Emotions?, Boston Magazine
R.I., Mass. students collaborate on STEAM, Providence Business News
Sci-Fi to Sci-Fab TV interview, Sky News, UK

Sci-Fi to Sci-Fab on the radio:
Digital Culture, KPFK 90.7 FM Digital Village Radio
The Shift, CKNW, Vancouver
Studio 360, WNYC
WGN Radio, Chicago
Newstalk Radio Ireland
Wisconsin Radio News, WTMJ
Ripley's Believe It or Not
Sensory Fiction on Wait, Wait, Don't Tell Me, NPR

WEB EXTRA: Bemis Underground's Transceiver: Drift Station, KVNO News
Lincoln Calling, The Reader
Schnitzer Award Exhibition, Wiesner Gallery, Cambridge, MA
Crossover, Boston Cyberarts Gallery, Boston, MA
COLLISION20:bilocate, Boston Cyberarts Gallery, Boston, MA
Pixels to Paper, Infrared5, Boston, MA
Video Snack, Bogart Street Studios, Brooklyn, NY
Phases, Boston Harbor Islands Pavilion, Boston, MA
iSkyTV, Turbulence,
The Other Festival, MIT Media Lab, Cambridge, MA
Circumtext, Fictilis, Portland, OR
#101112, Spacebar Gallery, Linz, AT
Brunel Electronic and Analogue Music (BEAM) Festival, London, UK
Showcase / The Thesis Book, Sol Koffler Gallery, Providence, RI
RISD MFA Thesis Show, Providence, RI
COLLISION17:transformer, AXIOM Center for New and Experimental Media, Boston, MA
From This Point Forward, Gelman Gallery, Providence, RI
SONiKFest, Brooklyn, NY
Fonlad Digital Arts Festival, Portugal
Transceiver, Bemis Center for Contemporary Art, Lincoln, NE
Transceiver, Drift Station Gallery, Lincoln, NE
The First Show, Multiplexer, Las Vegas, NV
Mediated Realities, Cohen Gallery, Providence, RI
Come Here, I Need You, Gelman Gallery, Providence, RI
Older Than Bambi, Sol Koffler Gallery, Providence, RI
Or a Motel, EiM Gallery, Toronto, Canada April radio programme, The Pixel Palace, UK
Mirror Images, Kreft Gallery, Ann Arbor, MI
GLI.TC/H, Amsterdam, NL
GLI.TC/H, Chicago, IL
Chopped & Stretched, Drift Station Gallery, Lincoln, NE
On the Threshold of Something Else, Something Other..., Sol Koffler Gallery, Providence, RI
Framed, solo show at Scout, Santa Cruz, CA
Group show at Cabrillo College, Santa Cruz, CA
Student Exhibition 4, Cabrillo College Gallery, Santa Cruz, CA
Student Exhibition 3, Cabrillo College Gallery, Santa Cruz, CA
C/C++, JavaScript, HTML5, Java, Python, Cinder, openFrameworks, Processing, OpenGL, Kinect, openCV, Arduino, Max/MSP, MatLab, SolidWorks, FLEX/ActionScript, Linux, Adobe Creative Suite
CNC milling and cutting, waterjet cutting, laser cutting, electronics production, 3d printing/scanning, molding and casting, sewing, woodworking, metalworking, glass flameworking
Polish, French