Ricardo Dominguez and Amy Sara Carroll: TransBorder New Media Art


A SPARKS online presentation introducing the participation of The Future Past v. Coloniality: Decolonial Media Art Beyond 530 years exhibition in the 2023 Siggraph conference. Moderated by the curator Dr. Liliana Conlisk Gallegos and Kathy Rae Huffman. Ricardo Dominguez and Dr. Amy Sara Carroll will present on the award winning “The Transborder Immigrant Tool (TBT)”, included in The Future Past v. Coloniality. Part of the Electronic Disturbance Theatre 2.0/b.a.n.g. tab), “TBT” is a classic example of performance, poetry, and executable code. It was designed to assist disoriented border crossers to find emergency water and safety. First tested in 2009, the project interfaced with the non-profit groups Water Station Inc. and Border Angels, who shared their locations with the TBT team. As transborder new media art pioneers, Dominguez and Carroll will highlight the particular contexts of borders and their engagement with transdisciplinarity, rasquache, nepantlera, and hypertextuality as unique methods and sensibilities in the practice of transborder new media art.


Ricardo Dominguez is a founding member of Critical Art Ensemble (http://critical-art.net/) and a cofounder of Electronic Disturbance Theater 1.0 (EDT), a group who developed virtual sit-in technologies in solidarity with the Zapatistas communities in Chiapas, Mexico, in 1998 (https://anthology.rhizome.org/floodnet). In 2007 with Brett Stalbaum, micha cardenas, Amy Sara Carroll, and Elle Mehrmand he developed the Transborder Immigrant Tool (https://tbt.tome.press/). He was a Society for the Humanities Fellow at Cornell University, a Rockefeller Fellow (Bellagio Center, Italy), and a UCLA Luskin Institute on Inequality and Democracy Fellow (2021). Ricardo is the current chair of the Department of the Visual Arts, UCSD.

Amy Sara Carroll’s books include SECESSION, FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography, and REMEX: Toward an Art History of the NAFTA Era. Since 2008, she has been a member of Electronic Disturbance Theater 2.0, co-producing the Transborder Immigrant Tool. With other members of EDT 2.0 and the Border Collective, she co authored [({   })] The Desert Survival Series/La serie de sobrevivencia del desierto. Recently her work has appeared in the Boston Review, Michigan Quarterly Review, and Aztlan: A Journal of Chicano Studies, and in the exhibitions, Below the Underground: Renegade Art and Action in 1990s Mexico and Cuánto tiempo lleva todo esto derramándose sin desbordarse. Currently, she’s an Associate Professor of Literature and Literary Arts at the University of California, San Diego.


Liliana Conlisk Gallegos “Mystic Machete” is a feminist, anti colonial performer of research, a translator, and an uncivil disruptor who doesn’t know her place. As an Optimus Prime Trauma Transformer con lengua de machete she exposes and confronts supremacist formats by experimenting “con lo que caiga”. Her live, interactive media art production and rasquache performances generate culturally specific, collective, technocultural creative spaces of production that reconnect Chicana/o/x Mestiza Indigenous wisdom and conocimiento to their ongoing technological and scientific contributions. As a transfronteriza (perpetual border crosser), the current limited perceptions of what research, media, and technology can be and do are like a yonke (junkyard), from which pieces are upcycled and repurposed to amplify individual and collective expression, community healing, and social justice.

Kathy Rae Huffman Kathy Rae Huffman is a writer, producer, researcher, lecturer, prolific public speaker and a pioneering curator of video art, media art, online art, interactive art, installation and performance art. She was Chief Curator at the Long Beach Museum of Art in Long Beach, California from 1979 to 1984, where she established LBMA Video as a regional center supporting early video art. From 1984 to 1991, Huffman was Adjunct Curator at the Institute of Contemporary Art, Boston, Massachusetts and curator/producer of The Contemporary Art Television Fund. From 1991 to 1998, Huffman worked as free-lance writer, curator, lecturer, producer and consultant, based in Austria. During this time, she co-founded FACES listserv. After two years from 1998 to 2000 as an Associate Professor of Art at Rensselaer Polytechnic Institute, she was the director of Hull Time Based Arts, UK from 2000 to 2002 and the Visual Arts Director at Cornerhouse in Manchester from 2002 – 2008. Since 2008, she has curated major exhibitions for EMAF, SIGGRAPH, ISEA, Transmediale and The Getty.