Golan Levin: Good after­noon, every­one. It’s our Friday after­noon ses­sion of Art && Code: Homemade. I’m Golan Levin, direc­to­ry of the Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon, and direc­tor of the Art && Code fes­ti­val. And it’s my plea­sure to intro­duce the begin­ning of our Friday after­noon ses­sion. We’re going to have three pre­sen­ta­tions by Ari Melenciano, Sarah Rosalena Brady, and Imin Yeh.

And just anoth­er quick announce­ment. There has been unfor­tu­nate­ly a can­cel­la­tion at 5:30 this after­noon. Olivia McKayla Ross has had to can­cel, we’ve just learned. So there will be a gap at 5:30. We will talk more about that when we do the evening ses­sion. But we will still have Leah Buechley and Nanibah Chacon at 5:00.

So, with that it’s my plea­sure to intro­duce Ari Melenciano, who is an artist, design­er, cre­ative tech­nol­o­gist, researcher, and edu­ca­tor whose research com­bines approach­es from human-computer inter­ac­tion, Afrocentric design prac­tices, and exper­i­men­tal ped­a­gogy. She is the founder of Afrotectopia, a social insti­tu­tion fos­ter­ing inter­dis­ci­pli­nary inno­va­tion at the inter­sec­tions of art, design, tech­nol­o­gy, Black cul­ture and activism. And she cur­rent­ly teach­es cre­ative tech­nol­o­gy and coun­ter­cul­ture at NYU and Pratt. Ari Melenciano. 

Electromedia, Design, Culture

Ari Melenciano: Thank you. Thank you for hav­ing me. Very excit­ed to be here, and I will talk quick­ly because I usu­al­ly put in too many slides in my pre­sen­ta­tions. I know we’re on a quick times­pan. So, I’ll be talk­ing about elec­tro­me­dia, design, and cul­ture, which is where a lot of my work lies. 

So again I’m Ari Melenciano, and at the core of who I am as far as my prac­tice I’ve always iden­ti­fied as an artist and have found that design and cre­ative tech­nol­o­gy are real­ly great vehi­cles for me to use to con­tin­ue expand­ing the pos­si­bil­i­ties of art. And a lot of my work is built off of research so I’m con­stant­ly engag­ing in research and study­ing dif­fer­ent facets of the world. I often turn all of this work into class­room envi­ron­ments. I teach a lot at dif­fer­ent uni­ver­si­ties and in being a teacher I feel like I’m always for­tu­nate enough to be a stu­dent to con­tin­ue to learn from the stu­dents that I have. 

Electromedia Practice

So, with my elec­tro­me­dia prac­tice, it spans a lot of dif­fer­ent medi­ums but it gen­er­al­ly start­ed from a project called Ojo Oro, which I cre­at­ed while a grad­u­ate stu­dent at NYU’s Interactive Telecommunications Program. And this was a dream project for me because I grew up as some­one that loved pho­tog­ra­phy and tak­ing pic­tures and doc­u­ment­ing moments, but also hav­ing a real­ly beau­ti­ful expe­ri­ence with dig­i­tal pho­tog­ra­phy but an even more beau­ti­ful expe­ri­ence with ana­log pho­tog­ra­phy. And I want­ed to cre­ate some­thing that kind of blend­ed both of those worlds. 

So in being some­one that just loved the aes­thet­ics of dif­fer­ent cam­eras, espe­cial­ly film cam­eras, I feel like there’s a lot more atten­tion to the craft and the design of them ver­sus dig­i­tal cam­eras, at the time. Now dig­i­tal cam­eras are try­ing to mim­ic the aes­thet­ics of a film cam­era, but at the time they were like these kind of bulky machines. And so I want­ed to cre­ate some­thing that kind of had the best of both worlds in that it was oper­at­ed dig­i­tal­ly, but it mim­ic­ked a film-like expe­ri­ence. So with this cam­era, peo­ple would use it, it would take dig­i­tal pic­tures, and it would— And it was also think­ing about fash­ion, of it being a sort of wear­able device. You’re wear­ing it around your neck so why not have it be some­thing that’s com­ple­men­tary to your outfit. 

And then these are the dif­fer­ent pho­tos that it would take. So it’s dig­i­tal but it’s ran­dom­ly apply­ing film-like fil­ters onto the pho­tos to cre­ate the sort of dis­tor­tion and col­or­ful­ness. And that’s where the name Ojo Oro comes from, which is Spanish for gold­en eye.” It was meant to be a tool that allows you to real­ize your artistry in a way where you’re not scared of the end result. There’s no mis­take or error. It’s pure­ly just…everything that comes out of it is some­thing to be treasured. 

And so then I con­tin­ued expand­ing on that work in cre­at­ing sound sculp­tures, and being real­ly excit­ed about how music could be cre­at­ed in new forms. And so I would cre­ate these sculp­tures that would allow peo­ple to engage them and turn dif­fer­ent knobs, and that would then change the fre­quen­cy or oth­er forms. 

And so that con­tin­ued to expand in the form of a more recent series of work or body of work as far as sound sculp­tures, in the name of the Election·Negro·Synesthesyo. So this is a com­pi­la­tion of dif­fer­ent sound sculp­tures that are all root­ed in Black cul­tur­al arti­facts. And so being obvi­ous­ly a Black per­son and lov­ing Black cul­ture and all the dif­fer­ent arti­facts that we have in it. But also very atten­tive to the fact that a lot of dif­fer­ent Black cul­tur­al arti­facts when worn on Black bod­ies have a neg­a­tive stig­ma to them, and they’re seen as some­thing neg­a­tive stereo­typ­i­cal­ly, and unpro­fes­sion­al or what­ev­er it is, specif­i­cal­ly when worn on a Black body but when worn on oth­er bod­ies it’s seen as trendy or cool. 

So, for me I’m think­ing a lot about what is the future of Black cul­ture out­side the white gaze, where it’s able to express itself and define itself on its own terms. So through this I’ve cre­at­ed these sound sculp­tures where I’m using these dif­fer­ent cul­tur­al arti­facts that have such neg­a­tive stig­mas, but recon­tex­tu­al­iz­ing them and plac­ing them in a sort of future. Whereas peo­ple engage with them and they’re sound inter­ac­tive, they then are able to enter this new world. So in touch­ing things like the hair rollers, or the do-rag, or the bam­boo ear­rings, you hear new sounds—or even in touch­ing the braids, you hear them play sounds in response to it. 

And I’m also think­ing about there’s this notion that you should nev­er touch a Black wom­an’s hair or a Black per­son­’s hair, peri­od. It can often be a very degrad­ing act. But I’m think­ing what if it was­n’t because it was degrad­ing but more if it’s because you know, the being, the Black being is too mag­i­cal to touch? But if you do touch it you’re enter­ing this new world. So in cre­at­ing this arti­fact I was explor­ing that. 

And then as you change the dif­fer­ent afro picks, it’s not a sound tool it’s actu­al­ly— I’ve embed­ded this sort of dig­i­tal DNA inside of each afro pick. So as you change the afro picks on that bed, it then changes the visu­als that would be pro­ject­ed on the wall. 

Another more recent project is Metamorphosis. I cre­at­ed this dur­ing the sum­mer. And just hear­ing the sounds of protest non-stop all through­out the sum­mer and won­der­ing what is every­thing that we’re going through doing to our bod­ies. And so think­ing a lot about heal­ing modal­i­ties, and dig­i­tal heal­ing modal­i­ties, with us being in a remote era.

So how tur­moil and pain affect our body, think­ing about that sci­en­tif­i­cal­ly and spir­i­tu­al­ly. And so I want­ed to cre­ate a space that was also think­ing about epi­ge­net­ics. Epigenetics is an expe­ri­ence that your body has with­out you phys­i­cal­ly hav­ing it. It’s an ances­tral sort of expe­ri­ence that you have that’s embed­ded with­in you. And so when we’re con­stant­ly going to these trag­ic expe­ri­ences, that’s alter­ing the way that we nav­i­gate through the world in our DNA. So I want­ed to think of is it pos­si­ble to have a rever­sal of those neg­a­tives epi­ge­net­ics and cre­ate a pos­i­tive epi­ge­net­ics, and do that through sound and color. 

An immersive experience that cultivates positive epigenetics (the study of changes in organisms caused by modification of gene expression rather than alteration of the genetic code itself) through sound and color.

So with this, called meta​mor​pho​sis​.fm, and that it’s a change. It’s a larg­er change with­in our DNA struc­ture through fre­quen­cy and the mod­u­la­tion of fre­quen­cy cre­ates this expe­ri­ence where as you enter this space and lis­ten­ing to dif­fer­ent sounds that tie direct­ly to dif­fer­ent ener­gy chakras, those would then poten­tial­ly do some sort of a rever­sal of the neg­a­tive genetics. 

And so I did a lot of research in study­ing sound and how that impacts the body and study­ing its rela­tion to dif­fer­ent chakras or ener­gy cen­ters. And then also had known about African drum pat­tern music and that hav­ing been a tool to car­ry Black peo­ple and African peo­ple through Pan-African rev­o­lu­tions through drum sounds. So I want­ed to blend both of those to cre­ate this audio­vi­su­al expe­ri­ence. And so think­ing also about the archi­tec­ture of the space and mov­ing through it, and the psy­cho­geog­ra­phy and curved walls allow for relax­ation and calm­ness. And so using those tac­tics inside of the space and then in being a sound artist, cre­at­ing all the music and blend­ing it all togeth­er and pro­duc­ing it to cre­ate this envi­ron­ment which I designed in Cinema 4D and then export­ed into a VebVR envi­ron­ment, where also think­ing about again psy­cho­geog­ra­phy of high­er ceil­ings, these are things that we often expe­ri­ence when we’re in a cathe­dral or a space of such significance. 

So also plac­ing that inside of this space so you feel like you’re in a place that’s real­ly impor­tant. And then as you nav­i­gate through it you feel like this cycli­cal kind of rela­tion­ship between you and the sound and the envi­ron­ment as you move through an enter these dif­fer­ent sphere areas. 

And then each sec­tion has its own music that’s being played in that area alone. And each of those areas are des­ig­nat­ed for each of the dif­fer­ent ener­gy centers. 

And con­tin­u­ing this I’ve been explor­ing a lot about cre­at­ing in WebVR and vir­tu­al envi­ron­ments. And this is a more recent project that I’m still devel­op­ing that I’m pre­sent­ing at Sundance this year in their online envi­ron­ment. It’s called An Alchemy of Celestial Florilegia. And so this is think­ing about time being a very spher­i­cal thing. It exists and there are alter­nate real­i­ties, and this idea of exis­ten­tial­ism and what does it mean to exist. What does it mean to under­stand lan­guage out­side of the writ­ten or oral kind of pas­sage of lan­guage. And so it’s a huge mon­tage. Just gen­er­al­ly like a sur­re­al­ist and exis­ten­tial­ist kind of under­stand­ing of the world. 

Research + Pegagogy

And so I’m gonna move even quick­er through this research and ped­a­gogy and then go into Afrotectopia so that we can go into a Q&A.

So as I men­tioned, a lot of my work is built off of research. And I real­ly enjoy research­ing and under­stand­ing what peo­ple have done in the past and using that as a tool for design­ing futures. So a lot of my work is very inter­dis­ci­pli­nary, which I found a lot of sim­i­lar rela­tion­ship in my work as peo­ple like Steward Brand and Victor Papanek had in their own work of being very whole-system think­ing. Of not focus­ing strict­ly on one facet of life but think­ing about a lot of dif­fer­ent parts of the world and how they all have a rela­tion­ship between each oth­er. So, things like the Whole Earth Catalog and Victor Papanek’s work on pol­i­tics for design have been real­ly great resources for me. 

Research on omni-specialized design

And often­times when I’m engag­ing in this research in omni-specialized design I’m out­putting in the form of a pre­sen­ta­tion like this, where I’ll talk about a lot of the dif­fer­ent areas that I’ve explored and how I’m bring­ing them all together.

Or they will take the form of cours­es. So I design cours­es at NYU and teach them. And a few of them have been The Revolution Will Be Digitized, where we’re think­ing about tech­nol­o­gy but in a holis­tic and com­pre­hen­sive form where it’s not just about com­put­er sci­ence but it’s about eco­nom­ics, and soci­ol­o­gy, and pub­lic pol­i­cy, and ecol­o­gy, and media, and mil­i­tary. Or with Designing Club Culture, which is kind of the flip side of cre­ative tech­nol­o­gy or elec­tro­me­dia in that it’s not entire­ly about the social impacts of tech in a neg­a­tive kind of way, but more of what has been allowed to exist because we have had access to elec­tro­me­dia? So how coun­ter­cul­ture move­ments have used tech­nol­o­gy through var­i­ous forms to cre­ate these kind of dis­co scenes and then peo­ple have been able to cham­pi­on and real­ize their own kind of utopias with­in these spaces. 

And a more recent course that I’m teach­ing is called Afrotectopian Ecologies, which is also a very inter­dis­ci­pli­nary kind of approach of com­bin­ing a lot of dif­fer­ent areas of research that I’ve been explor­ing and kind of putting them all togeth­er into a course where we’re under­stand­ing so many dif­fer­ent aspects of the world but with­in a few weeks.

And then the research also takes forms in writ­ing essays. So I’ll pub­lish essays online about things like rad­i­cal tech­no­cul­ture for racial equi­ty, or build­ing a muse­um 353 years in the future, or a whole essay on omni-specialization in design for beau­ti­ful futures.

And so what I’ve been work­ing on and what I’ve had the sup­port over the past sum­mer with Eyebeam as a fel­low and now going into this new year with the sup­port from Onyx in their new kind of new media, vir­tu­al real­i­ty space and mem­ber­ship kind of thing with the New Museum is think­ing of how can I trans­late all of this research into a vir­tu­al envi­ron­ment where I’m think­ing about the archi­tec­ture. Not only infor­ma­tion archi­tec­ture but also the archi­tec­tur­al kind of ren­der­ings of the space in the dig­i­tal space. So think­ing about the Internet not so much as a tool—it’s a lin­ear tool of you get from point A to point B—but mov­ing away from that and allow­ing for spon­tane­ity and explo­ration, and not as a lin­ear tool but an explo­rative tool. And so as you enter the space, you would then find dif­fer­ent por­tals that are lead­ing you to envi­ron­ments that have infor­ma­tion on a vari­ety of dif­fer­ent ideas like quan­tum mechan­ics and sound design, or envi­ron­men­tal­ism and Dadaism. 

Afrotectopia: A social institution fostering interdisciplinary innovation at the intersections of art, design, technology, Black culture, and activism.

And so that’s a more recent work that I’m build­ing out and work­ing on. But I’m also as the founder of Afrotectopia think­ing a lot about not only vir­tu­al dig­i­tal envi­ron­ments but also com­mu­ni­ties of peo­ple, and how we can cre­ate spaces that cul­ti­vate imag­i­na­tion and cre­ativ­i­ty and stimulation—artistic sim­u­la­tion and design stimulation. 

And so Afrotectopia has tak­en the form of a lot of dif­fer­ent things. It start­ed off as a new media fes­ti­val while I was a grad­u­ate stu­dent. I cre­at­ed it there. And it has expand­ed into being an alter­na­tive adult school. So last year we held ten dif­fer­ent class­es host­ed by Verizon Media. We also had a more recent fes­ti­val we had last year at Google. And this year we’re in the midst of a four-week-long alter­na­tive adult school called Fractal Fête which is think­ing a lot about a whole bunch of ideas around art, design, Black cul­ture, tech­nol­o­gy and activism. And we also just wrapped up an inter­na­tion­al cohort fel­low­ship where we were think­ing about ways that we can use tech­nol­o­gy and design and art to mit­i­gate racial dis­par­i­ties and cre­ate these new worlds.

And so with Fractal Fête, which is hap­pen­ing right now, we have twen­ty dif­fer­ent amaz­ing and bril­liant Black pre­sen­ters and Pan-African pre­sen­ters, and the space is open exclu­sive­ly to Black and Pan-African peo­ple, where we’re just giv­ing each oth­er the space to explore process and under­stand­ing the behind-the-scenes for dif­fer­ent cre­ators and the things that they’re think­ing about, and have this kind of open dia­logue so we can get to know each oth­er and build with one anoth­er and explore new possibilities. 

And so gen­er­al­ly the work with Afrotectopia has just been to build a micro-community of imag­i­na­tive inno­va­tors. So it’s real­ly impor­tant for us to have spaces where we can come togeth­er and explore and imag­ine, and to col­lab­o­ra­tive­ly devel­op healthy Black futures where we’re not leav­ing that respon­si­bil­i­ty to oth­er peo­ple but we’re tak­ing the agency with our own hands and design­ing it for ourself. 

And to share all of our research. It’s real­ly about being as open source as pos­si­ble and mak­ing sure that any­one that does­n’t have access to our space or our com­mu­ni­ty in per­son or vir­tu­al can at least have access to the work that we’re building. 

Plant seeds for radical Black imagination

And the biggest and the most impor­tant thing has been to plant seeds for rad­i­cal Black imag­i­na­tion. So, how can we cre­ate spaces for peo­ple to just imag­ine, and dream, and place them­selves in the future and work back­wards from there and cre­ate new forms and real­ly lean into their agency. 

So I think I actu­al­ly talked a lit­tle too fast. I was wor­ried about time. But that’s where I am, so we can maybe have a longer time for Q&A.

Golan Levn: Hey Ari, thank you so much. This is great. We do have oh, prob­a­bly five to ten min­utes for for Q&A. So I’ll pull from from the Discord. I’m jug­gling a cou­ple of com­put­ers here. 

But maybe the first ques­tion I have for you just is to think about, in the fes­ti­val Art && Code: Homemade, sort of what we were think­ing of by homemade—and the cura­to­r­i­al advi­sors were also talk­ing to me about this, was not just nec­es­sar­i­ly home­made like you know, apple pie or some­thing like this, but real­ly that one would be mak­ing tech­nolo­gies for dif­fer­ent audi­ences. Perhaps in gift cul­tures or you know, tech­nolo­gies that one would make for one­self, one’s friends, one’s fam­i­ly, one’s com­mu­ni­ty, maybe even one’s ances­tors. And I won­der if you could speak to that notion of who the tech­nolo­gies are for in your think­ing about Afrotectopia and its try­ing to sort of instill or cre­ate a space for Black tech­no­log­i­cal imag­i­na­tion. Is this about help­ing cre­ate Black inno­va­tors who’re going to make tech­nolo­gies that are going to be mass-produced, or is it about sort of help­ing peo­ple cre­ate tech­nolo­gies for them­selves and their friends and fam­i­ly? Or is it sort of all of that? How do you imag­ine… Who con­sumes and pro­duces the tech­nolo­gies from these?

Melenciano: Yeah, I think it’s real­ly also one thing that I start­ed off the fel­low­ship with. You see the fel­lows in the lower-right cor­ner. It was ground­ing the work and mak­ing sure that they under­stand what Afrotectopia stands for. Which is one, that we under­stand and we believe that tech­nol­o­gy is mere­ly an exten­sion of human capa­bil­i­ty. So I think we def­i­nite­ly to get away from this idea that tech­nol­o­gy is syn­ony­mous with com­put­ing, and dig­i­tal­i­ty, like it has to be in the elec­tric form, but it’s sim­ply under­stand­ing that tech­nol­o­gy has always exist­ed around us. And it’s some­thing that’s been innate in things like ances­tral intel­li­gence and the way that indige­nous peo­ple have oper­at­ed with the land and worked with the land. So I think for one it’s mak­ing sure that it’s cre­at­ing a com­mu­ni­ty that under­stands their capa­bil­i­ty and agency, and under­stands that the way that their ances­tors have prac­ticed all along have been what we’ve need­ed for tech­nol­o­gy in gen­er­al going forward. 

But it’s also a space where were think­ing a lot about not assum­ing that black­ness is a mono­lith. Because as you can see with the fel­lows here, the fel­lows were com­ing from all over the world for one, and they have a lot of dif­fer­ent eth­nic­i­ties. So one of them was Haitian, anoth­er was French, anoth­er is Ghanaian. Like they’re com­ing from all over. And though we have this shared idea of an iden­ti­ty of black­ness, we have very dif­fer­ent under­stand­ings of what black­ness means and the ways that we engage in prac­tice with it. So it’s also cre­at­ing that kind of envi­ron­ment. But yeah, I think for,” who’s it for? It’s real­ly just for peo­ple that are inter­est­ed in being curi­ous, and explor­ing, and real­iz­ing new poten­tials and ways to express them­selves dig­i­tal­ly if they want to, or also out­side of dig­i­tal forms. But it’s real­ly just for peo­ple that are just curi­ous and want to learn more about the world. 

Levin: Another ques­tion com­ing from the chat is do you have places that you think would be most impact­ful to share this work, or that you fan­ta­size about like the goal, the holy grail would be to present this work? Like the ques­tion says, Would X audi­ence real­ly get it, or audi­ence Y at this place should real­ly be expe­ri­enc­ing this?”

Melenciano: Hm. That’s a real­ly— I don’t think I’ve ever been asked that kind of ques­tion. As I present these in all dif­fer­ent kind of spaces, I think the goal for me, like what I would love to do in pre­sent­ing the work of Afrotectopia is to present it to schools that are pre­dom­i­nant­ly Black. Like ele­men­tary schools and mid­dle schools and high schools that are pre­dom­i­nant­ly Black in their pop­u­la­tion. I think that excites me the most. Oftentimes this work I’m pre­sent­ing in areas that are more pre­dom­i­nant­ly white or some­thing else. So I think for me that would— Because that’s why this was cre­at­ed. I cre­at­ed this because I grew up as some­one that loved tech­nol­o­gy but was nev­er a tech­nol­o­gist, was more of an end user. So I nev­er saw myself in the space, at all. So this was cre­at­ed because we need to be able to see each oth­er and we need to know that these are things that we’re capa­ble of doing. And if we had access to it, these are the things that we would be doing. So just being able to see each oth­er is the most impor­tant part of it.

Levin: Yeah, some­thing I’ve told the speak­ers is to give the talk that you would like to see.

Melenciano: Yeah.

Levin: And it’s been said you know, you can’t be it if you don’t see it. And that can mean a lot of things, you know. In one case it’s sim­ply like the kind of way that you work across so may dif­fer­ent dis­ci­plines. I’ve men­tioned sev­er­al times in the fes­ti­val, this per­mis­sion to be hybrid, is so latent and embed­ded in your work. And to see of course many dif­fer­ent kinds of approach­es to tech­nol­o­gy being done here as well.

There’s a ques­tion on the chat about what’s in— This is less about Afrotectopia and more about the phys­i­cal things that you’ve shown. What’s inform­ing the aes­thet­ic choic­es you’ve made in your phys­i­cal work? Someone says, I’d like to hear more about the influ­ences and inten­tions behind the beau­ti­ful visu­al design lan­guage that you have across your work.” Where have you drawn from to make these?

Melenciano: I think uh… Well thank you. It’s a kind ques­tion. I think— I’m not sure real­ly where it comes from. I remem­ber being in art school in under­grad and I was always the only one that was using a lot of col­or and every­one else was kin­da using these min­i­mal, mono­chro­mat­ic kind of col­or palettes. And just hav­ing con­ver­sa­tions with oth­er peo­ple, and even just in my fam­i­ly, I real­ized that maybe it’s some­thing that’s more Caribbean or what­ev­er. My fam­i­ly is from the Caribbean. I’m Dominican American, so it could be that. Maybe it’s just kind of like a cul­tur­al thing that just kin­da comes in. Because for me col­or is real­ly impor­tant in cre­at­ing a space that just feels vibrant. I think it allows peo­ple to feel very excited. 

But yeah, I don’t know where the oth­er parts come—and I think it’s also just like this ances­tral intel­li­gence again, of the things that you kin­da do is just stuff that your…it’s just in your DNA, I guess. And for me pat­terns are real­ly impor­tant. I love to blend togeth­er dif­fer­ent pat­terned aes­thet­ics and cre­ate these new shapes and bal­ance between com­plex­i­ty and sim­plic­i­ty. So, I don’t know. I think it’s kind of a mix of that, just col­or and pat­terns are real­ly impor­tant to me.

Levin: I think this will prob­a­bly be our last ques­tion. It’s again from the Discord. Oh, there’s a cou­ple. But this one is where and when, or where and/or when, will there be oppor­tu­ni­ties to expe­ri­ence the Metamorphosis vir­tu­al space? And also, fol­low­ing on that, did you incor­po­rate any of the think­ing of the work of Dr. Nadine Burke Harris on ACEs, which is Adverse Childhood Experiences?

Melenciano: No, but I’m gonna write that name down. It sounds real­ly interesting.

Levin: It’s in the chat as well. So is there a plan to exhib­it, or for peo­ple to expe­ri­ence the Metamorphosis vir­tu­al space?

Melenciano: It’s live now. You could go to meta​mor​pho​sis​.fm and you’ll be able to move through the space. But in just being asked that ques­tion, I’ve nev­er real­ly thought about exhibit­ing it out­side of the web site, but I think that would be a real­ly real­ly real­ly cool opportunity.

Levin: And who are some peo­ple who are work­ing in tech­nol­o­gy for activism, or just oth­er tech­no­log­i­cal approach­es that you are intense­ly inter­est­ed in or that you feel aligned with, or whose work you admire and that we should look into? Do you want to give shout outs to anyone?

Melenciano: Oh there’s so many. There’s every speak­er that’s pre­sent­ing at Fractal Fête. You could look at that. And yes­ter­day we had Ash Baccus-Clark, and then the day before that we had Onyx Ashanti. So yeah, you could def­i­nite­ly look at that line­up and find a lot of them.

Levin: Thank you so much for shar­ing your ener­gy and work and objec­tives with us, Ari. It’s real­ly inspi­ra­tional and it’s real­ly impor­tant work for this kind of thing to hap­pen and for peo­ple to see it. It’s love­ly see­ing you again, and I hope you get to enjoy some more of the fes­ti­val, too.

Melenciano: Yeah, thank you for hav­ing me.

Levin: Thanks. We’re going to take a quick break, and at two o’clock, we will have Sarah Rosalena Brady. So we’ll see you all in a few minutes.

Further Reference

Session page