October Fire,
2026
Cal Poly San Luis Obispo
Forever Fourteen In Fourteen Lines,
2026
Cal Poly San Luis Obispo
Root Canals,
2026
Cal Poly San Luis Obispo
¿Por Qué Español?,
2026
Cal Poly San Luis Obispo
There Are Two Girls Playing Inside The Hagia Sofia,
2026
Cal Poly San Luis Obispo
There Are Two Girls Playing Inside The Hagia Sofia, Aydin Gulle
Intertidal
No abstract provided.
The Mourning After Christmas,
2026
Cal Poly San Luis Obispo
Hear Everything,
2026
Cal Poly San Luis Obispo
I Am A Pressure That Builds,
2026
Cal Poly San Luis Obispo
A Letter To My Mom,
2026
Cal Poly San Luis Obispo
25₵ Per Minute,
2026
Cal Poly San Luis Obispo
Chasing Mavericks,
2026
Cal Poly San Luis Obispo
Rising Swan,
2026
Cal Poly San Luis Obispo
Moonrise,
2026
Cal Poly San Luis Obispo
New Old Things,
2026
Cal Poly San Luis Obispo
Big Eyes,
2026
Cal Poly San Luis Obispo
Post-Credit Scene,
2026
Cal Poly San Luis Obispo
Tùn-Scene And A-Futurism: Biomythography, Opacity, And Posthuman Imagination,
2026
Rhode Island School of Design
Tùn-Scene And A-Futurism: Biomythography, Opacity, And Posthuman Imagination, Minglu Du
Masters Theses
Grounded in the author’s position as a Chinese feminist, this thesis examines how East Asian women, as well as East Asian-coded femininity more broadly, are objectified and othered within futurist visual culture in the age of artificial intelligence. Through an engagement with ornamentalism, techno-Orientalism, and posthumanism1 , it argues that the persistent figure of the feminized humanoid cyborg continues to reproduce colonial and patriarchal structures of desire, rendering marginalized bodies as fetishized and violable surfaces. In response, the thesis develops Tùn-Scene, a biomythographic artistic framework and the first experiment in what the author provisionally names A-Futurism. Drawing on Donna Haraway’s …
Auxiliary Damage,
2026
Rhode Island School of Design
Auxiliary Damage, Aiyi Cheng
Masters Theses
AuxiliarY DamagE asks what happens to pain when it is moved outside the body and given material form. Pain is not treated here as an image to be represented, but as something processed through repetition, pressure, exposure, and care. It is handled. Washed. Arranged. Pulled out. Swallowed back in.
Hair became the material that allowed this question to stay unstable. While attached to the body, it is intimate and ordinary. Once detached, it becomes residue, evidence, discomfort, value, and loss. In the studio, I washed collected hair, untangled it, threaded it through metal, placed it near flame, held it in …
1, 2, 2, 1, 1, 2, 1, 2, 2, 1, 2, 2, 1, 1, ...,
2026
Rhode Island School of Design
1, 2, 2, 1, 1, 2, 1, 2, 2, 1, 2, 2, 1, 1, ..., Annemarie Torresen
Masters Theses
1
I invite you to see it and feel it and sit in it and breathe it in and
hold it in your lap. Art isn’t too scary, and neither is math.
2
bouncing between bounds of a binary
bippity boppity! let’s break brains and bread
balance or belly flop, what’s mine is yours:
bumptious and bumbling and barely able
i offer it broken and let you like it that way
41.82379°N, 71.38497°W,
2026
Rhode Island School of Design
41.82379°N, 71.38497°W, Xiaotong Cai
Masters Theses
I, Xiaotong Cai, have known an abandoned bridge was lifted and stuck at 64-degree from 1976. I have walked and bent down towards it for over 60 times, each paralleling a journal entry. The visits and 27,351 words (up until May 5th) are the living proof: observation, encounters, correspondence, collectively and personally. It’s been nine months since it emerged in flux. Two flesh. A moving outsider and a still bridge. How can an Unused giant activate a human body? Who is the attractor and intervener?
Here, my solution is to conduct a series of small gestures. I say, interpreting without …
