reileywilliamsDESMA9

     Last weekend, I tried the 24-Hour Unplug Challenge. I turned off my phone, laptop, and TV, and kept a notebook nearby to jot down any thoughts. I definitely felt weird at first. I kept reaching for my phone without thinking, which made me realize how automatic it’s become. It reminded me of what Victoria Vesna said about how technology becomes an extension of us without us even noticing (Vesna).      After a few hours, I started to settle in. I finally finished a book I'd been meaning to read for months — something I probably wouldn’t have gotten around to if I had my phone around to distract me. It made me think about the idea we read from Casini about MRI scans acting like "self-portraits" (Casini). Disconnecting made me notice my own patterns and thoughts more clearly, like a version of self-reflection without needing a screen to do it.      Later, I went for a walk without any music or podcasts. It was surprisingly calming. It remind...

     This week's materials prompted me to reconsider the profound ways in which medical technology shapes not only healthcare practices but also broader expressions of identity, memory, and human experience. Silvia Casini's essay on MRI scans was particularly impactful. She frames MRI technology not merely as a diagnostic tool, but as a method of visualizing the body—almost akin to creating a portrait (Casini). This perspective expanded my understanding of medical imaging as an expressive and performative medium rather than solely a clinical instrument. Figure 1: Justine Cooper, RAPT I (1998), MRI video installation. (Image source: QAGOMA Learning)      Artists like Justine Cooper further highlight this idea. By incorporating her own MRI scans into her video work, Cooper transforms clinical data into deeply personal visual narratives. Similarly, Laura Splan’s "Embodied Objects" series reimagines sterile medical imagery as intricate textile sculptures, promp...

    The intersection of industrialization, robotics, and art has transformed how we define creativity and authenticity. This week, I was especially drawn to Walter Benjamin's essay, "The Work of Art in the Age of Mechanical Reproduction," which explores how mass production strips a work of its "aura" — its originality and ritual value (Benjamin). When art is copied and distributed, it loses its historical uniqueness.      Douglas Davis expands on Benjamin's argument in "The Work of Art in the Age of Digital Reproduction," explaining that the line between original and copy has blurred to the point where even the "authentic" becomes unstable in digital space (Davis). Our interactions, likes, and shares become part of the artwork itself.      Arduino and Raspberry Pi are modern tools that allow artists to create interactive pieces using code and robotics (Arduino; Raspberry Pi). These platforms, along with Adafruit and Bantam Tools, empower ...

    This week’s exploration of mathematics and art challenged my assumptions about math being purely logical or rigid. Instead, I learned that math has long been a foundational tool for creative discovery—shaping how we see, structure, and imagine the world.      One key insight came from Matila Ghyka’s The Geometry of Art and Life , which shows how the Golden Ratio and geometric patterns have historically guided artists and architects in their pursuit of visual harmony (Ghyka 22). This reading made me realize that math isn’t just applied to art—it’s embedded within it. Leonardo da Vinci’s Vitruvian Man , for example, isn't only a drawing—it’s a demonstration of mathematical ideals manifested through the human form.      Charles Csuri’s early computer-generated works, like Random War , amazed me in how they translate algorithmic logic into visual form. Csuri's work emphasizes that even machines, with the right code, can be used to explore ran...

    Hi everyone! I’m a Public Affairs and International Development Studies double major—so I live almost entirely on UCLA’s North Campus. My academic path is deeply rooted in the humanities, where I’m drawn to big-picture questions about equity, justice, and systems of power. I’ve never felt particularly connected to the sciences taught on South Campus, and this course is helping me better understand why that disconnect exists—and why it matters.      UCLA physically reflects the “two cultures” that C.P. Snow described. The first image of North Campus—with its brick buildings and relaxed atmosphere—feels warm, reflective, and rooted in history (UCLA Newsroom). The second image of South Campus is sharp, clean, and buzzing with busy energy (UCLA Capital Programs). To me, North Campus values questions and creative thought, while South Campus feels more focused on productivity and precision.      C.P. Snow, writing as both a scientist and novel...