These days, the idea of the cyborg is less the stuff of science fiction and more a reality, as we are all, in one way or another, constantly connected, extended, wired, and dispersed in and through technology. One wonders where the individual, the person, the human, and the body are-or, alternatively, where they stop. These are the kinds of questions H‚lŠne Mialet explores in her book "Hawking Incorporated: Stephen Hawking and the Anthropology of the Knowing Subject", as she focuses on a man who is permanently attached to assemblages of machines, devices, and collectivities of people: Stephen Hawking. Drawing on an extensive and in-depth series of interviews with Hawking, his assistants and colleagues, physicists, engineers, writers, journalists, archivists, and artists, Mialet reconstructs the human, material, and machine-based networks that enable Hawking to live and work. She reveals how Hawking-who is often portrayed as the most singular, individual, rational, and bodiless of all-is in fact not only incorporated, materialized, and distributed in a complex nexus of machines and human beings like everyone else, but even more so.

Labyrinth of Infinite Doorways .
Possibilities for expanding consciousness and its relationship to time, parallel realities, and other dimensions have been the driving forces for almost every creative project of mine since I was a child. My current body of work "Labyrinth of Infinite Doorways" is a visual point of access for places and times I have envisioned within our current frame work of knowledge about the universe and evolution. Through painting I am able to create conjectures for unanswered questions such as how life and consciousness came into existence, how we resolve our current sociological, economic, and environmental issues, what other life forms are possible both biological and technological, how will life, including humanity, continue to evolve and how can we influence it, how will the universe change in the distant future, how significant is the relationship between physics and biology, and does a link between science and spirituality exist that can absolve the distinction between them? I feel that clear and precise imagery can communicate the possibilities for these questions, therefore I spend a great deal of time including detailed visual information in my paintings in order to accurately represent what I imagine as these possibilities. It has become evident that a common thread between all of my paintings is revealing itself. A story about the history of the future is being unveiled which I am now working toward communicating in written form. I'm developing the idea that life could be interwoven across our perceived boundaries of time, and that a delicate balance exists that the universe depends on to function and evolve. I realize that I'm working within the current human condition's limited scope of knowledge and sensory awareness, and understand that there is only so much that anyone can imagine in our current level of development. However, I continue to seek new ways to push those limits of perceptions through visualizing the possibility that life will continue to prevail and to permeate the universe for billions of years until all matter with in it has transformed into living and conscious interconnected tissues and atmospheres.

Superhuman Artificial Intelligence.
Technological revolutions shape our world more than anything else, and superhuman AI will be the most transformative technological revolution of all. But will this revolution be positive or negative? Will it be more like modern medicine or the atom bomb? Several considerations suggest that superhuman AI will, by default, have negative effects on humanity. To ensure that superhuman AI impacts us positively, we should invest in AI safety research today, so that AI safety research outpaces AI capabilities research.

Cinematic shadows and stereoscopic objects.
Shadows are as old as the sun, ubiquitous and each of us possess our own. Used as a tool for storytelling- giant cinematic shadow theater is a form that is both ancient and appealing to modern theater going audiences. I will discuss how this expressionist form draws us in to complete its simple gestalt. I will show examples of how the form has been utilized to communicate stories that appeal to the psyche and/ or communicate ontological or phenomenological themes. I've invented a light that casts 30' 3D stereoscopic images and am working to find meaning in the form and to create an intimacy with the image beyond the novel or gimmick use of 3D. I will demonstrate the light and discuss immersive theatrical events in which I am using it.