Digital arts and experimental media

Permanent URI for this collectionhttps://digital.lib.washington.edu/handle/1773/19678

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Bearing Weight: Memory, Data, and the Practice of Remembrance – Commit to Memory, Know It Will Perish
(2026-02-05) Rao, Althea; Psarra, Afroditi; Rosner, Daniela
In Bearing Weight: Memory, Data, and the Practice of Remembrance, I investigate how memory acquires material gravity across biological, technological, and cultural systems. Through critical theory and artistic research, I propose bearing weight as a way of knowing—a framework for sensing how knowledge is carried, preserved, and transformed through bodies and infrastructures. My dissertation exhibition, Commit to Memory, Know It Will Perish (July 3rd - August 9, 2025, Gallery 4Culture, Seattle, WA), serves as both culmination and method: a site where theory and praxis converge. The exhibition stages remembrance as a living system that merges microbial, digital, and human processes of remembering and forgetting, encoding text into bacterial DNA to explore how memory circulates, decays, and is reborn. Through this and related works, I examine how artistic practice performs theory—how making and doing become modes of thinking. I conclude by reframing artificial intelligence through an embodied ethics of care, proposing weight as both an artistic methodology and an ethical measure for future knowledge practices.
Disobedient Robots
(2025-10-02) Kisic Aguirre, Nicolas; Pampin, Juan
Disobedient Robots interrogates how robots can disobey their categorization as mere extensions of the human body to become bodies with agency themselves. Rooted in the notion of desobediencia tecnológica [technological disobedience], a term coined by Ernesto Oroza, the project responds to the productive and surveillance imperatives that drive most mainstream robotics, opening space for alternative forms of making, experimentation, and collaboration. It operates as both a research platform and a theoretical framework that has inspired the artworks I have created and will continue to develop.Two works, the Dispositivo de Realidad Mutada (DRM) and the AGNS Collective, serve as central expressions of this research. Emerging through recursive processes of building, failing, and reconfiguring, they explore the idea of a robotic "voice" as it unfolds through sound, movement, and collective behavior rather than anthropomorphic imitation. The project further extends into collective practices, including the Disobedient Robots Online Platform and the II Encuentro Internacional de Robótica Artística / Desobediencias Robóticas. Taken together, these dimensions affirm robotic art as an open-ended practice for reimagining our relationships with machines.
CollectionCam_DESERT: Live Feeds in Museum Collection Storage
(2025-08-01) Buchanan, Riah; Coupe, James; Rice, Tivon
CollectionCam_DESERT is an artistic research project exploring the connection between institutional and ecological precarity. It contrasts the controlled, closed system of museum storage with an adjacent, uncontrolled desert ecosystem. Both ‘landscapes’ are under threat, as changing climate and diminished funding portend an uncertain future. Storage is dark and rarely accessed. The desert horizon is mostly empty of infrastructure. CollectionCam uses live feeds to flatten the hierarchy between the remote environment of museum storage and the harsh desert landscape outside. It is in the collection, but it is also waiting to collect. The purpose is not to amass data, but facilitate a series of observations or impressions. The project waits for signs of permeability; it watches for a time when the walls break down. CollectionCam_DESERT is the first iteration of the CollectionCam project, which intends to expand into other institutions and ecosystems. Chapters 1 and 2 describe the aesthetics, ethics and objects in collection storage, and provide site-specific context for the project. Chapter 3 posits scientific monitoring as a model for observing collection storage, and proposes durational and institutional constraints as a methodology. Chapter 4 provides a theoretical background for speculative strategies in surveillance art and design and Chapter 5 presents storage as a speculative world.
MUTATE
(2025-01-23) Glogovac-Smith, Chariell S; Rice, Tivon C; Coupe, James
MUTATE is a speculative archive presented as an immersive theater performance that unfolded over two days in May 2024 at the Georgetown Steam Plant in Seattle, WA. Drawing on Saidiya Hartman’s "critical fabulation" theory, MUTATE reimagines an archive that centers black subjects and black cultural practices. It explores the intersections of black embodiment and new media art, informed by Tina Campt’s concept of Black Gaze, Kim Gallon’s "technology of recovery," and Stephanie Dinkins’ "Afro-now-ism." MUTATE integrates sound, video art, video projection, still images, animation, installation, and live performance to evoke themes and narratives. This dissertation critically examines the fraught history and current tensions between technology and embodied experiences, highlighting issues of racism, bias, erasure, and oppressive systems pervasive in the design, algorithms, and applications of new media art. It contends that the normative gaze, a foundational element perpetuating these issues, is closely intertwined with institutional archival practices. Through this analysis, an argument is made for approaching digital art outside of normative theoretical contexts to create the work with digital tools but guided by black scholarship. MUTATE is the practical summation of this approach.
Placemaking in Marginalia: Orality-literacy Fluctuations as Praxis for Extended Reality Performances
(2024-10-16) Luna Castillo, Laura Estela; Karpen, Richard
Placemaking in Marginalia is a theoretical-practical research on experimental Extended Reality technologies for live performances and non-linear narratives. Situated at the confluence of experimental applications of spatial computing, algorithmic theatre and Machine Learning (ML), it leverages a comparative study across oral culture structures, medieval approaches to textual technologies, media interfaces, orality-literacy metamorphoses, intertextuality and systems of extreme variability to elucidate creative parallels and set forth an interdisciplinary methodology for theorizing and developing virtualities and hyperrealities in the form of hybrid live performances for dancers, actors and algorithms. This encompassed the development of two instances of applied research and pedagogy: All Coding is Always Transcoding, a week-long dynamic research laboratory and Enclavados Todos Juntos, a live performance, both taking place at the Meany Center for the Performing Arts in Seattle, in April and May of 2024.
M(ol)AR HYBRID LANDSCAPE
(2024-10-16) Agosin, Esteban Yose; Pampin, Juan
"M(ol)AR, HYBRID LANDSCAPE" is a site-specific, durational installation that emerges from research on antenna design and fabrication, radio exploration, and machine listening. This dissertation is an outgrowth of a series of artistic projects I developed at DXARTS, University of Washington, between 2020 and 2024.This project revolves around fundamental questions: What is the role of technology in the paradigm of the Anthropocene? What possible futures can we speculate about by understanding and learning from nature's intelligence? The installation is a fictional and hybrid landscape, a convergence of technological elements with natural ones: objects, sculptures, plastic, wires, speakers, computers, rocks, creatures, fluids, motors, and sensors. It juxtaposes electricity and water, plastic and salt, copper and sand, sound and objects, the inaudible and the invisible.
Vanishing Portals
(2024-09-09) Peterson, Daniel Martin; Karpen, Richard
Vanishing Portals is a 3D music composition made in the acousmatic tradition of sounds which are heard but not seen. The following document is an attempt to capture the compositional processes, the artistic, historical, and technical, that are intertwined, and sometimes ephemeral. The writings weave self-reference in art, self-similar structures in macro- and micro-sound, the infinity of space, and the techniques of spatial sound design using ambisonics.
Western Panorama
(2024-02-12) Tavaglione, Breana; Karpen, Richard
This document provides a comprehensive view into the research trajectory and composition process culminating in Western Panorama (2023), an electroacoustic composition reimagining of the Western film genre exploring scale, proximity, and perception. This dissertation discusses the trajectory of work on a documentary inspired piece that conveys the vastness of a desert landscape through intimate listening. It explores the challenges of working with scale, maintaining consistency across listening devices, conveying a sense of intimacy and immersion, as well as the use of sound characters, silence, and spatial audio techniques to achieve this.
Hertzian Fields: Exploring WiFi microwave signals as a spatial and embodied sensing medium for art
(2023-04-17) Manousakis, Stelios; Pampin, Juan
This dissertation is centered around a series of three artworks (Hertzian Fields) that explore WiFi as a spatial and embodied sensing medium. These works use a new sensing technique developed by the author that leverages the interference of the human body on WiFi signals to create highly responsive live performance and interactive systems. Hertzian Field #1 (2014) is an augmented reality immersive environment using sound to explore the materiality of WiFi communication through its interaction with space and the human body. Hertzian Field #2 (2016) is a 20'-25' augmented reality immersive performance for solo performer, WiFi fields, computers and surround sound that conjures a phenomenology of the hertzian medium explored through sound and movement. The Water Within (Hertzian Field #3 and #3.1) is a reactive wet sauna: an intimate multi-sensory environment of complete immersion, combining WiFi sensing fields, machine listening software, embedded 3D sound, hot steam, and architectural design. Steered by the flows and variable densities of water molecules traced in steam and bodies by (ab)using WiFi, it creates a regenerative post-relational experience that celebrates interference, signal-loss, and disconnecting. The piece exists in two iterations and formats: an interactive installation (2016) and a composed interactive experience (2018). The dissertation describes the author's conceptual and technical approach in using WiFi microwave signals as an artistic medium. It also examines the background, context, ideas and research processes that led to the creation of these works. In doing so, it lays the foundation for developing a better and deeper understanding of microwaves and WiFi signals, investigates their artistic potential, and discusses related approaches by other artists. Chapter One (Introduction: The hertzian medium) introduces core ideas and concepts regarding the medium. This includes: a discussion on the impact of wirelessness in contemporary living and how it has transformed our interactions with and understanding of the world; an overview of the physics of electromagnetism and the electromagnetic spectrum; and an investigation of the hertzian (i.e. radio and microwaves) as a multilayered medium consisting of seven interconnected layers: physics, science, imagination, engineering, use, impact, regulation. Chapter Two (The birth of a medium: Energy becomes technology) introduces a media archaeological approach as a method for grasping what the medium affords, and how our imagination of what we can use it for has developed over time. It presents an overview of key developments in hertzian science, imagined and realized applications, and their impact. This chapter focuses primarily on the early years around Heinrich Hertz’s discovery of electromagnetism, looking at the birth of wireless technologies relevant to the Hertzian Field series: communication, broadcast, hacking and electronic warfare, navigation, meteorology, radio astronomy, and radar, before closing with a section on the development of WiFi. Chapter Three (Radar and Direction-Finding in sonic art and beyond) surveys musical instruments and artworks based on spatial and/or embodied uses of the hertzian as a sensing medium. The emphasis is on sound-centric practices and specific technologies that have been used to this extent: from capacitative / electric field sensing, to musical instruments utilizing direction-finding principles, to spatial uses of broadcast radio, to doppler radar systems. Instruments discussed include: Theremin and Terpsitone; Pupitre d'Espace; Radio Baton; Marimba Lumina. Artworks by the following artists are examined: Max Neuhaus; Edwin van der Heide; Christina Kubisch; John Cage; Philippa Cullen; Liz Phillips; Sonia Cillari; Tetsuo Kogawa; Anna Friz; Edward Ihnatowicz; Steve Mann; Joe Paradiso / MIT Lab; Arthur Elsenaar; Godfried-Willem Raes. Chapter Four (First hertzian explorations: From the network to the body, from WiFi to Radar) turns to the author's own work. It presents the first phase (2010-14) of his research trajectory on the hertzian medium, and introduces three projects in which he explored WiFi and broadcast radio. Chapter Five (Ubiquitous sensing with radio waves and microwaves) dives into the technological context influencing the author's research. It introduces the field of Ubiquitous Sensing and discusses relevant localization and device-free sensing techniques, concluding with a discussion on the physics and biological factors involved so as to comprehend how and why such techniques work. Chapter Six (Wireless Information Retrieval: Sensing with WiFi signals) presents the device-free WiFi-sensing technique that the author developed for the Hertzian Field series. Combining elements from Ubiquitous Sensing and Music Information Retrieval, this technique performs multi-layered feature extraction on the Received Signal Strength Indication (RSSI) of WiFi Beacon frames to deduce a variety of information related to the movement of uninstrumented bodies, and to changes in environmental factors (e.g. humidity). Chapter Seven (Composing Hertzian Fields) discusses strategies for creating works with this technique, and examines the three works of the Hertzian Field series in detail. It finally touches on ideas for future work by the author.
Remembrance: Magma
(2022-09-23) Choi, Chanhee; Psarra, Afroditi
Remembrance: Magma is a 3D animation displayed in an immersive video installation that addresses the imaginaries of a mind as it is dying of dementia. The work was exhibited at The Jack Straw Gallery in Seattle through a solo show in April to June 2022. Remembrance: Magma incorporates machine learning, cutting-edge research on the aging brain, East Asian crafting aesthetics, and Korean shamanic traditions as it examines the nature of the brain as a sensor that desires data even as it slowly fails. Culturally intersectional, Remembrance explores world-building through the poetic and painful processes of memory degeneration.
Mežs
(2022-01-26) Vitols, Rihards; Psarra, Afroditi
“Mežs” is an artistic research project that explores the use of artificial intelligence (AI) and machine learning (ML) algorithms in generative art. This dissertation project, namely, investigates how creating a custom training dataset, which is an ML system, can generate audiovisual and textual material that can form the basis of the artwork itself. The dissertation consists of a series of artworks: the first work is an interactive online archive of trees and their soundscapes; the three future iterations are a time-based works that demonstrate how the world could look like with the new generated tree species; an augmented reality iteration; and a book archiving all the previously generated materials.In my dissertation, I am researching a repertoire of artists who created their works with the help of AI, and specifically on artworks that deal with artificial ecology, speculative futures, and critical design. The research of my dissertation investigates artists creating art machines and speculative futures, collaborating with generative organizations and artificial life in the field of critical ecologies.
Return
(2021-10-29) Hogan, Adam; Karpen, Richard
This document is a collection of writings that serves as an exploration of the ingrained interconnections between art and technology framed through the moving image. It examines a selection of my experimental films, installations, and cinematic meditations via my own research practice heavily embedded in the formal cinematic, several years of field research, development, and contexts around Return, my dissertation project.
Large String Array
(2021-07-07) Fraser, Cameron; Pampin, Juan
University of Washington Abstract Large String Array Cameron Fraser Chair of the Supervisory Committee: Professor Juan Pampin Digital Arts and Experimental Media (DXARTS) Twelve hundred piano strings reach from floor to ceiling in Large String Array, turning the whole of Jack Straw New Media Gallery into an automatic instrument. An ensemble of synthesized voices playback over the array of strings, for a seventeen minute song cycle. Custom high-gain amplifiers and contact microphones were developed to listen in to faint transmissions of daily life during the pandemic of 2020. Large String Array reimagines this cloistered soundscape as a tone poem transfigured through the seventeen by twelve foot array of steel wire. This document outlines the technical and conceptual development of Large String Array. First, addressing research and artistic inquiry, the results of which culminate in an installation at the Jack Straw Cultural Center in Seattle Washington in September of 2020. This is followed by a historical argument of the work, detailing the confluence of diverse sound practitioners to whom Large String Array is indebted. Next, the core of the paper details the creation of the Large String Array, from its conception to installation. Finally, conclusions and future iterations will be addressed.
Illusion: An Instrument Propelled by the Mind
(2021) Kang, Haein
This thesis describes Illusion, a performance-based sound installation that explores the mind's obscurity employing brain-computer interfaces. The doctoral study investigates the correlation between the human mind and brain waves through interdisciplinary research encompassing neuroscience, computer science, philosophy of mind, and early experimental arts. Furthermore, it presents an audio-visual system that enables both real-time performance and sound installation by simultaneously manipulating images and sounds by selecting particular brain waves. This study results in creating artworks and engaging the public with the new brain-computer interface variant. This project creates art by designing artistic representation instruments using the brain-computer interface, a direct communication channel between the human brain and the machine. It advocates a neurologic view of the correlation between the human mind and brain waves and pursues Cybernetics’ ideal, the co-evolution of humans and machines. Human beings and machines' mutual prosperity through art creation also inherits the vision of early experimental artists who attempted to converge art-oriented science and technology.
So near, So far
(2020-08-14) Yoo, Sangjun; Coupe, James
This paper is intended to elucidate and analyze artistic practice performed during my doctorate study based on observations of the screen as a receptive surface where the invisible becomes visible and perception and imagination combine. The screen reveals the process of the human mind on perceiving specific things in between a variety of appearances and the endless desire and self-experience that drive one’s perspective to somewhere over physical distance, somewhere we can see our progressions in time. Within the scope of the correlation between screen and space, screen-based works will be revisited through its emergent relationship with the spectator, where the spectator encounters the new materiality of the screen and produces a new subjectivity of affirmation. Furthermore, the paper explains the medium and interactive system used in new media artwork where found footage, computer-aided, real-time visualization, and new possibilities of expressions are visible. Based on an interpretation of Paul Virilio’s theory of dromology (the logic of speed), my dissertation exhibition investigates how one relates to moving images and then seeks to identify modes of associations among ideas that occur in reality. The exhibition aims to expand the perception of existence by implementing screens that become temporal and spatial and are then vitalized through fusion and exchange with real-space parameters such as distance, scale, speed, and directionality.
Natural Individuals: Extro-Categorized Arts after the Internet
(2020-08-14) Her, Yun Mi; Coupe, James
The current dissertation points out that Internet platforms promote ‘individual homogeneity’ for easy control. This paper focused on how an individual’s view of social justice and cultural diversity could be acquired against the Internet platform’s surveillance system. Through my recent exhibition Natural Individuals in Seattle, which consists of VR Mobile Application, Metamorphosis into Self-resemblance (2020) and Generative Sculptures, The Space Beyond Recognition (2020), I reveal that the structure of Internet platforms limits individuals to think an object excessively in the category formed by ‘sharing and similarity’. Artworks of ‘Net art’ that inherited an artistic context from an avant-garde movement, dismantling and exploring the Internet medium, are researched in this dissertation. For theoretical reference, I used ‘resemblance of representation’ by Michel Foucault, ‘multiple being’ by Alain Badiou, ‘out of human-centered cognition’ by Quentin Meillassoux and ‘digital swarm’ by Byung-Chul Han. In Chapter 1, I criticize that internet platforms have a surveillance system disguising with communication, and it provokes ‘individual homogenization’ in cultural and social aspects. I point out that ‘similarity,’ a major methodology to form an Internet platform’s structure, leads to standardization of individuality. Individuals are categorized by similarity, form ethnic-network, and become labors producing data that are easy to process in the digital surveillance system for consumption encouragement. The surveillance system includes aggregate and statistical analysis, self-referentiality search results, recommend system reflecting major tastes, and their algorithms create an invisible framework to close the possibility of individuals’ diverse cultural preference and subjective identity. In Chapter 2, Net art combined with Net.art (net-dot-art) and Post-Internet will be researched to find ways to improve the Internet platform’s surveillance system ethically and aesthetically rather than trying to deviate from the system. Selected artworks in Net art show representative methodologies of avant-garde art movements like uncertainty, randomness, a collection with heterogeneous objects, media-translation, and annihilation. These methodologies are also analyzed in Chapter 2. In addition, the artworks intend to reflect changes in social and cultural awareness after the Internet and to dismantle and criticize the limited structure of the Internet environment. In Chapter 3, the two artworks in my dissertation exhibition, Natural Individuals, are explained. Metamorphosis into Self-resemblance (2020) is a mobile virtual reality application that plays back videos and sounds according to a viewer’s gaze. In Scene 1, the interactive mechanism works only on the waterfall of the pond, which looks real. To progress to the next scene, viewers have to fix their eyes to the waterfall, reminding viewers’ immobile single eye in front of the illusion made with a linear perspective. The viewer’s gaze moves to the next scene chasing the ladybug and wanders among miscellaneous images associated with a ladybug. In the last scene, the gaze cannot find the original ladybug missing in the previous scene and eventually transforms into the ladybug itself and disappears from the darkness. The narrative of Metamorphosis into Self-resemblance indicates that an object’s authentic identity can never be reached in the chain of representations moving from one resemblance to another. The Space Beyond Recognition (2020) is created from the three-dimensional arrangement of similar images obtained by searching for a specific keyword in an Internet search engine. These generative sculptures reveal the insignificant morphological information of a particular object that was lost on the web. A ladybug that has one side of its body, ammonites that still have its patterns but lost its three-dimensionality, and a conch shell with a free form except for the horns located at specific positions are examples. Their morphological metamorphosis implies that image data on the Internet is biased and limited to human-centered recognition. Lastly, in Chapter 4, my future direction after Natural Individuals includes generating ‘autonomous simulation’ artworks created with pure mechanical processes, including image training set. Classification of a new machine separated from the human realm is necessary to maintain the machine’s neutral decision. In conclusion, I emphasized that through the ‘pure mechanical category’ in the internet environment, we can find the possibility of social and cultural progress without any limitation and bias that the internet platform could lead.
The Final Image: An Artwork and Techniques in Immersion
(2019-08-14) Jarmick, Martin; Karpen, Richard
The Final Image is a virtual reality (VR) artwork combining spherical stereoscopic images, interactive interludes, 3D soundscape, and voice-over narration. Viewers use a head-mounted display (HMD) and a hand-held controller to navigate 3D spaces and activate portals into immersive narrative vignettes. The piece takes the form of a cinematic visual-sonic poem about fragmented recollections of home, and an inner journey of reassembly and clarity. The project is regularly updated and publicly available on the internet where it can be downloaded and viewed using the appropriate virtual reality hardware. This document supports the production by describing a framework for narrative immersion in the artistic context. Works of art in cinema, painting, music, video installation, electronic games and literature are presented as influences for The Final Image, and in addition, media theory and philosophy lay a foundation for the phenomenological structure of immersion with both subjective and spatial dimensions. Discussions of artworks and concepts weave in the document and reflect the non-linear relationship of thought and practice present in The Final Image.
Silicone Love - Her Garden
(2019-08-14) Shao, Chun; Karpen, Richard
Silicone Love – Her Garden is a mixed media installation representing a conceptual figure: an Internet ghost. It is a metaphor applied to the explore aesthetic properties of online videos. The work emphasizes on deeming web-based footage as an atmosphere rather than a single visual object as in film. A result of studio-based practice, the installation consists of eight video mapped hanging sculptures and a surrounding sound system. Inspired by the form of the Chinese garden, the work revives the ancient architectural theory termed Borrowed Scenery. A circular frame is applied and variated to create rhythms of seeing in relation to distance, perspective, and changing lights. The sculptures, moving images, and sound spatialization are structured to encourage playful voyeurism. The narrative structure approaches YouTube as an ever-growing database of lifelike videos. Applying both digital and traditional hand crafting techniques, the “ghost” is then realized as a hybrid form of soft sculpture creating volume from projected light. This work transforms online footage into a fictional site, triggering poetic meanings in a viewer’s mind.
The Dialectics of a Machine
(2018-07-31) Lee, Inmi; Coupe, James
The Dialectics of a Machine is a four-channel video piece that explores the potential of fiction to question our social expectations, including their systems, functions, and worth. The video documents speech therapy sessions with people with varying speech barriers, from someone who’d had a recent throat surgery to someone speaking English as a second language. The issues each person is trying to correct are not clearly identified in the video. They go through individually designed speech and bodily exercises with a professional speech pathologist to reduce their impediments. When the speech pathologist introduces a fictional machine that could correct their speech problems, the patients’ honest responses to the correction device reveal their personal stories, including self-perceived identity and power. The video leads the audience to shift their attention from the patients’ problems to the system (therapist and the machine) that encourages them to acknowledge their speech impediments as problems. Additionally, the video exposes the strong tie between each patient’s speech and their life on various levels. Chapter One provides an introduction to the relationship between art and reality in history of art. Chapter Two expands on art based in reality, particularly through the effectiveness of storytelling in traumatic and political art with fact and fiction-based approaches in the construction of narrative and for the authentic experience of the audience. This chapter looks at works by Abbas Kiarostami, Omer Fast, and Walid Raad in depth to study the artistic methodologies used by them. Chapter Three discusses the thematic research of the dissertation, the methodology adopted from the short introduction moving image to Andrei Tarkovsky’s movie The Mirror, and looks at two art experiments and various processes taken to arrive at the dissertation piece. Finally, the dissertation concludes with the future directions for the project and reflections on the body of work as a whole.
Machines for Living
(2018-04-24) Twomey, Robert; Pampin, Juan C
This thesis describes A Machine for Living In, a digital media artwork using newly available computational and sensing tools to study the home as a site of intimate life. The title invokes Le Corbusier's modernist framing of the house as a machine to interpret the promise of contemporary smart home technologies. The project has two distinct phases: the construction and inhabitation of a functional smart home system, followed by an exhibition of processed data as a multi-part digital art installation. In a process of joint human-machine authorship, this system produces a complex portrait of the home: as a space of language, intimacy, bodily practice, and quotidian narrative. Compositionally, it contrasts utopian illusions of beautiful, frictionless utility with artistic strategies generating insight into the messy, material realities of the everyday. The thesis begins with three key frames of reference for the work in Bachelard's topoanalysis, critical engineering design, and site-specific and systems-oriented arts production. It describes early projects pursing the psychological study of intimate life, leading to the current work. It recounts the conceptual and technical development of A Machine for Living In, and discusses the composition of the resulting exhibition. The thesis concludes with a speculative framing of this research as a kind of introspective design: a hybrid practice of targeted inquiry to provide insight about both human and machine.

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