Choi Sin-yi (Emilie) is a researcher, writer, and curator based in Hong Kong. Her endeavors span academic research, art criticism, and curatorial initiatives. She is currently pursuing a doctorate at the School of Creative Media, City University of Hong Kong, focusing on the role of elemental media and infrastructure that underpin smart cities in East Asia. It delves into the invisible networks and environmental impact of information systems and techno-politics.
Her research interests primarily revolve around media and technology studies, with a particular focus on two key areas. The first area explores the entanglement of media and the environment through critical infrastructure studies, including eco-media, urban media, environmental and energy humanities. The second area examines digital culture within the framework of art and technology in creative industries, encompassing topics such as film and visual culture, new media and digital art in East Asia, as well as media economy and platform studies.
Her study has been selected for international conferences and symposiums, such as Society for Cinema and Media Studies 2024 conference, Association for Asian Studies 2022 and the EYE International Conference 2022. She contributed a peer-reviewed chapter in the book The 70s Bi-weekly: Autonomous Media, Social Activism and Alternative Cultural Production in 1970s Hong Kong, published by HKU Press in 2023. Her first peer-reviewed journal paper is published on Modernism/modernity Print Plus in 2024.
Her writing has been published extensively on media platforms across Hong Kong, Taiwan, and China. She has also participated in a wide range of roles, including as a board member of Videotage, a leading Hong Kong-based institution promoting and archiving video and new media art; member of the Floating Projects Collective, an independent experimental site of collaborative-individuated art practices; and board member of Unlock Dancing Plaza, a forward-thinking and adventurous contemporary dance companies in Hong Kong.
As creative outputs and social engagement stemming from her research, she has been a guest curator of Jumping Frames – Hong Kong International Movement-image Festival (including screening and exhibition at Tomorrow Maybe, Eaton HK), independent curator of Hong Kong Retrospective Documentary Film Festival: From 80s to 1997, Docuthon, Macao Experimental Cinema, and Nothing has Happened. She has been selected for the Curatorial Program for Research 2023: (RE)PRESENTATION IN THE NORDICS.
Lately, she has participated in Yamagata Film Criticism Workshop 2023, Yamagata International Documentary Film Festival and the PhD research workshop Content/Form at transmediale 2024, co-organized by SHAPE Digital Citizenship and Digital Aesthetics Research Center (Aarhus University), and the Centre for the Study of the Networked Image (London South Bank University). She has published a peer-reviewed article revolving around the history of artistic practice and infrastructure stemming from East Asian media technology on a newspaper and has delivered a presentation at transmediale corresponding to the workshop.
蔡倩怡是居於香港的獨立研究者與策展人，並為香港城市大學創意媒體學院的博士候選人，研究東亞的智慧城市論述中的基建及要素媒介，並藉以探索技術政治與信息系統中的隱形網絡與環境影響。其研究興趣圍繞媒介及科技，並主要分為兩部份。一是通過批判性的基建研究來探討媒介與環境的糾纏關係，包括生態媒介、城市媒介及環境與能源的人文討論。二是與創意工業相關的藝術科技及數碼文化，包括電影及視覺文化、東亞的新媒體及數位藝術、媒體經濟及平台研究等。她的研究在多個學術會議中發表，其研究文章被收錄於《《70年代雙週刊》：香港七十年代的社會運動和另類文化生產》（香港大學出版，2023）一書及Modernism/modernity Print Plus學術期刊。她亦是錄映太奇與不加鎖舞踊館的董事，以及據點。句點的成員。她多年來策劃不同形式的影像及藝術項目，曾策劃《香港紀錄片回顧展：從80年代到97》專題影展、澳門實驗影展及《什麼都沒有發生》項目。她近年擔任跳格國際舞蹈影像節的研究團隊成員及客席策展人，並為香港真實影像協會始創成員之一。她亦獲選為「策展研究駐留計劃：再現北歐」計劃（2023）、山形國際紀錄片影展影評工作坊（2023）及柏林媒體藝術節transmediale的研究工作坊，並於transmediale發表及出版。她亦曾任文化版記者，並持續書寫評論，於中港台等地刊載。
Current:
16/3/2024 [Presenter] “Video art or video activism: A Comparative Study of Participatory Media and Collective Formation in Hong Kong and Taiwan in the 1980s”, in the panel of Revolutionizing The Screens: Emerging Media and Everyday Activism in Chinese Societies across the Pacific, organized by the annual conference of the Society For Cinema and Media Studies 2024, Boston, US.
Upcoming:
