Choi Sin-yi (Emilie) is a Hong Kong–based researcher and curator working at the intersection of digital culture, media infrastructure, and the blue humanities. Her research examines how computational systems reshape the perception, governance, and creative production of environments and visual culture, with a focus on the Chinese and East Asian context. Her second thread of research addresses AI and society, exploring how artificial intelligence is transforming creative authorship, media platforms, cinematic practice, and cultural imaginaries. Drawing from media and cultural studies and informed by HCI and STS perspectives, her work spans media aesthetics, media convergence and platformization, and the creative industries.
Choi is currently a PhD candidate at the School of Creative Media, City University of Hong Kong. She was a Junior Research Fellow (2024–2025) at the Digital Narratives Studio, Chinese University of Hong Kong, and a visiting PhD student in Digital Design and Information Studies at Aarhus University (Denmark), where she worked with the research group Environmental Media and Aesthetics and the Digital Aesthetics Research Centre (DARC). Her doctoral research investigates the digital environment across Hong Kong, Taiwan, and South China, proposing the "technical ocean" as a sensorial milieu where environmental and computational processes are materially entangled and politically inscribed. It argues that ocean sensing — spanning infrastructures, film, and artistic practices — reconfigures the human–nature–technology assemblage and recalibrates geopolitical imaginaries long shaped by terrestrial bias. The project further examines how these mechanisms mediate relations, produce environmental knowledge, and enable eco-governance.
Choi’s writing has appeared in journals such as Modernism/modernity Print Plus and Film Quarterly (Q1). She is co‑editor of the forthcoming special issue “Post‑2019 Hong Kong Cinema: Paradox and Polarization” in the Journal of Chinese Cinema (Q1), and is currently working on an anthology on Hong Kong film. Her academic work has been presented at international conferences including the Society for Cinema and Media Studies (SCMS) 2024 and 2025, the Association for Asian Studies (AAS) 2022, and the XXVIII Visible Evidence Conference (2022).
In addition to her academic pursuits, Choi writes art criticism, curates film programs and exhibitions, and works as a documentary producer. She has presented her research at art and cultural institutions such as transmediale (Germany) and the EYE Filmmuseum (Netherlands), and serves on the boards of Videotage and Unlock Dancing Plaza. Her curatorial projects include Jumping Frames – Hong Kong International Movement‑image Festival, Hong Kong Retrospective Documentary Film Festival: From the 80s to 1997, Macao Experimental Cinema, Contact Zoning, and Nothing has Happened. She was also selected for the Curatorial Program for Research 2023: (Re)Presentation in the Nordics. She has also contributed to editorial projects such as Still Jumping: Mediated Performance and Moving Image Across Asia and the Global Stage, 2004–2024 (2026), Cinema After Cinema (2024) and Our Manifestos 2: Videography, Documentary Impulses (2021).
蔡倩怡（Emilie）是紮根於香港的研究者與策展人，研究領域橫跨數碼文化、媒體基礎設施與藍色人文。她的研究探討計算系統如何重塑我們對環境與視覺文化的感知、治理及創意生產，尤其聚焦於中國及東亞脈絡。她的第二條研究主線關注人工智能與社會，探索人工智能如何改變創作主體性、媒體平台、電影實踐與文化想像。她的研究以媒體與文化研究為基礎，並融入人機互動（HCI）與科技與社會研究（STS）的視角，涵蓋環境與數碼治理、媒體美學、媒體融合與平台化，以及創意產業等領域。
蔡現為香港城市大學創意媒體學院博士候選人，亦曾擔任香港中文大學「數碼敘事研究室」2024–2025年度初級研究員，並曾以訪問博士生身分赴丹麥奧胡斯大學數碼設計與資訊研究系，參與「環境媒體與美學」研究小組及數碼美學研究中心（DARC）的研究工作。其博士研究探究橫跨香港、台灣與華南地區的數碼環境，提出「技術海洋」的概念——一個環境過程與計算過程在其中物質性地交纏並被政治銘刻的感知域。研究主張，涵蓋儀器、基礎設施、影像與藝術實踐的海洋感知，重新配置了人、自然與科技之間的關係組合，從而重新校準長期受陸域偏見所形塑的地緣政治想像。此研究亦進一步探討這些機制如何中介關係、生成環境知識，並促成生態治理。
她的文章曾刊於《現代主義／現代性》（Modernism/modernity Print Plus）與《電影季刊》（Film Quarterly，Q1）等國際期刊。她亦為《中國電影期刊》（Journal of Chinese Cinema，Q1）即將出版的特刊「後2019香港電影：矛盾與極化」之共同編輯，並正編輯一本關於香港電影的學術文集。其研究曾於多個國際會議發表，包括2024與2025年的國際電影與媒體研究學會（SCMS）、2022年的美國亞洲研究學會（AAS），以及第二十八屆 Visible Evidence 會議（2022）。
除學術研究外，蔡亦撰寫藝術評論、策劃電影節目與藝術展覽，並從事紀錄片製作。她曾於德國跨媒體藝術節（transmediale）及荷蘭EYE電影博物館等藝術文化機構發表研究，並現任錄映太奇（Videotage）及不加鎖舞踊館（Unlock Dancing Plaza）董事。其策展項目包括「跳格──香港國際動態影像節」、「香港回顧紀錄片影展：從八十年代至1997」、「澳門實驗電影展」、「接觸地帶」以及「什麼都沒有發生」。她亦曾入選「策展研究駐留計劃：再現北歐」（Curatorial Program for Research 2023: (Re)Presentation in the Nordics）。她亦參與編輯書籍《跳廿格：亞洲與全球景觀的跨媒介表演與流動影像》（2026）、《電影後電影》（2024）及《我們的錄像宣言2：記述的衝動》（2021）。