Choi Sin‑yi (Emilie) is a Hong Kong–based researcher and curator whose work examines the evolving relationships between media, technology, environments, and infrastructures. Drawing from media and cultural studies and informed by HCI and STS perspectives, her research spans visual culture, eco‑ and digital governance, AI and creativity, media convergence and platformization, media aesthetics, and the creative industries. She is currently a PhD candidate at the School of Creative Media, City University of Hong Kong, and was a Junior Research Fellow (2024–2025) at the Digital Narratives Studio, Chinese University of Hong Kong. She has also been a visiting PhD student in Digital Design and Information Studies at Aarhus University (Denmark), working with the research group Environmental Media and Aesthetics and the Digital Aesthetics Research Centre (DARC).
Taking an interdisciplinary approach, Choi’s doctoral project investigates the digital environment across Hong Kong, Taiwan, and South China. It argues that ocean sensing—spanning instruments, 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. In addition, she serves as an external examiner for the Hong Kong Arts Development Council (Film and Media Arts; Art Criticism).
蔡倩怡是紮根於香港的研究者與策展人，關注媒體、科技、環境與基礎設施之間不斷演變的關係。她的研究結合媒體與文化研究，並融入人機互動（HCI）與科技與社會研究（STS）的視角，涵蓋視覺文化、環境與數碼治理、人工智能與創意、媒體融合與平台化、媒體美學，以及創意產業等領域。她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」(Digital Narratives Studio) 2024–2025年度初級研究員。她亦曾任丹麥奧胡斯大學數碼設計與資訊研究系的訪問博士生身分，並與「環境媒體與美學」研究小組及數碼美學研究中心（DARC）合作研究。
其博士研究以跨學科的方法探究橫跨香港、台灣與華南地區的數碼環境，其研究聚焦涵蓋了基礎設施與藝術實踐的海洋感知，並重新配置了人、自然與科技之間的關係組合，從而審視長期被陸域視角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構築環境知識的生成，以及如何促成生態治理。
她的文章曾刊於於《現代主義/現代性》(Modernism/modernity Print Plus) 與《電影季刊》(Film Quarterly) 等國際期刊。她亦為 《中國電影期刊》Journal of Chinese Cinema 即將出版的特刊「後2019香港電影：矛盾與極化」(Post‑2019 Hong Kong Cinema: Paradox and Polarization) 之共同編輯，並正編輯一本關於香港電影的學術文集。其學術研究曾於國際會議發表，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。她曾於德國媒體藝術節 transmediale、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 Curatorial Program for Research 2023：(Re)Presentation in the Nordics)。此外，她亦擔任香港藝術發展局（電影及媒體藝術、藝術評論）審批員。