Biography

Mingyong Cheng (she/they) is an interdisciplinary artist, researcher, and creative technologist from Beijing, now based in Atlanta. She is an Assistant Professor in the School of Arts, Entertainment, and Creative Technologies at the Georgia Institute of Technology. Working across generative artificial intelligence, computational media, and immersive technologies, she holds a PhD in Visual Arts from the University of California San Diego and an MFA in Experimental and Documentary Arts from Duke University.Her background spans visual arts, filmmaking, and computational media. She creates immersive installations, interactive environments, multimedia performances, and real-time audiovisual systems that integrate generative AI, computer vision, sensing technologies, and spatial media. She approaches AI as a creative collaborator and works across artistic and technical roles to develop complex media systems for museums, performance, and public cultural settings. Her recent creative technology work includes commissioned projects with the San Diego Museum of Art and the Museum of Photographic Arts at SDMA, as well as work presented at Jacob’s Pillow’s Doris Duke Theatre.Grounded in her framework of Speculative Ecology, Cheng’s research explores human-AI co-creation across cultural, ecological, and embodied contexts, with particular interests in cultural memory, more-than-human intelligence, and emerging forms of perception and interaction. Her work has been exhibited and presented internationally across museums, galleries, performance spaces, media art festivals, and research venues, including the San Diego Museum of Art, Museum of Photographic Arts, Jacob’s Pillow, Athens Digital Arts Festival, ACM SIGGRAPH, SIGGRAPH Asia, NeurIPS, ISEA, ACM Creativity and Cognition, and the IEEE CVPR AI Art Gallery. Her honors include the Gold MUSE Design Award in Artificial Intelligence, the Speculative Futures Digital Arts Student Competition Award, and the IEEE TCPAMI Artist Award presented by the CVPR AI Art Gallery.

程铭泳（she/they）是一位来自北京、现居亚特兰大的跨领域艺术家、研究者与创意科技工作者，现任佐治亚理工学院艺术、娱乐与创意科技学院（School of Arts, Entertainment, and Creative Technologies）助理教授。她的创作与研究横跨生成式人工智能、计算媒体与沉浸式技术，并拥有加州大学圣地亚哥分校视觉艺术博士学位及杜克大学实验与纪录艺术硕士学位。她的背景涵盖视觉艺术、影像创作与计算媒体，创作形式包括沉浸式装置、互动环境、多媒体表演与实时视听系统，并将生成式人工智能、计算机视觉、传感技术与空间媒体融入创作。她将人工智能视为创作协作者，同时以艺术与技术的双重角色参与博物馆、表演及公共文化空间中的复杂媒体系统开发。她近期的创意科技实践包括与圣地亚哥艺术博物馆、圣地亚哥艺术博物馆摄影艺术博物馆的委托合作，以及在雅各布枕舞蹈中心多丽丝·杜克剧院呈现的项目。基于她提出的“推测性生态”（Speculative Ecology）框架，程铭泳的研究关注文化、生态与身体经验语境中的人机共创，并持续探讨文化记忆、超越人类的智能以及新兴的感知与互动方式。她的作品曾在博物馆、画廊、表演空间、媒体艺术节及研究平台展出与发表，包括圣地亚哥艺术博物馆、摄影艺术博物馆、雅各布枕舞蹈中心、雅典数字艺术节、ACM SIGGRAPH、SIGGRAPH Asia、NeurIPS、ISEA、ACM Creativity and Cognition 及 IEEE CVPR AI Art Gallery。她曾获人工智能类别 MUSE Design Award 金奖、Speculative Futures Digital Arts Student Competition 奖项及由 CVPR AI Art Gallery 颁发的 IEEE TCPAMI Artist Award。

👉🏻 Artist Statement

I am an interdisciplinary artist and researcher working at the intersection of generative systems, participatory media, and speculative ecologies. My practice engages with computation not simply as a tool but as a way of sensing, interpreting, and transforming the world. Drawing from my background in filmmaking and my current work in art history and theory, I approach media as a site where perception, memory, and agency collide, where forms of intelligence, human and nonhuman, begin to blur. Lately, I have been drawn to the subtle entanglements between synthetic systems and organic processes, between technological abstraction and emotional resonance. I am particularly interested in how generative AI reshapes how we think about authorship, knowledge, and artistic emergence, and how it might be approached not only as a productive force but as a speculative companion, a system that distorts, reflects, and co-creates. I think with AI not to automate vision but to estrange it, to open up unfamiliar channels of perception that might reveal something real, however nonliteral or uncomfortable.

My inspirations often emerge from ambiguous environments, both physical and conceptual, abandoned buildings, artificial landscapes, internal feedback loops, poetic disorientations. These spaces carry contradictions, traces of desire and neglect, and I treat them as materials through which to reflect on larger questions of care, justice, and co-existence. I am moved by invisible patterns, such as eye movements, neural signals, and embodied gestures that escape categorization. These forms speak to a kind of knowing that resists language yet is deeply affective. I translate them into interactive and generative artworks that invite audiences to encounter these patterns not as data but as living, transforming expressions.

My process is grounded in crafting systems that are open to influence, including participatory installations, real-time interfaces, AR environments, and expanded animation. These works are not meant to instruct but to sense with, to open new relationships between the body, technology, and environment. What interests me most is not resolution but resonance. Making art, to me, is not about explanation or performance. It is a space for listening, for unlearning, and for imagining how we might feel otherwise.