Introduction texts for "Migration, Empire, and Transformation" May 16-18, 2007
UCLA Mellon Postdoctoral Fellowships in the Humanities "Cultures in Transnational Perspective"

Fresh Kill was head on confrontation with its political messages and its rigorous pursuit of cinematic style. Fresh Kill was after all my summing up of my very media-active and multicultural 80s in New York city. With this film, my fareware to the 90s and my migration to cyber homesteading. The cybernoia hack culture depicted in Fresh Kill would ultimately lead to the current participatory web 2.0 dystopia. Google search ñtoxic waste dumping in Africaî, the ocean crossing shipments have not slowed down, adding electronic waste on the list. Trans-national and Trans-nation, TransAmerica is HollywoodÍs melodramatic affirmation that we can live comfortably with. The great American boycott, El Gran Paro Americano, (May 1, 2006) staged a nationwide A DAY WITHOUT AN IMMIGRANT that reclaimed the May day for the united Nations. Across Europe, the Sans Papiers command its own underground routing of human trafficking. The cultural industry has franchised glocally, with or without profit. My space turns corporate with your say, your manifestation. Take linden for its market value and claim your residency at Second Life. Morph yourself in 3D and build your home in virtual land, be SOMEBODY, be counted for the New World population. No need to cross oceans or wet the hands, the migration takes one or a few passwords.

Post Fresh Kill (2004), I have since taken on nomadic journey (both physically and mentally), testing my limit of carry on size and my motion/emotion timespan. In reconsidering art as strategic maneuvers operating in public arena, I have practiced en route BY ALL MEDIUM necessary. The borders are wide open with or without stamps and passwords. It is Rush Hour on the Trans-Nation Highway. Transgender and transgenre included.