FORSON: I find the most transcendental piece to be Pat Lay’s “Life Support.” (2008) It’s very much a visible thing, at once cinematic and yet evolving lyrically. What’s your impression of this particular piece?

CONNER: I favored the placement of a machine part over that of a human portrait. Pat Lay pieces together our strong attachment to technology. Her work is also a critique of the computer fetish through its distortion of an individual’s identity, giving more prominence to the frame of a computer hard drive. Put simply, we are very close to living pure artificial lives.