Deborah Garcia begins by acknowledging her start in architecture as a high school student participating in SCI-Arc’s Design Immersion Days (DID) program. She defines the “rage” of her title as both a state of agitation and a space of play that has been ubiquitous since she graduated from SCI-Arc (B. Arch 2017).

At 7:57-13:18 she plays a video survey of landscapes, streetscapes and soundscapes relevant to her work.

She describes arriving in Marfa, Texas, in 2020, at the start of the COVID lockdown. There, she was struck by the collision of the art world, Chihuahuan Desert, and Mexican-American, the extreme economic inequality, and the mythologized or suppressed history of the region. She shows two works from that period: a video “Judd and the devil”, made with Brooke Holm; and “Ordenar Rodeo House” with Chick Rabourn.

Garcia describes participating in The Arctic Circle expeditionary residency program in 2019 which explored the Norwegian archipelago of Svalbard. She describes how attempting to investigate and think about this environment led her to shift her emphasis from archival research to collecting audio and video.

Garcia discusses a design studio that she taught at Texas Tech in 2020. “Bunker studio” began as an investigation of bomb shelters and tornado shelters in Lubbock, with an emphasis on making big models. When COVID lockdown happened, the studio shifted to video, animation and speculation, e.g. “Party in the bunker - a film about some buildings and their hidden lives in Lubbock, Texas”.

Garcia describes another design studio, “The Sound studio” which she taught in 2022 at MIT, focusing on audio technology. Drawings were translated into models that were audio speakers. The final review was a listening party.

Garcia describes a project currently in production: “Recordar” – a site specific sound installation, featuring a 16-channel recording and broadcasting system built into a table and throne-like chairs. She concludes with a video of a test with small scale prototypes.