Borderline/The Map in not the Territory created for the atrium of the Portland Art Museum is the culmination of the Borderline series. At PAM the installation uses two 17-foot-wide scrims and a floor projection to create a monumentally scaled interactive environment. Content was developed through research with open source footage of government surveillance video of the U.S border, refugees on the Mediterranean and European footage of their land borders during the crisis in Yugoslavia. Parallel research investigated U.S. Forest Service fire research footage and climate monitoring footage from NOAA. Live performance footage investigating generational memory, developed in collaboration with Jaleesa Johnston and Sophia Wright Emigh, completes the content of the piece. Mirror neurons are the empathy machine in humans. The sight of figures within the projections, activates a different quality of responsiveness for viewers and dissolves the separateness too frequently experienced when others are in crisis. In addition to the performance footage, a video camera places viewer in scenes of surveillance at borders around the world, as a way of making us remember we are all implicated and effected by these scenes of catastrophe or dystopia. Through creative coding, this series of scenes and video and audio loops randomly dissolve into each other. Like thoughts coming in and out of focus, the randomization mimics the “stream of consciousness” flow of time vital for this project. Borderline investigates the intersection of climate change, mass migration and government surveillance. Borderline refers not as much to our current geographical border issues (although that’s in there) as to tipping points between harmony and chaos in the environment and in society, and also to individual psychological tipping points between empathy, and fear.