Current research interests include data engineering, kinetic empathy, topology,
and technology ethics. My research weaves between math and engineering, and
contemporary music, movement and folk art.
In my engineering practice, I am motivated by how we gather and store high-quality,
relevant data in a performant, scalable infrastructure, and empower diverse, creative engineering cultures
to build systems of deriving insights from data to solve problems that matter. I love machine learning,
yet all our algorithms fall flat if our data engineering foundations are not sound. I loosely operationalize
my priorites as a practice of building and stewarding engineering orgs with the following pillars:
- Gathering data
- Storing data
- Moving data
- Deriving insights from data
- Serving data
- Protecting data
The technical system is only part of the story. Engineering is a human enterprise.
If we care about finding engigneering solutions, we must care deeply about the human
cultures that foster their emergence. For me, this is rooted both in
nuturing communities of practice as well as supporting the professional development goals
of researchers and engineers on my teams. As a manager I track the shape of
our collective imagination as a team over time, and run experiments to either
optimize our existing solution-finding practices or expand the surface area of
I am dedicated to stewarding communities of research and engineering practice that embrace
imagination, rigorous debates on the ethical and meaingful use of technology
(including, but not limited to, AI), and continuous learning.
My movement art practice began in earnest with my work with Deborah Hay. Following my training
with her in Scotland in 2005, I began taking my practice outside, practicing The Runner (2005)
in state parks across the United States and planting the seeds of what would later by the
Somatic Natural History Archive. My committment
to learning my practice and expression of self in situ was further developed through residencies
at Movement Research (NYC) and the Interdiscipinary Laboratory of Art, Nature and Dance (NYC)
under the mentorship of Jennifer Monson and continued with my experiential geography work with
Deborah Black and Bryan Campbell in partnership with the NYC Partnerships for Parks prgoram.
Starting in 2008 I began shifting my attention to choreographing and composing performance offerings,
including my work Ryujin which I premiered at the San Francisco Women’s Building with
the Friction Quaertet.
As for maths, my research is nascent and focussed on building the cognitive primitives I need
to better understand spacetime. Specifically, I’m shoring up my abstract algebra through
slow slogs through problem sets, whilst taking period step backs to read the Hatcher
Algebraic Topology text, watch 3 Blue 1 Brown videos and dream.