I am motivated by how we gather and store high-quality, relevant data in performant, scalable infrastructure, and empower diverse, creative engineering cultures to build systems of deriving insights from data to solve problems that matter. One of the research targets I use to organize my thinking is to imagine what data architecture we will need to manage our biometric data for prolonged residence in space.

I 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 engineering 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 possible solutions.

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.

The arts and humanities have played a major role in shaping my intelect, and I continue to create work in the traditions I was raised within. 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 become 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 program. Starting in 2008 I began shifting my attention to composing performance offerings, including my work Ryujin which I premiered at the San Francisco Women’s Building with the Friction Quartet.