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. I use the UN’s sustainability goals, the work of the Center for Humane Technology and the guidance of my mentors to tune my compass. One research target I use to organize my thinking is the data architecture needed to manage our biometric data for prolonged residence in space. Planet earth inhabitants are already on a prolonged journey through space, so that means we get to be included along with the brave and intrepid astronauts.

I am dedicated to stewarding communities of research and engineering practice that embrace imagination, rigorous debates on the ethical and meaningful use of technology (including, but not limited to, AI), and continuous learning.

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 the researchers and engineers on my teams. When I work with organizatios I track the shape of our collective imagination over time, and run experiments to either optimize our existing solution-finding practices or expand the surface area of the possible.

The arts and humanities have played and continue to play a major role in my life, and I continue to create work in the traditions I was raised within. I began making movement art in earnest around the time I trained with Deborah Hay. I performed her solo 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 in situ with different systems 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 to document my rsearch in drawings and music compositions, including my work Ryujin which I premiered at the San Francisco Women’s Building with the Friction Quartet.