Teaching and Learning Portal

Learning is core to my practice and, more importantly, to my life. I have worked in education for the past twenty-six years.

At the age of eleven, I began volunteering in my younger brother's classroom, then helping my mom homeschool my younger. Now at 37, I have worked as an educator across various contexts: public high schools, museums, universities, libraries, and more. The archive below includes programming from 1992 onward. I will backfill this archive as the year progresses.

For the 2022-2023 school year, I am an adjunct at the Cooper Union for the Advancement of Science and Art (2022-present) and a Critic at Yale School of Art - MFA Sculpture. I am also a Mentor-in-Residence (2022-2023) for the Future Memory track for New Museum: NEW INC. I also conduct studio visits by invitation.

Mentor-in-Residence: NEW INC - Future Memory Track
September 2022 - June 2023
NEW INC: New Museum (Remote and New York, NY)

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NEW INC members work with mentors to achieve strategic goals and solve tactical challenges through our mentor-in-residence program, dedicated mentorship, and office hours consultations. Mentors act as empathetic sounding boards, helping our members to contextualize their experience and chart a course for individualized growth. Through ongoing feedback and guidance, mentors are a critical point of accountability as members pursue new major projects or a sustainable business model.

Future Memory track members are shaking up dominant historical narratives and re-defining the power communities hold. Future Memory track members include urban designers, artists, data scientists, designers, strategists, and community organizers who are interrogating monuments and digital archives to tell untold stories and enable participatory culture-making.

Core Critic
September - December 2022
Yale School of Art - Sculpture (New Haven, CT)

Core Critic 
September - December 2021
Yale School of Art - Painting and Printmaking (New Haven, CT)

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Teaching and Learning as "PRIMITIVE HYPERTEXT"
October - December 2022
School for Poetic Computation (Remote)

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Teaching and Learning as "PRIMITIVE HYPERTEXT" uses texts authored by Octavia Estelle Butler as a starting point to explore teaching as a relational practice that builds networks between all organisms and knowledges. In this course, while we will start with Butler, you will be introduced to a range of other texts that expand our "aperture" (Zaretta Hammond) of our practices as both teachers and learners.

How might the 1998 interview between Samuel Delany and Butler invite us think about choreography and storytelling methods in our teaching practice?

How might Butler's 1989 essay "Positive Obsession" and her 1991 interview with Randall Kenan in Callaloo help us think about the role of trance, possession, and the ecstatic during the learning process?

What does Butler's archive of handwritten notes reveal to us about the importance of revision, ritual, and "failure" in learning?

After exploring the role of Lauren Olamina in Butler's Parable of the Sower (1993), what can we learn about interdisciplinarity, interdependence, improvisation, and intuition in our teaching practice? What does it mean to teach for liberation? What is possible within institutions?

Languaging the Contemporary
July 2022
The University of the Arts (Summer Session: Montpellier, FR)

In this five-day intensive co-taught with Yuchen Chang, we explore the failures and possibilities of language to describe ourselves and our worlds. This class begins with coinage and historical approaches to finding language. We then move into opacity and moments of both refusing or abandoning language itself. As we get to the end of this brief course, we will spend time thinking about translation across languages, substrates, genres, gestures, etc. On our final day together, we will discuss the relationships between bookmaking (sequencing, assembling, binding) and choreography.

Teaching as Social Practice 
January - May 2022; September - December 2022; January - May 2023
The Cooper Union for the Advancement of Science and Art (New York, NY)

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As a practicum, this course invites students to actively explore the evolving role of the artist engaged in teaching as an art practice. The aim is to support the undergraduate who is currently teaching or who has an interest in teaching in The Saturday Program. In this course, we will explore questions such as:

    • What is [un]learning?
    • What constitutes a community?
    • To what extent is teaching an art practice? To what extent is art itself, pedagogical?
    • How is knowledge produced through art?
    • How do art and art-making prompt us to build ecosystems between these emergent bits of knowledge?

Introductions to an interdisciplinary set of readings, artists, collectives, and institutions that hold varied approaches to the notion of community, learning, social discourse, and positionality will also be essential to the class. This course is not designed as an overview or survey. This class is designed as an opportunity for collective inquiry and play. Weekly sessions will include short lectures, collaborative activities, and discussions.

Algorithmic Music Composition Using Approximate Mouse Coordinates
April 29, 2021
Computer Mouse Conference 2021 (Remote)

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An experiment in longitudal and cross-genre translation, Algorithmic Music Composition Using Approximate Mouse Coordinates, begins with a poem created over Zoom in 2020 as part of Present! v.  Participants were invited to provide me with four words from the text nearest to them. I went away for 37-minutes to turn their words into a poem of sorts. I screen recorded my writing process. Months later when I was invited to the Computer Mouse Conference, I decided to consider the mouse as a score-maker and divinatory tool. I documented the approximate location of the mouse on the screen during the original writing process (think about Benjamin Patterson’s, Ants). Then, I developed a simple algorithm that mapped the concentration of markings to variations in pitch alongside some improvisation in sequencing and layering. 

Orange Tangent Study
December 2020 - present (Remote)

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Orange Tangent Study is a boutique consulting service that nurtures tentacular, transdisciplinary, and agile approaches to developing your projects. I began Orange Tangent Study because I needed and outlet for what I believe I do best: thinking alongside my community. I often have sprawling and generative conversations and I wanted to share this collaborative thinking process with others. We invite artists, teachers, developers, etc. to become co-learners.

Fall 2020
Hosted by CUE Foundation (New York, NY)
Winter 2023
(Brooklyn, NY)

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The first season of NIGHT SCHOOL was hosted by CUE Foundation. NIGHT SCHOOL is a series of interdiscplinary evening classes that loosely orbit a theme. Each class centers collaborative play and co-construction. NIGHT SCHOOL seeks to consider ways of learning in community that center the spiritual and somatic process of wandering through what Octavia Estelle Butler calls a “primitive hypertext.” Season One (Winter 2020) focused on technologies of perception and communication. We explored dirty data, non-human countersurveillance, spirit writing, GANs, Black privacy, black units of measurement, and deepfakes.

Research in Practice
Fall 2018, Fall 2019, Spring 2020
School of Visual Arts, MFA Fine Arts (New York, NY)
“Now down into a patch of deep and unexpected thought. A handful of people have connected the work of anthropologist Eduardo Kohn, whose time spent with the Runa people of the Ecuadorian Amazon led him to propose that humans, animals, and trees "think" together through their relationships with one another. In his book, How Forests Think, he writes, "[The rain forest is] an emergent and expanding multilayered cacophonous web of mutually constitutive, living and growing thoughts.” (Leo Shaw, “On Forest Knowledge and Living, Growing Thoughts,” Are.na, February 16, 2019, https://www.are.na/blog/on-forest-knowledge-and-living-growing-thoughts.)
This workshop is about how we think, how to articulate that thinking, how to revise that thinking, and how to build ecosystems between these emergent bits of knowledge within our artistic practice. Each student will select an interest that has “take[n] hold” such as a specific person (non-artist), a location, an object, a phenomenon, etc. to focus on during this workshop.

Studio Visits
Fall 2016 - present

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Curriculum Designer, Instructional Designer, Professional Development Facilitator, Instructional Coach (Global History and Geography, English Language Arts, Writing)
August 2013 - October 2022
New York City-based non-profit organization 

Humanities 9/10, Global History and Geography 9/10
August 2008 - August 2013
Public High Schools in Bay Area, CA and Brooklyn, NY

Gallery/Studio Instructor
August 2012 - August 2014
Brooklyn Museum of Art 

Museum Educator
October 2015
Queens Museum of Art

Tutor, After School Teacher, Program Manager 
October 2002 - August 2006
Los Angeles County; Inland Empire

Summer School Teacher’s Assistant
August 1996 - August 2005
Bay Area, CA

Homeschool Teacher’s Assistant / Volunteer in Special Education Classroom
June 1996 - June 2000
East Palo Alto, CA 

Self-Appointed Handwriting and Reading Coach; Self-Appointed Reading Is Fundamental (RIF) supply supporter 
September 1992 - September 1998
Menlo Park, CA