INTIMATE data: EXPERIENTIAL approaches to teaching creative coding

PRESENTATION, 2022
DEL | DIGITALLY ENGAGED LEARNING CONFERENCE| ONLINE

I work with first-year art students that come into the classroom with very different skill levels depending on the privilege of their earlier educational experiences. The pandemic intensified this with the transition to online learning. This was especially true when teaching a unit on creative coding, as the learning curve is steep and the logic-based material can be intimidating. This led me to ask: How can I bridge the gap between students with advanced technical skills and those learning them for the first time in an online space? Might incorporating the body when teaching traditionally ‘mind’ focused technical skills like coding create a shared point of entry? Could embodying these algorithmic concepts make the material more accessible to a wider range of learning styles?

Conference website

 
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A FELT EXPERIENCE: INTEGRATING touch sensors & cast objects

PRESENTATION & DEMO, 2018
ICCCIA | INTERNATIONAL CONFERENCE ON ON CONTEMPORARY CAST IRON ART | SCRANTON, PA

Our sense of sight is often privileged over touch in the presentation of artworks in museums and galleries. As viewers, we are given many opportunities not to touch. Our technical lecture asks questions that challenge this notion. How might foundry cast objects become more inclusive of all the senses? Could experiencing the tactile qualities of cast metals break down traditional physical boundaries between art object and viewer?

We will focus on the various methods and design challenges involved in incorporating touch sensors and equipment into cast objects. This will require an explanation of four basic components: microcontrollers, basic coding, sensor inputs, and output devices.

Sensory inputs will encompass variations in touch such as pressure and motion, while the outputs covered will include light and sound. Through this lecture, we aim to demystify the technical aspects of creating an interactive system and highlight the plethora of self-teaching resources available throughout the Internet.

In collaboration with artist Cydnei Mallory
PDF of Presentation

 
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interactive sound installation
connecting language, body, & machine

PUBLICATION, 2019
TEI | TANGIBLE, EMBEDDED, AND EMBODIED INTERACTION CONFERENCE | TEMPE, AZ

Published writing on my project “After Words”.

Link to publication

 
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TOWARDs HUMAN-MAGIC INTERACTION:
INTERFACING BIOLOGICAL, TANGIBLE, & CULTURAL TECHNOLOGY

PUBLICATION & POSTER, 2018
HCII | HUMAN-COMPUTER INTERACTION INTERNATIONAL CONFERENCE | LAS VEGAS, NV

The ubiquitous and pervasive nature of computing fosters intimate relationships between humans and computers as the digital objects being entangled with “non” digital objects:  biological, tangible, and cultural. We present the framework of the human-magical interaction, which defines the emerging interfaces as forms of “Magic” emphasizing the seamless interaction between humans and different technological mediums. To explore the framework of Human-Magic Interaction, we re-imagine the ecology of interactive systems and present three speculative technologies that demonstrate different aspects of the framework. We also raise critical questions about how this speculative future framework could impact our culture and society.

In collaboration with scientist Pat Pataranutaporn

Link to Publication
PDF of Poster

 
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A MOBILE CURRICULUM
INCORPORATING EXPERIENCES OUTSIDE THE CLASSROOM

PRESENTATION, 2017
FATE | FOUNDATION IN ART : THEORY AND EDUCATION | KANSAS CITY, MO

Through a fluke in the registration system, my first time teaching a foundations course was for an audience of one. Class critiques, group projects, and PowerPoint presentations were rendered futile. Not tethered to the traditional structures of a fully enrolled arts classroom, we were free to explore new forms. The result – our curriculum sprouted wheels. The two of us fused into out of area courses to gain new perspectives on art making, attended visiting artist talks to foster successful professional habits, and incorporated observations of the surrounding environment into unit projects.

Escaping the confines of the foundations classroom encouraged spontaneous learning, deeper engagement with the real world, and helped dissolve hierarchical barriers between student and teacher. How can these out of classroom experiences remain purposeful for larger class sizes? What steps can we take to infuse these excursions with meaning? Does intentionally bumping students into reality help ease their transition into and out of the academic world? How can we make sure that graduate student instructors feel supported and encouraged in being innovative with their instruction?

 
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CONVERSATION WITH MARJETICA POTRČ AND STUDENTS OF DESIGN FOR THE LIVING WORLD on class structure, collaboration, exchanges, & learning by doing

INTERVIEW, 2015
COMBINE STUDIOS INTERNATIONAL RESIDENCY | PHOENIX, AZ

Kimberly Lyle and Kara Roschi, students of the Intermedia and Public Practice program in the School of Art, Herberger Institute for Design and the Arts at the Arizona State University (ASU) in Phoenix, Arizona, conducted an interview with Design for the Living World class at the University of the Fine Arts (HFBK) in Hamburg, Germany. Design for the Living World includes Finn Brüggemann, Barbara Niklas, William Schwartz and a guest of the class Charlotte Livine. In October and November 2015, the Design for the Living World class spent two months at the International Artist Residency at Combine Studios in Phoenix, where the interview took place on November 21, 2015.

Link to Interview