My research centers on the intersection and overlapping concerns of the histories and theories of experimental film, video, new media, design, literacies and emerging modes of teaching and learning.

Key topics include:
‘ New Literacies: While one of the fundamental components within the broad transformation of education centers on crafting curricula dedicated to visual and media literacy, we should also be imagining literacies within the context of an array of emergent technologies and the impact of pervasive computing, and from there, considering new epistemologies that align with new modes of being and knowing in the world.

‘ New Tools: How do practices and tools intersect? For example, how might a software application such as Sophie, designed to facilitate the easy melding of text, images, sound and video, create new modes of writing or composing? How does a shared database such as Critical Commons with its collection of annotated video clips contribute to media education and remix pedagogy? How might a mobile phone storytelling architecture such as Mobile Voices create new modes of communication and storytelling among immigrant workers in Los Angeles? I am currently working in various capacities on all three of these projects.

‘ New Metaphors: What role do metaphors and paradigms play in how we describe our current moment with regard to literacies and education? Can we move beyond visual rhetoric, as well as a game-based pedagogy and the adoption of a broad range of media tools on campus, toward a pedagogy grounded fundamentally in a media ecology? Framing the investigation in terms of a media ecology allows us to imagine the collision between new media practices and computational models, providing a glimpse of possible transformations not only in ways of being but ways of teaching and learning. How might pedagogical practices be transformed computationally or algorithmically, and to what ends?

‘ New Urbanisms: If the city as we are to understand it is now considered dynamic and layered, a space of multiple, mutable flows, then urban screens, in their convergence and divergence, in their contradictory agendas and diverse audiences, serve as emblems, tangible manifestations of the liminal juncture between material and immaterial. What are the ways that we might “disorganize” the master narratives of mediated public space and its screens, in order to differently reconstitute our own architectures of meaning and priority?