My teaching develops from the same question that organizes my research: how visual, interactive, computational, and spatial systems structure perception and experience. Rather than treating media and technology as neutral tools for production, I approach them as structures that organize attention, behavior, time, and meaning. Students learn to understand media historically, critically, formally, and operationally, and to translate that understanding into their own practice.
Courses move through iterative cycles of observation, mapping, prototyping, critique, and revision. Code, interface, image, sound, and space become materials for inquiry rather than ends in themselves, so that technical fluency develops alongside the conceptual independence to examine the assumptions embedded in the tools students use. This approach supports studio courses in digital media, interaction, and experiential and spatial design, as well as seminars on technological mediation and computational culture, and historical surveys of new media and of art and technology. Projects often extend from concept and system development to installation, public presentation, and collaborative realization, where students test how their decisions shape an audience’s encounter.