I currently serve on the board of Catalyst Conversations, an non-profit organization dedicated to the evolving dynamic between art, science, and the public. I recently moderated our last gathering — ENTER THE SENSORIUM — with neuroscientists, sound artists, and perfumers, to create a multi-sensory experience on the nature of perception. I’m returning again to moderate our next event on Wednesday, April 8th about Transcendence and Entanglement with physicist, novelist and poet Alan Lightman, alongside interdisciplinary artist and mystic Maria Molteni, and environmentalist and philosopher Russell Powell. The event is free with registration and open to the public.

I’m more focused on writing these days, and developing a piece on a local experimental theater troupe, performance, and the limits of agentic AI. However, I’m primarily focused on completing a long-term project to translate and publish my late grandmother’s stories and poetry she wrote as a teenager in the Sonoran desert in the late 1940’s. I’ve come to think of it as a slightly surreal, long-distance collaboration through time and space — fitting to the magical realism of her work.

A narrative rewind of previous projects ~

Previously, I worked with the MIT Media Lab to produce exhibitions and events that highlight the tender connection between technology and activism. I helped organize the virtual Feminist Future(s) hackathon which addressed issues of reproductive justice, labor in the care economy, prison abolition and environmental justice, and curated its multimedia exhibition, “Between the Future and the Familiar”.

From my collaboration with the Lab I also produced “Between the Magic and the Machine”, a group exhibition which sought to challenge the social and political status quo of breastfeeding and chestfeeding parents at the Make the Breast Pump Not Suck hackathon and summit. As a part of the show, I also designed with Eva Zasloff an immersive installation featuring 2 feet tall floating orbs of light -- actual breastmilk ‘globules’ reflecting light at 750x magnification -- which glowed like distant stars. Surrounded by soft fabrics and the lull of a baby sleep sound machine, Reflections evoked a deep space-inspired dreamscape drawn from the microbiological dynamic between parent and child.

To explore the relationships between rest, receptivity, and revolution, I taught weekly classes in Restorative Yoga and Meditation at Majestic Yoga Studio. My practice sought to bring students in touch with the mystery and magic of their bodies through sensitive awareness of the present moment. To facilitate students’ embodied cosmic connection while on the mat, I designed classes around science-based guided meditations I had written about Tantra, gravity, and the Earth's geodynamo.

Playing with deep space and fashion, my collaborator Rosa Weinberg and I conceptualized and built the Stethosuit: a wearable bodice and headpiece that synchronized the body's inner sounds with the cosmo's larger vibrations. The garment harmonized naturally occurring micro and macro rhythms across cosmic timescales: the fuzzy gurgles and whooshes of our digestive system blended with the fizzy pops and muted whistles of NASA’s Voyager 2 as it left our solar system and entered interstellar ionized space. It debuted on the catwalk at re:publica in Berlin and was installed at the MIT Media Lab as part of their space exploration event, Beyond the Cradle.

To test the boundaries of wearable technologies both real and imaged, I curated BODY POLITIC, an exhibition at OPEN in Boston, MA. Eleven artists deployed fictional garments to resist entrenched social power structures amid systemic oppression: scents, dresses, lipstick and a spacesuit depict alternately hopeful and bleak visions of a tech-enabled, "inclusive" future. Wanting to get closer to the source of ready-to-wear tech, I co-designed and led a winter term research module, “Wear But Why” with Dr. Beth Altringer that brought Harvard students to New York City to conduct field work studying fashion designers and technologists. Through behind-the-scenes interviews and site visits at research labs and design studios, we helped students discern what qualities make a wearable tech product desirable or undesirable.

Previously, I was the Wheatland Curatorial Fellow in Harvard’s History of Science department with the Collection of Historical Scientific Instruments where I researched and developed the exhibit for 1944's Mark-1, what some consider the world's first computer. I contributed to a range of shows in the history of science, including a retrospective on the Rorschach ink blots; chatbots and the history of artificial intelligence; and science pedagogy during the Cold War. While in graduate school, I researched how lifelike “performances” of social robots could aid the state’s (re)shaping of cultural identity. I also created a collection of experimental and ethnographic short videos documenting life at hackerspaces and the scientific method, and shared work at the Somerville Film Fest and Tribeca Hacks.

During the mid-aughts tech boom I lived and worked in Bangalore, India. I was hired as one of the first American employees at Infosys Technologies who was based in their headquarters in Electronics City (IYKYK). I crafted international marketing campaigns, wrote speeches for the CEO(s), and organized an annual tech conference for Infosys's global clients. One of the more challenging tasks I was asked to puzzle through was Infosys's office new dress code for its 20,000 employees at its Bangalore headquarters. Determining “appropriate” on-campus work attire meant I had to strike a balance between conservative executives and young women engineers and their generational and gender divides -- alongside ever-shifting Eastern and Western aesthetics.

I was also an advocate and member in the Blank Noise Project, a community founded in 2006 in Bangalore to end anonymous sexual harassment through social media campaigns and non-violent street demonstrations. During that time Blank Noise launched an international, ongoing project, "I never ask for it" led by Jasmeen Patheja, which counteracts the dominant narrative that a woman's clothes can be justified as an invitation for strangers to grope women in public (colloquially called “eve-teasing”). Our scrappy street theater interventions leveraged our “inconvenient” collective physical presence in busy intersections, markets, and public parks to make visible the often invisible and untraceable act of street sexual harassment.

I’m grateful to my innumerable teachers, mentors, and guides around the world, who taught me the magic of new horizons. Most recently, I completed Tantra Meditation Teacher Training Level 1 with Tracee Stanley, and an advanced Yoga and Mindfulness Training with Lindsay Gibson. Previously, I received my master’s degree in the History of Science from Harvard University, and my bachelor’s degree from Georgetown University. I graduated from St. Stephen’s Episcopal School in Austin, Texas where I sit on the Alumni Board of Directors.