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Professional Work

Image & Video Specialist at xAI

(2024 – Present)

GROK IMAGINE

I guide understanding and aesthetic preference for xAI’s vision models as part of the Human Data team to enable helpful and creative multimodal AI.

  • 2024-2025: Guided alignment with aesthetic preferences and instruction following for xAI’s first in-house generative image model (Aurora), helping it excel at both photorealistic rendering and medium- and material-accurate artistic rendering.
  • 2025-Present: Working on the current Imagine model, supporting image generation, video generation, and editing, providing taste guidance and deep understanding of style, composition, lighting, motion, special effects, and other technical elements.

GROK VOICE

Worked across the audio data pipeline in training Grok to speak in its various voices, personalities, and languages. Regularly onboarded new members to the team and streamlined workflows.

Try it in the Grok app now!

GENERATIVE AI

As part of the Human Data team, contributed to the production and labeling of high-quality data to improved reasoning, reliability, search functionality, and personality across various training projects for the Grok 2, Grok 3, and Grok 4 releases.

Companions

Trained for consistent and engaging personality across unique characters, natural human motion, and overall conversation design for pioneering voiced 3D companion characters with interactive artificial intelligence.

GROK ANALYZE

Contributed to the pre-launch development and continued growth of the Grok Analyze product, allowing X users to explore context around both text and image in posts and profiles on the platform with relevant on-platform and external citations.

K-12 STEAM Education

(2021 – 2024)

Birds & Bots

Professional development, editorial support, and content management for public school teachers to develop culturally-relevant daily robot coding activities for the grades 1-3 mathematics classroom, serving Black and Latinx students. Funded by the National Science Foundation.

K-12 Robotics

Curricula and training for adaptive, standards-based projects in building and coding using icon blocks, word blocks, and Python developed at Vision Education & Media for LEGO SPIKE Prime and with BirdBrain Technologies’ Finch Robot 2.0. Implemented in 60+ NYC schools.

Coding & Game Design

Teaching fundamentals of game design and animation through constructivist projects using Scratch Jr., Scratch, and Python. Students learn coordinates, inputs, variables, conditional statements, loops, turtle art, troubleshooting, and more to complete original projects.

Little Engineers

Pre-K students discover scientific and simple machines concepts alongside stories and building. They work with LEGO DUPLO blocks, including beams, axles, gears, pulleys, and wheels. Each class, students learn to build and test to solve a problem for a robot friend.

Animation

Core animation principles and hands-on projects in stop-motion animation using Stop Motion Studio and Scratch. Students learn to brainstorm ideas, storyboard, craft, direct, film, and edit, as well as utilize available tools to create visual and audio effects.

Other Programs

Management and professional development for various STEAM programs. Pictured above: Robotics and circuitry involving solar panels for a Learning Technology Grant program in the NYC Department of Education’s District 5 in Harlem.

Fashion Institute of Technology

(2021 – 2022)

Working with students in communications, arts, and various design fields, my teaching here specialized in comics.

I draw in part on my digital studies work on alternative literary forms, including elements of visual textuality, as well as two projects directly on comics. In 2014, I spoke at Marvels and Monsters: A Symposium on Asian Images in Comics and Graphic Novels. Then in 2017, I published an essay on The Surrogates in Cyberpunk and Visual Culture.

My course covers the history of the “graphic novel” and how the comics form works. Understanding a wider range of ways in which information can be communicated, as well as decades of experiments in how to utilize a page space (including explorations of human-computer interfaces), expands students’ reading and expressive capabilities.

Artist Richard McGuire noted being inspired to create “Here” by seeing the then-new interface of Windows.

In McGuire’s finished comic, the overlapping windows of the computer interface enable a new kind of story.

Born-digital writing develops with the models of computer interfaces as well as various literary and artistic references.

Stony Brook University

(2013 – 2020)

From 2013 to 2014, I served on a curriculum development committee, which included determining the ongoing standards by which new general education requirements would be assessed. Most of my courses, with selections below, I created and led to satisfy both
1) “Understand Relationships between Science or Technology and the Arts, Humanities, or Social Sciences,” and
2) “Practice and Respect Critical and Ethical Reasoning“

Introduction to Digital Humanities

This course introduced students to some of the major methods and topics in Digital Humanities. Interweaving Romantic-era writing with computer-based writing, I taught students about new reading and writing practices — such as mapping, distant reading, and platform studies — alongside the history and implications of those modes.

Lyric Writing and Digital Identity

This course examined how elements of digital identity parallel thinking about lyric writing, as well as emerge from a confessional culture. Confessional poetry, thus, was examined as a major point of influence, emerging amid the rise of psychoanalysis, with recent poetry then responding to digital capture of behavioral data.

Digital Experience and Literary Form

In addition to wholly new forms enabled by digital technology, writers exploring contemporary experience might also choose from a wide selection of older forms: poetry, drama, short fiction, long fiction, film. I worked with students’ personal experiences to prepare them to perform increasingly nuanced considerations of form.

2013: A Case Study in Literary-Digital Engagement

There was a surge of engagement with digital technology in mainstream literature in 2013. Students studied a selection of literature from this year alongside research into early 2010s technology, developing core skills in historicist modes of study.

Other Classes

My teaching took place in-person and online, covering various introductory and survey classes in English.

I also served as a teaching assistant for Writing in the Discipline for Mechanical Engineering, working with students on clear, effective writing for lab reports.

Other Roles

I served two years as Event Organizer for the English department, managing a team of four in organizing graduate student conferences, and two years as Web Coordinator for the Graduate English Society. In 2014, I was a founding member of a cross-departmental faculty development seminar in environmental humanities.

Independent Instruction

(2020 – 2021)

During the pandemic, I worked with promising educational communities — Interintellect, Hyperlink Academy, and IndieThinkers — as well as my own PreCursor Poets to connect with a global audience of learners, writers, artists, scholars, and all manner of the intellectually curious.

A free email-based course of study on the impact of hyperconnectivity across literary forms and narrative structures, with special focus on points of writerly struggle and works which seek to find new ways through these emerging literary challenges. Follow the self-directed course through the link below with syllabus and 10 supporting essays.

A 12-week course of study in literary depictions of the sea, from Homer in 8th century B.C. Greece to Stanislaw Lem in 1961 Poland imaging a planet covered in a vast, intelligent ocean. In her poem “A Grave,” Marianne Moore wrote of the sea that, “it is human nature to stand in the middle of a thing, / but you cannot stand in the middle of this.”

Poetry has a distinct capacity to shape reflections on things such as place or relationships. Generative writing enables one to quickly process all possible relationships between different variables. We explored the possibilities of generative poetry through examples and attendees learned to generate their own writing.

A discussion of stories, how they work, what we do with the, and how computers have introduced new possibilities. Attendees learned about different story structures — considering what interactivity might offer us, where it only frustrates, and how to apply that energy in writing for creative and practical ends.

One of the most common structuring elements of a narrative is social drama. In this salon, we explored how narratives are changed through the capacity for constant, instantaneous connection. In parallel with the literary considerations, attendees used this creative material to reflect on how communication platforms shape our life and expectations.

This workshop taught the concept and influence of the Romantic reaction, read through the philosopher Alfred North Whitehead’s account of the rebellious impact of the poetry of Wordsworth and Shelley. Attendees read Wordsworth’s “Tintern Abbey” and Shelley’s “Mont Blanc,” two poems of place and imagination, then explored their philosophical and literary composition.

Writing Tutor

Hunter College, City University of New York (2012 – 2013)