BA, University of California, Riverside, 2005; MA (2009), PhD (2015), York University, Toronto.
Experimental film, video art, documentary, conceptual art, cinema in the gallery, activist media, institutional critique, race and gender in museum studies, digital media, piracy studies, film festivals, film curation and programming, curatorial philosophy.
“Fair Access to Publicly Funded Films? A Hypothetical Case Study of Arthur Lipsett’s Very Nice, Very Nice.” Co-authorerd with Martin Zeilinger in Dynamic Fair Dealing in Canadian Culture, eds. Rosemary J. Coombe, Darren Wershler, and Martin Zeilinger (Toronto: University of Toronto Press, 2013).
“On The Clock and Christian Marclay’s Instrumental Logic of Appropriation” Framework Magazine (September 2013).
“Speak, Memory, Cinema” in Kerry Tribe: Speak, Memory, ed. Melanie O’Brien. (Toronto: Power Plant Pages Press, 2012).
“A Taxonomy of Digital Remixing: Found Footage Practice on the Internet” Scope Film Journal (July, 2009).
“New Media Resistance: Machinima and the Avant-Garde” Cineaction Magazine (73/74 2008).
Programming Associate – Wavelengths Program, Toronto International Film Festival (2013-2016)
International Programmer, International Documentary Features, Hot Docs International Documentary Festival (2010-2016)
Co-Chair, Pleasure Dome Programming Collective, Toronto (2015 - 2016)
Pleasure Dome Curatorial Collective Board Member (2010-2016)
Steering Committee, Research Assistant and Organizer Experimental Media Congress, OCAD, Toronto (2009-2010)