Published in Open Screens, Summer 2026. I made (most of) this video while participating in an online, informal workshop on parametric video exercises designed and organized by Ariel Avissar over the summer of 2024. I followed most of the instructions Avissar created for the second exercise of the series he entitled “Payne’s Constraint,” which is adapted from Alan O'Leary's explication of Matthew Payne's “Who Ever Heard...?”

Published in Teknokultura. Revista de Cultura Digital y Movimientos Sociales 23(2), 2026. Co-authored with Lucy Fife Donaldson, Dayna McLeod, Viktoria Paranyuk, and Daniel Pope.

Published with Screenworks in February, 2026. I made this video while participating in an online, informal workshop on parametric video exercises designed and organized by Ariel Avissar over the summer of 2024. The video loosely follows the instructions Avissar created for the first exercise of the series he entitled “Laird’s Constraint,” which is modeled and named after my own "Eye-Camera-Ninagawa" (which feels a bit weird).

Published in 16:9 filmtidsskrift as part of “One Hundred Movies Walk into a Bar…” videographic collection. November 17, 2025.

Published in [in]Transition, Volume 11 • Issue 3 • 2024 • Special Issue: Women and Aging A study of age and gender on screen, a reflection of our relationship to film history, and a meditation on various forms of editing.

Published in Tecmerin: Journal of Audiovisual Essays. Issue 13 – 2024 (1) The story of an experiment in adapting the ideas expressed previously in print scholarship to the audiovisual affordances of the videographic essay. Comprised of two parts bridged by the visualization of text as image, the making of it amplified the potential of editing, of meaning-making through transition, and finding the familiar in what is fundamentally a highly repetitive process.

Published Tecmerin May 22, 2023.

Published in MAI: FEMINISM & VISUAL CULTURE. Issue 13: Doing Women’s Global Horror Film History An imaginary discourse between three voices, this essay considers subject positions at the intersections of spectatorship and scholarship.

Published in [in]Transition: Volume 10 • Issue 2 • 2023 Ninagawa Mika’s works are highly referential, each endeavor rife with intertextuality. This video essay deconstructs the opening montage of her 2012 film Helter Skelter into its constituent parts through the organization of visual motifs to visualize Ninagawa’s own relationship to the camera gaze.