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T-RAVIS

BIO | C.V.

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BIOGRAPHY

I completed my undergraduate studies at Texas Tech University with degrees in both public relations and English (with an emphasis in creative writing.) In 2009 I combined my interests in writing, design and technology to create one of the earliest Twitter/SMS-based literary journals, escarp; the programming I learned for that project quickly began to infiltrate my personal, academic and professional projects.

While much of the literary criticism and poetry I wrote in graduate school at Old Dominion University hewed reasonably close to current mainstream practice, my interest in exploring the intersection of code and literature grew steadily, leading me to experiment with "code poetry" in workshop, and into a statistical analysis of gendered pronoun use by characters in the Shakespearean canon. Similar experiments in appropriative/found literature merged with my code interests to inform my creative thesis—an experiment in both generating poems from transcripts of Glenn Beck's television program and responding with a vocabulary constrained by the generated poem.

My current creative and academic/research interests lie in this field of "conceptual" writing, both analog and digital, and in other areas of theory/scholarship germane to the production of computational/conceptual writing such as natural language processing, hermeneutics, artificial intelligence, emergence and in the broader concerns of conceptual art and avant-garde aesthetics.

Writers all eventually get asked what we write about, or why we write. Perhaps it's obvious, but I write about what I think about. The life of the writer is not unlike the life of the dreamer. I have dreams which bear much similarity with the experiences I have lived. I dream for the same reason I write; it is a way of untangling life.

More recently, the process of composing a creative thesis has changed my artistic life. In workshops as both an undergraduate and graduate student I often chafed at the insistence of my mentors that I ground my abstractions. In the process of chasing my project to reconstitute Glenn Beck's television transcripts into poems, I realized conceptual writing provides a way to ground abstractions that are hard to engage with via ethos or pathos.

Likewise, the charge to create a cohesive, book-length creative manuscript encouraged me to think of writing as a "project" not unlike any of the many design or other creative projects I've undertaken, rather than an ongoing, recursive activity I had made it into. In short, I stumbled on a way to undertake projects I felt uncomfortable addressing with my personal voice.

I was born and grew up in Lubbock, Texas, under the big sky and open horizons of the Llano Estacado. I'm fond of the severe weather and sunsets that are hallmarks of the southern plains.

Coding, reading, editing my literary journal, writing, research and side projects take up most of my spare time. I also enjoy exercise, music, and receiving packages from Amazon. I like tv and movies, but I almost always pick more active ways to pass time when I'm alone. The exceptions (if I'm in the mood) are documentaries, political talk-shows, and almost any sport there's footage of.

I'm a bit of a homebody, but I like going out to enjoy local food, craft beer and good conversation (or a good game).

I began my first foray into publishing on the web in the fall of 1998 with no knowledge of HTML. I wouldn't call what I did back then "design," but it was the seed of my interests in writing, editing, publishing, design and programming. I remember all too well my first conscious attempts to do this design thing, originally in MS_Paint, later in CorelDraw, and finally (by late 2000,) in my stepfather's copy of Photoshop.

My first experience with print publishing came between 2006 and 2010, when I was involved in the production of Texas Tech's student literary journal, Harbinger, first as an editorial panel member, then as editor-in-chief, student advisor, and alumni advisor. In 2009 I founded my own literary journal, escarp, which is published via Twitter, and started my first work with full-fledged programming.

At Old Dominion University, I helped out with the technical (design, HTML/CSS, PHP, Wordpress templating and staff training) work necessary to found Barely South Review, a digital literary journal first published in HTML format. In the spring of 2012, our managing editor and I transitioned the journal to a PDF/InDesign workflow to support editions for web, e-reader, mobile and eventually print.

Since graduating from ODU in 2012, I have kept myself busy with a number of freelance, open-source and personal code projects.

As a lifelong student I've found that I learn new skills best when those skills are required for an interesting project—and I find that new skills come slowly (if at all) in abstraction. As a creative writer, programmer, designer and participant in DIY culture, I find my most fertile creative periods cluster around large projects requiring new skills. The employment of varied skill sets engaging many senses allows the incoming information to be assembled into a robust connective web.

This is, of course, why we encourage writing across all educational disciplines; broad, deep connections help new knowledge stick.

As a GTA, I used a recursive, project-oriented assignment track to help my composition students learn how to work with a pen or keyboard alongside projects they're completing with bowls, spatulas, running shoes, punching bags, X-acto-knives, pencils, paint brushes, basketballs, ovens, much thinking, careful research and hard work.

My composition course requires students to embark upon a project of personal or professional interest. They begin by writing about the initial iteration of their project before enacting multiple modes of research: reviewing a similar project, doing traditional secondary research, and performing primary research through hands-on experimentation and interviews. After completing the research phase of the course, my students make a semiformal proposal for a new, improved version of their initial project, execute the new project, and complete the course with a postmortem evaluation of the results.

CONTACT

I'm a fan of meatspace. Let's talk it out over coffee or a beer. I'm currently available for freelance, full-time and part-time projects.

If you want a quote, be sure to enumerate your requirements and describe the scope/scale of what you need.

Travis A. Everett
4434 Orange St.
Bacliff, TX 77518
806.549.9969

I'm a fan of meatspace, but cyberspace works, too. I'd rather talk it out over coffee or a beer, but if that isn't an option you can email, text, or call. I'm currently available for freelance, full-time and part-time projects.

If you want a quote, be sure to enumerate your requirements and describe the scope/scale of what you need.

email:
travis.a.everett@gmail.com
Facebook:
http://facebook.com/travis.a.everett
GitHub:
http://github.com/abathur
Goodreads:
https://goodreads.com/abathur
Google+:
https://plus.google.com/100843484448724288882
Tumblr:
http://t-ravis.com
Twitter:
http://twitter.com/abathur

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MUD-flinging: GMCP Negotiation in LDMud

mudflinging:

A player on our MUD recently inquired about whether it would be possible for us to support GMCP, or the Generic Mud Communication Protocol.

I won’t spend a long time going into back-history or preliminary details of how we’ll actually use GMCP—we’re still in the process of feeling the project…

Barely South Review - Initial publication design, spring 2012

Our main task for the 2011-2012 school year was to, if I can use a crude metaphor, was to take the staff we’d been using to keep one rotating door in motion for three issues a year to keep that door rotating for the September and January issues, while also getting a new door—one for a PDF-oriented design as a stepping-stone to what may or may not eventually be print production—up to speed in time to make the hop over to that mode for the April 2012 issue. One of the main challenges here, of course, is laying a sensible framework for the editors and staff who will follow us.

We must not only make sensible choices for ourselves, but we must structure our choices in a way that they provide both the freedom and restriction necessary to allow subsequent issues to both innovate and maintain internal consistency, upholding the “image” of the publication. It’s a tall order, of course. During the early phases of design development we met often as a publication to discuss our goals. I knew from experience coming into the year that design-by-committee rarely ends well—but at the same time it’s still necessary for third-year journal staff to work in lock-step with second and first-year journal staff to make sure the design we end up with is one that isn’t going to overlook concerns of these editors and get thrown out the window before it has a chance to lay roots.

One of the refrains of our initial design efforts was the preference for a bold outside margin, with the titles set in the margin. As the design moved out of group-work phase and on to the point where I was charged with creating final templates and making hard decisions about what would ultimately be the most maintainable, we had to reorient the margins. The risk, of course, is the case of the inevitable outlier—a title with a single word too long to set elegantly within the margin without either hyphenation or changing font size/kerning/scaling. As few on the staff come from a technical or design background, it isn’t really tenable to assume someone on-staff will have the typographical wherewithal to handle this exception elegantly. In response, we shortened our title-page text columns and expanded our font size in an attempt to retain some sense of the boldness the editorial staff wanted to see.

With the caveat that, coming from the plains of West Texas, I am more of a westerner/Texan/midwesterner than a true southerner, much of my approach to incorporating some sense of the south into my designs for Barely South has been the interplay between flamboyantly bold structure and small, delicate decoration.

Doxygen integration with LDMud

For the past few months I’ve been working to (better) integrate Doxygen with an LDMud, TsunamiMUD, which I code for in my spare time. While our primary administrator installed Doxygen back in 2010, no one had taken the time to really review the package in order to figure out what we should be doing to make the most use of it. After taking time to familiarize myself with the package and assess its usefulness to us I realized we would need:

  1. A syntax filter for LPC so Doxygen is able to understand some of its idioms.
  2. A set of guidelines/best-practices for writing Doxygen-friendly code comments.
  3. Conversion of enough of our code comments to Doxygen style in order for it to be of use.
  4. A method of converting the plaintext driver docs included with LDMud into something Doxygen could parse.
  5. A parser and documentation reader capable of taking Doxygen’s complex XML output and turning it into something we could use to replace our old plaintext manual system on the MUD.
  6. A method for running different configuration files at different times to generate different documentation sets for builders—those with little code experience hoping to write content for the MUD—and more experienced coders maintaining the mudlib.
  7. Guides/quality-control standards and other non-code documentation rewritten/reformatted.

The project is currently around 2000 lines of LPC and Python code, obviously ignoring rewritten/new documentation to support it. While there’s still inevitably fine-tuning left to do, with the bulk of the work I’m really enjoying having a robust documentation system. The MUD is over 20 years old, and when I started coding for it two years and 5 months ago, I quickly discovered most of the non-driver documentation was woefully out of date, incomplete, absent or poorly organized—and at some point these documentation issues begin also becoming an extra tax on maintenance costs, and work to stymie the progress of new coders.

I’ve made a 7-post series detailing the project on my LDMud blog, MUD-flinging. Here are links to the various sections:

  1. Part 1 - Introduction
  2. Part 2 - Basic configuration
  3. Part 3 - Input filtering to smooth LPC/doxygen issues
  4. Part 4 - Writing guides and code comments for Doxygen
  5. Part 5 - Converting LDMud driver docs to a Doxygen-friendly format
  6. Part 6 - Creating an XML-powered MUD-side interface
  7. Part 7 - Rotating configurations for advanced scenarios

Barely South Review - Website Redesign, spring 2012

Design

One of the greater factors dictating the initial design of BSR was our interest in making use of the online format to be able to publish a greater quantity (and longer pieces) of fiction and non-fiction than we could have afforded to print. We needed a fairly restrained column size to promote readability and few additional distractions. When we first started discussing moving to a PDF format in early 2011 in order to position ourselves to leap at any opportunities to realize the journal in print, part of the allure was the use of a slick, web-based PDF reader like Issuu. The use of a PDF reader of this type necessitated a rethink of our design.

Where previously the site’s layout was fully responsible for establishing the journal’s visual aesthetic (save perhaps our selections of visual art), the new design would need to be simplified and minimalized to allow the PDF issues to shine. The primary mechanism for streamlining the reading process was moving all of our non-issue content into the pull-down title panel. One of the dangers of a PDF issue with additional links on the page is that a curious reader will click away to read about the journal or look at our submission guidelines in the middle of reading the issue—and when they go “back”, they’ll just end up having lost their place; keeping all of this content within reach in the top panel de-emphasizes navigation in favor of reading.

Another issue with online literature can be the ease with which we fall down a slippery slope into using more of the page than necessary. In print, save for some publications like The Atlantic which mix poetry in with feature stories, we usually understand clearly the value of giving each piece room to breathe on the page, if only to give the reader a way to hold it. On the web, the sanctity of a piece of literature is often encroached on by unnecessary navigation elements, Twitter feeds, additional content columns, tag clouds, related links, comments, copyright statements, etc. The printed page may have its analogues in page furniture, but these metadata elements tend to be more transparent than they are on the web. The pull-down into which most of our meta-content (content about the journal, not the content OF the journal) goes leaves the primary viewing panel free to contain only the content OF the journal.

Within the content panel itself, I made the decision to scrol horizontally instead of vertically. I always give some head-space to the merits of both paper-world and digital-world notions of textual navigation; I think to some degree it’s a mistake for digital texts to fully aspire to be print texts as the medium has its own strengths and weaknesses. Nonetheless, I think one of the “problems” with extended reading on the web is that a long vertical column of anything can be overwhelming. It is in part the feeling of beginning a dense chapter and finding yourself several sentences into the paragraph, wondering where it will end—and turning several pages before actually finding it. The horizontal orientation of the site presents a clear and almost tangible chronology, while limiting the overwhelming visual feedback of a long scrollbar or navigation links to each issue.

Development

Another big decision made for this iteration of the site was to move from a Wordpress backend to a site built on top of Tumblr’s service and APIs. The decision was made for a few main reasons:

  1. To simplify site updating for non-technical staff.
  2. To reduce the maintenance overhead of Wordpress updates/comment approval.
  3. Tap into the art-friendly, social-content-sharing nature of Tumblr.

The closed/fee-oriented nature of a hosted Wordpress site made it necessary for us to secure private hosting through Old Dominion University. While this hosting worked for us, it also left us, as the staff, continually responsible for updates to the Wordpress installation, management of comment/trackback spam issues, etc. with a staff of varying technical capability. Among the founding staff, I was the only web developer—and the presence of future development-savvy journal staff is predicated mostly on chance until the journal finds funding for an endowed fellowship or other recruiting carrot.

As the person charged not just with developing the technical end of the journal’s operations but also with documenting that functionality and ensuring its future viability, especially in the possible absence of HTML5/CSS/PHP-literate staff, my nightmare scenario involves the accidental corruption of our Wordpress install by well-meaning staff. Back issues could easily be lost, requiring their re-development (or abandonment?). While Tumblr is a proprietary service, which gave me some pause, it also presents a far simpler, intuitive face to both regular users and, through its robust, simple templating language, to any future HTML/CSS literate staff.

The new site is driven entirely by Tumblr posts with pre-selected tags, which allows the current staff to quickly add new mastheads or submission guidelines by creating a new post with this information; the site template leans on the Tumblr API to populate the content panels from these posts. Each of these posts also, for those following BSR on Tumblr, serves as notice of updates in policy, guidelines, staff, etc. The social nature of Tumblr reduces our reliance on regular visits for dissemenating news; our news posts can reach interested readers through Tumblr.

Barely South Review - Original layout

After I arrived at Old Dominion University in the fall of 2009, I was in on the ground floor for the launch of Barely South Review, serving as the journal’s designer, typesetter, and first technical editor. It was an interesting task, being charged with the original design and branding for a publication staking a claim to a regional identity which I, as someone who grew up 1800 miles from Norfolk, Virginia, knew little about.

Coming from a relatively new part of the country, I’ve always been smitten with the amount of architectural variety and historypresent in my Norfolk neighborhood, Ghent. I took the first picture in this set of the fanlights above a door and window on a night-walk around the neighborhood shortly after I moved to Norfolk. Along with a few other common tropes, the fanlights stuck out to me as a part of that local identity, and before I was given any graphic assets to work with I knew I wanted to try to integrate some sense of the fanlights into the design.

I was intiially somewhat dismayed to receive a large circular logo for the publication with detail requiring it be used at a fairly large size—I rarely feel entirely satisfied with how circular logos work out on the web. When I had the realization that the directional markings on the compass served as a fair approximation/abstraction for the woodwork in a fanlight, however, the design began to come together.

escarp redesign, Jan/Feb 2011

In the summer/fall of 2010 I worked on a concept proposal for an academic/arts journal discussing the interaction between culture, landscape, land-management practices, and art at the request of Andy Wilkinson, artist in residence at Texas Tech University’s Southwest Collection. The concept proposed the name “Windswept” and was based on photos I took during a trip home in late fall of 2009.

The proposal didn’t go anywhere, but in early 2011 I was looking to give escarp an update ahead of the 2011 AWP conference in D.C. I wanted to stay somewhat true to escarp’s minimalist aesthetic while finding a fresh look. I really enjoyed the tension between the big, open sky and landscape of the Caprock Escarpment region and that sense of minimalism. Inspired by the second photo in the collection here, I reworked the “Windswept” concept to shift the balance between sky and landscape. I also abstracted both somewhat to reduce their visual complexity and reinforce the journal’s minimalist leanings.

Some other decisions were needed in order to balance out the increase in visual complexity in the new design, including a transition from 10 pieces published per page to a single piece per page and the paring back of interface creep like social-sharing buttons for non-Twitter services.

escarp business cards, May 2009

escarp has always been a shoestring project with a strong dedication to cost control and efficiency. When it came time to create a tangible artifact to promote the journal, I decided to mix the high-tech world of SMS/Twitter-based literature with low-tech, home-made cards. The home-made cards cut against the inability for the untrained user to identify the tool-marks of “digital” design-craft—the inability to gauge the amount of work that did or didn’t go into a given design on the web.

The cards are simple, balanced typographical works set in a font that could handle being made into a rubber stamp, and stamped onto hand-cut 1”x3” bristol board cards. They still bear the pencil-marks used to measure and cut them, and any stamping errors that don’t render the card illegible have been kept. I’ve done two runs of the cards, one in brown ink and one in green, though even among cards in the same color, the inking intensity and patterns vary greatly across a run due to the natural inconsistencies stamping introduces.

As someone who came to design first through the computer, I was pleasantly surprised by how much I enjoyed the slow, meticulous hand-work the cards demand.

escarp - Initial design and launch, March 2009

In the spring of 2009 I was wrapping up my final semester as an undergraduate and had spent the past few months snowed under by the notoriously rigorous public-relations “campaigns” course, the capstone for my PR degree. In early March, the week before spring break, the clouds parted, I had a few days to myself, and the domain I wanted was available. I had been wanting to do something to promote what I was calling cell-phone poetry since I wrote my first SMS poem in 2006, but a recent in-class presentation on the use of Twitter for PR had my wheels turning about the literary potential of the medium.

In short order I kicked out a minimalistic design for escarp, inspired by a dusk view of the Caprock Escarpment and notable in part for the decision to shun a logo-form in deference to the sorts of hard exclusions writers have to make at sub-160-character lengths.

At first, the site was bare html/css and a Twitter javascript widget used to display the poems and short stories escarp published over Twitter. I realized in short order that we would want to be able to archive the pieces we were publishing and over spring break in Austin I began my first serious attempt at programming by learning the PHP necessary to hammer out a backend interfacing with the Twitter API.

Including photosets in text posts

When I was building the Tumblr theme for my personal site, I knew that I wanted to be able to make use of Tumblr’s photosets for documenting some of my projects—but I found the root photoset implementation lacking for two reasons:

  1. You can’t title photosets
  2. You can’t include a photoset in the middle of running text or inbetween paragraphs.

While I ultimately settled on faking the titles inside the captions of my photosets, mostly because I needed to override the photoset iframes to make my mobile layout work like I wanted, my first attempt was the following JavaScript/jQuery snippet, which should suit your purposes just fine if you don’t need mobile support.

In short, this method allows you to make a private photoset post, insert a comment code in your text post pointing to the photoset’s “share” url, which is then expanded in your theme to include the photoset. See the full Gist for implementation details.

Barely South Review

As the founding technical editor of BSR, I was initially responsible for consulting staff and faculty on the creation of the journal, and then responsible for developing the design, Wordpress templates, customizing the Wordpress installation to automate as much of the process as possible to aid in the maintenance of an e-literary journal by a non-technical general staff; I was also, of course, responsible for training the staff on updating the journal.

One of the journal’s long-term goals is to be publishing to a variety of e-readers, so in the spring of 2012, for our 7th issue (our largest yet, weighing in at over 250 pages), I retooled the website and production workflow to support a move from Wordpress-based issues to PDF-based issues. I developed a set of InDesign templates, worked to retrain staff to typeset issues in the new format, and redesigned the site to create a more minimalism-inspired, jQuery-aided reading experience. In moving away from Wordpress publishing I’ve also transitioned the journal from a Wordpress backend to Tumblr, a decision made mostly due to Tumblr’s robust-yet-simple templating engine, flexibility, and ease of administration for a largely non-technical staff.

In addition to my work as technical editor, I also spent two years as a poetry editor for the journal-a period over which we saw poetry submissions climb from around 120 to nearly 800 a reading period, despite going from only one reading to the current two per year. The pressure created by the ever-increasing submissions volume required the development of efficient, codified editorial processes which allowed us to double the ground we covered in each editorial meeting while cutting weekly meeting time in half.

PROJECTS

C.V.

Travis A. Everett
4434 Orange St.
Bacliff, TX 77518
travis.a.everett@gmail.com
http://t-ravis.com
806.549.9969

  • Technical skills

  • Programming: PHP, SQL, LPC, Python, JavaScript/jQuery
  • Print/web/mobile design: HTML, CSS, jQuery Mobile, Bootstrap, Photoshop, InDesign, Illustrator
  • Other software/package/API proficiencies: Vagrant, Chef, Flask, Heroku, AWS, WTForms, Django, NLTK, Doxygen, Adobe Creative Suite, MS Office, Wordpress, neomodel, neo4j, Twitter, Tumblr, Wordnik, RhymeBrain
  • Current projects

  • Contributor, SublimeLinter, March 2014-Present:
    • Updating SublimeLinter (supports dozens of linters for Sublime Text 3 editor) from hard-coded error/warning types with two global color settings to support flexible linter-specific messaging types/coloring.
  • Developer, neomodel-admin, Jan 2014-Present:
    • Develop automated administrative scaffolding for neomodel (a Python ORM for the neo4j graph database).
  • Freelance contract programmer/designer (Python/JS/HTML/CSS/PHP), Total Seminars, LLC., Jan 2013-Present:
    • Develop video/interactive paid-content technical training portal.
    • Hone user experience/design for both internal and external users.
    • Interface with existing business systems.
    • Optimize query/code performance.
    • Document existing/new code and maintenance processes.
  • Programmer & administrator, TsunamiMUD, 2010-Present. Subprojects:
    • Rewrite new-player process to improve retention.
    • Refactor http socket code, write native oauth & social-media libraries.
    • Maintenance/bug-fixes for multi-user text-based game with 30K+ files/objects.
    • Refactor primary game objects to modernize pre-2000s code, simplify customization, and assert standards.
    • Develop grammar/text-processing modules to improve messaging for core objects.
    • New documentation system integrated with Doxygen output.
    • Document core objects and methods via Doxygen.
    • Develop/improve productivity/workflow tools.
  • Writer/developer, My Friend Glenn, online/Tumblr conceptual, perpetual arts project based on my creative MFA thesis, 2012-Present.
    • Develop language parsing/generation algorithms which operate on the corpus of the Glenn Beck show.
    • Develop/maintain a generator which queues new posts to Tumblr.
  • Founding editor, et al, of escarp, a text-message-based journal of super-brief poetry and prose, March 2009-Present. Responsibilities:
    • Design, develop, maintain and promote journal's online presence.
    • Manage editorial panel, submissions and responses.
    • Develop custom backend for high-performance visitor statistics tracking and efficient Twitter follower management.
  • Projects & related experience

  • Graduate teaching assistant, ENGL 110c, college composition, Old Dominion University (ODU), 2011-2012:
    • Developed a custom project-oriented course requiring students to implement and document multiple facets of a semester-long project.
    • Iterate on student feedback to improve the course.
    • In second semester, received positive student reviews while students wrote on average 2-3 times the departmental objective.
  • Freelance editing for Farideh Dayanim Goldin, author and lecturer at Old Dominion University:
    • Provided copy/thematic editing for "Silencing Women," a 40-page essay on how the Persian language's construction of gender influences writing by Iranian women.
  • Technical editor, poetry editor, Barely South Review, 2010-2012. Developed:
    • InDesign templates and training documentation for future staff.
    • Multiple training sessions for staff with little to no InDesign experience.
    • Streamlined poetry-panel editorial workflow to allow for scaling up from a single, 120-submission reading period in fall 2010 to 500+ and 800+ submission periods in the 2011-2012 school year.
  • Director, TUNNEL TRAFFIC reading series, ODU, 2010-2012:
    • Created, promoted (Facebook, Twitter, fliers, interviews, etc.) and hosted topical reading series held every 2/3 weeks.
  • Founding technical editor, Barely South Review, the online literary journal of ODU, 2009-2010. Responsibilities:
    • Consult with faculty/editorial staff on technical/implementation issues.
    • Design, develop and implement the journal's online presence.
    • Train additional staff on website operation.
  • Design, typesetting & copyediting, WHERE campaign proposal, Texas Tech University, 2009:
    • As part of a team, researched and developed public relations campaign for Office of Institutional Diversity to improve minority recruitment.
  • Student Advisor for Harbinger, student journal of Arts and Letters at Texas Tech University, 2008-2009. Objectives:
    • Train new Harbinger staff.
    • Write, organize and edit comprehensive guide to the publication and all tertiary activities.
  • Editor-in-Chief of Harbinger, student journal of Arts and Letters at Texas Tech University, 2007-2008. Oversaw:
    • 300% increase in submissions, 1600% increase in funding,
    • 2000% increase in circulation
    • Introduction of visual art to the publication
  • Student Tutor, TECHniques Center, January 2007-May 2009:
    • Provided one-on-one tutoring to learning-disabled students at Texas Tech University.
    • Earned Level 3 College Reading and Learning Association certification
  • Education

  • Old Dominion University, May 2012:
    • M.F.A. Creative Writing
      • Thesis: "My Friend Glenn", advisor: Tim Seibles, consists of 28 pairs of poems, one generated from Glenn Beck television transcripts by a program I wrote, the other written by me in response.
  • Texas Tech University, May 2009:
    • B.A. English: Creative Writing
    • B.A. Public Relations
  • Awards & Fellowships

  • Perry Morgan Fellowship, Old Dominion University, 2009-2010.
  • First runner up, 2007-2008 Stephan Ross Huffman Poetry Prize.
  • Publications

  • Poem "You and I, the ingredients," in Short, Fast, and Deadly issue 20.
  • Poem "Mira," in Analecta 34.
  • Flash-fiction "University Writing Center" in Boston Literary Magazine, Spring '07.
  • Poem, "Delicate Veil," February 2007 in the International Museum of Women's online exhibit, Imagining Ourselves.
  • Research Interests

  • "Conceptual" writing, both analog and computational/digital
  • Natural language processing, generation & hermeneutics
  • Artificial intelligence & emergence
  • Conceptual art and avant-garde aesthetics.
  • References available on request