For students in Interior Architecture, working on the annual department-wide charette calls for collective brainstorming and intense, around-the-clock collaboration. Students are given five days – during which all other classes are suspended – to solve a specific design challenge under conditions akin to a professional competition.

The irony of the curator’s statement Maya Krinsky MFA 14 PH wrote for Language vs. Language, a show on view through October 11 at Sol Koffler Graduate Student Gallery, is that it’s crystal clear. The exhibition presents an interrogation of “the complexity of communication between and across languages,” writes the recent alum, who teaches a course called Studio Languages in Graduate Studies.

Co-authored contribution to the 2008-2009 Rhode Island School of Design Guide to Graduate Study

Note: in collaboration with Communications Project Manager, I provided substantial writing and editing services for a global content revision of this public-facing instruction manual for ACT Aspire, a national assessment program.

Cover feature about the state of local music in Providence, RI, amidst recent closings of live performance venues. Published in January of 2006.

Profile of printmaker and Rhode Island School of Design graduate Serena Perrone, with overview of the artist's gallery show, "In the Realm of Reverie." Published in RISD Views, Fall 2008.

Insecurity, hip-hop, capitalism, totalitarianism, racism, powerlessness - and the struggle against all these things: this is Saul Williams' story, as communicated on his second collection of music, Saul Williams. Changing each record, says Williams, is a metaphor for changing the world, for attempting to actualize social change in our lifetimes.

Let’s get this straight: reggae, jungle, hip-hop, industrial, folk, dub, and jazz, spun together by a Black American ÈmigrÈ to Spain who, before making his debut record, released mix after mix of barrier- breaking dance music? And there’s a picture of watermelon bullets on the cover? Damn, the ethnomusicologists should be tripping over their copies of The Black Atlantic for this one.

With Plat du Jour, jazz/electronic jack-of-all-trades Matthew Herbert has charted out a very different type of artistic territory, and penned a record that, in all its obtuse methodology, is more timely than anything else could be, in this writerís humble opinion. And, in no uncertain terms, Matthew shared all he could about the howís and whyís related to this deft critique of the modern industrial food industry, and how his musical abstractions speak to a very real, very immediate tragedy.

A soft voice over the electric organ says, "now the evening has come to a close, and I'd like my last dance with you." This is where we meet El-P at the onset of Fantastic Damage, the long-awaited solo album from the all around sonic mastermind and founder of the now-disbanded Company Flow. He's drawing the curtain on a day when he revolutionized rap with Company Flow's Funcrusher Plus, founded hip-hop's most important indie label, Definitive Jux, and produced some of the most frighteningly beautiful sounds imaginable for Cannibal Ox's The Cold Vein.