Teaching
My teaching philosophy was forged
through my interdisciplinary training in psychology, physics, and nonlinear
dynamics, and it was shaped by my field of specialization—visual
neuroscience—which is an especially rich forum for interdisciplinary approaches.
From beginning lecture courses in
psychology and perception, through upper-level seminars in perceptual
neuroscience, my teaching is motivated by this cross-disciplinary perspective.
Beyond this motivation, my
approach to teaching is principally guided by four important factors: critical
thinking; student participation; biological and mathematical reasoning;
awareness and acceptance of human difference.
Teaching Experience
At
Hobart & William Smith Colleges, I teach Introduction to Psychology (PSY
100) with an emphasis on neuroscientific concepts and their evolutionary
origin, while at the same time I provide a broad introduction to the discipline
of Psychology, including its ethical dimensions.
I teach
Introduction to Sensation and Perception (PSY 299), a course covering all major
human sensory and perceptual systems in terms of sensory organ function and
physiology, neural pathways, phenomenology, and applications.
Advanced
Theory and Design in Sensation and Perception (PSY 398/498) is a course and
capstone experience covering ideas and methods that relate to: general
processes of sensory reception; key ideas in sensory neurophysiology, such as
receptive fields; processing of sensory information in visual and somatosensory
systems; high-level strategies of perceptual organization in, for example,
human face perception; as well as experimental design and procedure, and data
analysis. As a capstone, this experience involves synthesis of a great deal of
material covered earlier in the perceptual psychology sequence, and in other
courses in psychology.
Professor
Graham and students at HWS practicing laboratory methods used in the study of
perception. Photos by Kevin
Colton.
In
complement to my research course, I teach an upper-level seminar in perception
(Topics in Sensation and Perception, PSY 309). This discussion-based course
typically centers on human artwork as a window into understanding visual
perception and related areas of psychology. The course covers questions about
the origins of human symbolic thinking; how artists create representational
works; animal and children’s art; the relationships between brain injury,
psychological disorders, creativity, and art; and grand theories of art making
and aesthetics. Students investigate the neural underpinnings of visual
representation from the perspective of systems neuroscience and its
evolutionary foundations. The course attracts students with diverse interests
and backgrounds including studio art, philosophy, computer science, biochemistry
and other fields.
I
have previously taught a graduate-level course on mathematical models in visual
neuroscience at Dartmouth College. I have also taught courses on experimental
methods in psychology at the University of Vienna for undergraduates and graduates.
Teaching Innovation
Following
a rigorous, interdisciplinary perspective, I have introduced new approaches and
frameworks for undergraduate students in psychology. I developed a unique
laboratory course as a capstone for majors in psychology, one that involves
hands-on laboratory practice including electrophysiology with invertebrates,
creating stimuli that can achieve binocular rivalry, and experiments involving
face morphing software. Students also develop their own experiment or
demonstration on sensory or perceptual processes complete with a major
“deliverable”: this could be novel stimuli, protocol, electronics, code, or
hardware—or something else, like an oil painting that demonstrates perceptual
principles.
Painting by Katherine Wright WS’14 and
Elizabeth Szwejbka WS’14 demonstrating simultaneous
color contrast effects. Courtesy the artists.
In
Psy 299 (Introduction to Sensation and Perception), I
assign open-ended “Purple Peril” homework assignments inspired by experimental
psychologist J. J. Gibson’s famous missives on curious and counter-intuitive
problems in perceptual psychology. Examples include a consideration of the El
Greco fallacy, one of Gibson’s original puzzlers.