Recent scholarship in music studies has addressed the particular capacities of sound and its sensory corollaries as a mode through which to approach vulnerability, generosity, and exposure alongside the distribution of security, risk, and precarity. I approach my own research practice as an effort to work out the knotty valences and generative relational modes between writing, research, and performance as a queer method. I focus on media archaeology as a model for interdisciplinary work as well as voice processing and performance as analytical methods to articulate embodiment and technocultures.
For QUAD/MAAS TWO: +4dBu at Maas Garden, Philly, PA
A lineup of Philly sound artists using a unique quadraphonic set up in the environment of the Maas garden
For HOTLINE, an interactive group show featuring soundworks by artists, musicians, scholars, performers, and poets at SPACE gallery, Portland, Maine
Recording with Xingtong (Bess) Liu
Performance from “1000 Years of Musical Listening” music history survey at the University of Pennsylvania
Re-Interpretation of Anohni’s “Watch Me”
Companion piece for "Electro-Pop as Trojan Horse: Hearing the Call to Arms in Anohni's HOPELESSNESS"
Improvisation by Layla Ben-Ali, Maria Murphy, and Roksana Filipowska
Cover of Laurie Anderson's "Difficult Listening Hour"
Companion video for "Voicing the Clone: Laurie Anderson and Technologies of Reproduction" with Carlo Lanfossi
This talk was presented at the 2020 American Musicological Society annual meeting.
Clone presenting “How Clones Understand Gender,” SNF Paideia Program, 2022.