zines

symbiote zine [editor] (2024) (print)
liquid texture (2023) (print)

a zine composed of poetry and text-based scores. The zine reflects on water as a source of creative inspiration and a means of creating experimental music beyond the boundaries of traditional notion. The poetry and text scores (scores that deploy words instead of notation as inspiration for musicians) serve as inspiration for both of my previous works “we could have been rich” and “drip”. I distributed this zine during a tour performing dance music composed of field recordings of water. In distributing the zine, I hoped to offer others a means of experimenting with form and composition within their creative endeavors. July 2023.

mutual aid and the limits of community (2022) (read/print)
how to scam your way into the music industry [evil dentist] (2022) (read/print)

poems

summer poems (2024)
gunshot fireflies (2023)
3 poems (2023)

academic articles

feeling pain/making kin in the brooklyn noise music scene (2020) current musicology

tiny mix tapes
interview: matana roberts (2019)
review: pharmakon - devour (2019)
review: show me the body - dog whistle (2019)
review: deli girls - i don’t know how to be happy (2019)
review: machine girl - the ugly art (2018)
live blog: SOPHIE (2018)
live blog: mount eerie (2017)

Collections of syllabi and teaching resources I have created.

Syllabus:“Ecstasy and Agony: Queer Electronic Dance Music in New York City”

“Improv Assignment”: An experimental teaching method drawing from sound walking, walking scores, and mindful listening practices.

Syllabus:“Empathy”

Syllabus:“Urbanism and Music”

My work is invested in how the act of listening constructs our ethics, how sound is transformed by attention. recent work has focused on how attention to everyday environmental sounds (dripping water, running streams, bubbling water coolers, and rushing ocean waves) unveils complicated emotional attachments. ongoing work reflects on the property conditions structuring performance. my current work examines echoes.

a certain uncanniness sets in when showing your apartment. you are still living in your home, but you are showing prospective tenants the space which could become their home. an excruciating liminality sets in, swaddled in loss and longing.

at the time of showing my apartment, i’d been on a vaporwave kick. i set out to disorient potential tenants by playing vaporwave throughout the apartment, accompanied by static blasting radios. i placed a microphone on one side of the apartment, ran through a slight bit of delay, to both playback the vaporwave and to grasp at bits of conversation. as people milled about, i tracked a camera on the steps to my bedroom hole, protecting their exploration of my home onto the wall. few noticed that they were being surveilled, more intent on surveilling my home. by the end of the showing, it became clear that my goal of scaring would-be tenants off had failed as they found the vaporwave audio installation a charming expression of an artist’s life.

reflecting on my experiment, i decided to invert the vaporwave formula: as opposed to turning musak into unreal representations of mundane places, i took recordings from the showing and attempted to create an unreal representation of my very real home. throughout this recording, the voices of apartment hunters and the building manager dance around washed out vaporwave. distortion and delay create a space distinct from the one that i had spent so many days and nights inhabiting.

in the end, i needed to make the space uncanny in order to leave. the burden of leaving my home as it was weighed too heavy. so instead i melted into air.

Police rioting involves officers inciting violence against assembled groups. This project explores how police agitation transforms assemblies into riots through sound. The acoustemology of a police riot is conjured through police sound technologies. Following ethnomusicologist Steven Feld, acoustemology concerns how sound structures knowing, being, and experience. Within a police riot, dispersal orders played on a Long Range Amplification Device (LRAD)—a speaker system used to signal arrests—commands screamed over bullhorns, and unified chants across a police unit are strategic interventions in the soundscape to create disorder to justify police crackdown.