Past Events

“Sound (Art), Sensory Hierarchies, and the Racialization of Sensation,” Sound In Museums International Conference, National Museum of Music, Mafra, Portugal, October 18, 2025.

the haunting before Listening, installation, Ensemble Vertixe Sonora, Teatros del Canal, Madrid, Spain, September 23, 2025.

Quiet as a Verb — Five constellations for Vertixe Sonora, Ensemble Vertixe Sonora, Teatros del Canal, Madrid, Spain, September 23, 2025.

the haunting before the Aesthetic, installation, Ensemble Vertixe Sonora, Museo Verbum, Vigo, Galicia, September 21, 2025.

Quiet as a Verb — Five Constellations for Vertixe Sonora, Ensemble Vertixe Sonora, Museo Verbum, Vigo, Galicia, September 21, 2025.

new works for Listener and intermedia annotations, Sound Studies Center, Leiden University, hosted at Institute of Sonology, The Hague, Netherlands, September 18, 2025.

“Music-as-Sound, Sound Art, and Racializing Sensory Hierarchy,” Sound Studies Center, Leiden University, hosted at Institute of Sonology, The Hague, Netherlands, September 18, 2025.

The Concert Hall Has Always Been Haunted installation, Null Point, Kleinhans Music Hall, Buffalo, NY, occupied land of the Seneca Nation and Haudenosaunee Confederacy, August 21 & 22, 2025.

before Taste, Electronic Literature Organization, MacLean Performance Studios, Accolade East Building, York University, Tkaronto/Toronto, occupied land of the Wendat Confederacy, Mississaugas of the Credit First Nation/Three Fires Confederacy, and Haudenosaunee Confederacy, July 12, 2025.

“Perpetrator, the safest city in America,” Association for the Study of Literature and Environment (ASLE), University of Maryland, College Park, MD, occupied Piscataway land, July 9, 2025.

before the Common Man, the Colonizing Man, colintucker.studio, online, occupied Turtle Island, July 4, 2025.

“Mapping the Aesthetic’s Complicities with the Plantation,” International Congress for Ecological Humanities, UPF Campus de la Ciutadella, with support from Johns Hopkins Public Policy Center, Barcelona, Catalonia, June 30-July 1, 2025.

in the wake of the santa maria (video version), International Congress for Ecological Humanities, UPF Campus de la Ciutadella, with support from Johns Hopkins Public Policy Center, Barcelona, Catalonia, June 30-July 1, 2025.

an unthinkable accounting, Artistic Research Working Group, Performance Studies International, online, June 18, 2025.

“Mapping the Concert Hall’s Complicities with the Plantation,” presented at Environmental Studies Association of Canada (ESAC), Congress of the Humanities and Social Sciences, Federation for the Humanities and Social Sciences, George Brown College, occupied land of the Wendat Confederacy, Mississaugas of the Credit First Nation/Three Fires Confederacy, and Haudenosaunee Confederacy, June 2, 2025.

“Decolonial Mappings of Global Warming with Situated Sound Art” and in the wake of the santa maria (video version), Canadian Association for Postcolonial Studies, Toronto Metropolitan University, Tkaronto/Toronto, occupied land of the Wendat Confederacy, Mississaugas of the Credit First Nation/Three Fires Confederacy, and Haudenosaunee Confederacy, June 1, 2025, 1:30-3:00pm.

Relations, Not Blank Slates, curation/performance with Null Point, Open Ears Festival, Registry Theatre, Kitchener, ON, occupied land of the Mississaugas of the Credit First Nation/Three Fires Confederacy, and Haudenosaunee Confederacy. May 29, 2025, 8pm.

before Taste, MSSC, Carleton Dominion-Chalmers Centre, Carleton University, Ottawa, occupied land of the Omàmìwininìwag Nation/Three Fires Confederacy and Kanienʼkehá꞉ka Nation/Haudenosaunee Confederacy, May 26, 2025.

before the Listener can be Sensitive, MSSC, Carleton Dominion-Chalmers Centre, Carleton University, Ottawa, occupied land of the Omàmìwininìwag Nation/Three Fires Confederacy and Kanienʼkehá꞉ka Nation/Haudenosaunee Confederacy, May 26, 2025.

an unthinkable accounting, MSSC, Carleton Dominion-Chalmers Centre, Carleton University, Ottawa, occupied land of the Omàmìwininìwag Nation/Three Fires Confederacy and Kanienʼkehá꞉ka Nation/Haudenosaunee Confederacy, May 26, 2025.

Production residency (non public), Niagara Arts and Cultural Center, Niagara Falls, occupied land of the  Seneca Nation/Haudenosaunee Confederacy, May 2025.

Production residency (non public), InterAccess, Tkaronto/Toronto, occupied land of the Wendat confederacy, Mississaugas of the Credit First Nation/Three Fires Confederacy, and Haudenosaunee Confederacy, May 2025.

“Perpetrator, the safest city in America,” released online in ISSUE 01: STATE(D) VIOLENCE, Blue Bag Press, Buffalo, NY, occupied Seneca/Haudenosaunee land, April 21, 2025.

before Image, UKAI Projects, The Bridge, 379 Adelaide St. W (4F), Tkaronto/Toronto, occupied land of the Wendat confederacy, Mississaugas of the Credit First Nation/Anishinaabe confederacy, and Haudenosaunee confederacy, March 29, 2025, noon to late.

“‘Like an empty glass, nothing but wheat:’ John Cage’s Chance Systems and/as Colonial Unknowing,” virtual presentation, Composing (with) Systems, University of Sheffield Sound Studies (USSS), Sheffield, England. March 27, 2025.

“Primitivism and the Racialization of Sensation in David Tudor’s Rainforest series,” Society for American Music, Hotel Murano, Tacoma, occupied lands of the Puyallup, Cayuse, Umatilla, and Walla Walla Nations, March 22, 2025.

Feeling as Capacity / Feeling as Relation participatory musical contemporary art performance, double-bill with Aaron Michael Butler, Peter Tracy, and Carlos Cotallo-Solares, Wayward Music Series, Good Shepherd Center, Seattle, occupied lands of the dxʷsəq̓ʷəbš (Suquamish), dxʷdəwʔabš (Duwamish), bəqəlšuɬ (Muckleshoot), Cayuse, Umatilla, and Walla Walla Nations, March 20, 2025.

“Art History and the Apocalypse: A Decolonial Re-Orientation,” College Art Association, NY, NY, occupied Lenape land, February 13, 2025.

before the spectator’s capacity, Festival of Original Theatre, Centre for Drama, Theatre and Performance Studies, Luella Massey Playhouse, 4 Glen Morris St., University of Toronto, Tkaronto/Toronto, occupied land of the Wendat confederacy, Mississaugas of the Credit First Nation/Anishinaabe confederacy, and Haudenosaunee confederacy, February 6, 2025.

“The Relational Spectator: Marking Racializing Relations in Concert Music Protocols,” Festival of Original Theatre, Centre for Drama, Theatre and Performance Studies, Luella Massey Playhouse, 4 Glen Morris St., University of Toronto, Tkaronto/Toronto, occupied land of the Wendat confederacy, Mississaugas of the Credit First Nation/Anishinaabe confederacy, and Haudenosaunee confederacy, February 6, 2025.

in the wake of the santa maria (video version, premiere), Speculative Meteorology: Weather Channeled, curated by Aftab Mirzaei, nD::StudioLab, Special Projects Gallery, York University, Tkaronto/Toronto, occupied land of the Wendat confederacy, Mississaugas of the Credit First Nation/Anishinaabe confederacy, and Haudenosaunee confederacy, February 3-7, 2025; opening reception: Feb. 5, 5-7pm.

“De-Normalizing ‘Wide Open Spaces:’ Notes Towards a Decolonial Performance Practice,” Null Point Words, Buffalo, NY, occupied Seneca/Haudenosaunee land, released December 9, 2024.

The Treaty of Hartford, 2024 edited found text and essay, Rustbelt Artists Against Genocide, Infrasonic Press, Erie, PA, occupied Haudenosaunee land, released October 15, 2024.

Hide Piece, new audio realization of score by Yoko Ono, Null Point, Rustbelt Artists Against Genocide,  Infrasonic Press, Erie, PA, occupied Haudenosaunee land, released October 15, 2024.

“‘Wide Open Spaces’ as a Technique of Dis/possession,” text, Null Point, Rustbelt Artists Against Genocide, Infrasonic Press, Erie, PA, occupied Haudenosaunee land, released October 15, 2024.

Transcendence is a Vampiric Relation, site-specific interventions for concert halls, Null Point, Kleinhans Music Hall, Buffalo, NY, occupied Seneca/Haudenosaunee land, July 20-21, 2024.

The Concert Hall Is Not Neutral, performance, Canadian Music Centre—Ontario, Tkaronto/Toronto, occupied land of the Wendat confederacy, Mississaugas of the Credit First Nation/Anishinaabe confederacy, and Haudenosaunee confederacy, Tuesday, April 30.

Sensation Is Not Neutral participatory performance with spectators and concert hall, Canadian Music Centre—Ontario, Tkaronto/Toronto, occupied land of the Wendat confederacy, Mississaugas of the Credit First Nation/Anishinaabe confederacy, and Haudenosaunee confederacy, Thursday, April 25.

“Spectatorship has Never Been Neutral,” Artist Talk (live-streamed and in person), Canadian Music Centre—Ontario, Tkaronto/Toronto, occupied land of the Wendat confederacy, Mississaugas of the Credit First Nation/Anishinaabe confederacy, and Haudenosaunee confederacy, Thursday, April 25.

Breaking up with The Aesthetic, performance, Canadian Music Centre—Ontario, Tkaronto/Toronto, occupied land of the Wendat confederacy, Mississaugas of the Credit First Nation/Anishinaabe confederacy, and Haudenosaunee confederacy, Monday, April 22 (300th Birthday of Immanuel Kant).

Spectatorship is Not Neutral, exhibition of site-specific interventions for concert halls, Canadian Music Centre—Ontario, Tkaronto/Toronto, occupied land of the Wendat confederacy, Mississaugas of the Credit First Nation/Anishinaabe confederacy, and Haudenosaunee confederacy, April 22-May 3, 2024.

framing the framer, 4 interventions against art music Exoticism, online score release, Null Point, Tkaronto/Toronto, occupied land of the Wendat confederacy, Mississaugas of the Credit First Nation/Anishinaabe confederacy, and Haudenosaunee confederacy, February 16-22, 2024.

“Rethinking the Politics of Media in David Tudor’s Rainforest series,” talk at Re-embodied Sound conference, EMPAC, Rensselaer Polytechnic Institute, Troy, NY, occupied Mohawk/Haudenosaunee land, February 2, 2024.

Talk as part of artist panel, Intersection Festival, Canadian Music Centre-Toronto, Tkaronto/Toronto, occupied Wendat, Mississauga, Anishinaabe, and Haudenosaunee land, September 3, 2023.

in the wake of the santa maria, version for 5 speakers, Intersection Festival, Yonge-D*ndas Square, Tkaronto/Toronto, occupied Wendat, Mississauga, Anishinaabe, and Haudenosaunee land, September 2, 2023.

asking the unthinkable realization for banner, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), August 27, 2023.

before art elevates for images installed around a historically white “high art” venue, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), August 27, 2023.

“certain that this music can be read as a portable Work —certain that matters of land can be compartmentalized from this music” constellation for title, score, speaker, and program note on land occupied by a concert hall, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), August 26, 2023.

title to land for sampled musical titles and title pages, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), August 26, 2023.

“certain that i can own this music and not be…” constellation for title, score, speaker, and program note in and around a concert hall, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), July 23, 2023.

in the wake of the santa maria for audio and carbon-producing infrastructure, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), July 23, 2023.

“with music, everything is beautiful” version for print materials around a concert hall, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), July 22, 2023.

Ode against, abolitionist-aligned interpretation of Symphony no. 9, “Ode to Joy,” Ludwig van Beethoven for print, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), July 22, 2023.

the coherence is the problem version for banner, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), July 22, 2023.

with music, everything is beautiful” version for print materials in a concert hall (premiere), Null Point, Torn Space Theatre, occupied Seneca land (“Buffalo, NY”), June 23, 2023.

the alibi of animacy for found musical expression marks and found performances, Null Point, Torn Space Theatre, occupied Seneca land (“Buffalo, NY”), June 23, 2023.

so sensitive as to need protection for listeners and tools of security (premiere), Null Point, Torn Space Theatre, occupied Seneca land (“Buffalo, NY”), June 23, 2023.

before universal judgement for concert music infrastructures and audio samples (premiere), Null Point, Torn Space Theatre, occupied Seneca land (“Buffalo, NY”), June 23, 2023.

before mapping this or any title onto sensory experience for performers, audio, projection, and audience (premiere), Null Point, Torn Space Theatre, occupied Seneca land (“Buffalo, NY”), June 23, 2023.

new works, Null Point, Faith United Church of Christ, occupied Seneca land (“Williamsville, NY”), Winter 2023.

Artist Talk, online, Shaver’s Creek Environmental Center, Penn State University, occupied Haudenosaunee, Lenape, Shawnee, Susquehannock, and Wahzhazhe land (“State College, PA”), September 13, 2022.

“a strong message to all mankind” a decolonial performance practice for and against Symphony no. 9 “Ode to Joy”, Ludwig van Beethoven, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), September 10, 2022.

“certain that this music can be read as a portable Work—certain that matters of land can be compartmentalized from this music” site-specific constellation for concert hall, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), September 10, 2022.

Shadows in the Forest, Shaver’s Creek Environmental Center, Penn State University, occupied Haudenosaunee, Lenape, Shawnee, Susquehannock, and Wahzhazhe land (“State College, PA”), September 3-4, 2022.

“it can scarcely be supposed to arise from any association” a decolonial performance practice for and against Ludwig van Beethoven, Symphony no. 6 “Pastoral”, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), August 27, 2022.

“certain that I can own this music” site-specific constellation for concert hall, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), August 27, 2022.

study in sentiment for dispersed speakers, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), August 20, 2022.

The Alibi of Animacy for and against musical expression marks, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), August 20, 2022.

Babbling Brook Calming Water Sounds to Help Sleep and Relax for brook, live electronics, and print materials, Null Point, Artpark, occupied Haudenosaunee land (“Lewiston, NY”), August 11, 2022.

in the wake of the santa maria for speakers near carbon-producing infrastructure, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), July 23, 2022.

The True Art for sign and concert hall, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), July 23, 2022.

Curation: Art Music Uncomposed, Null Point, Kleinhans Music Hall, occupied Seneca land (“Buffalo, NY”), July-September 2022.

symphonic study, Null Point, Artpark, occupied Haudenosaunee land (“Lewiston, NY”), July 16, 2022.

so sensitive as to need protection (preview), Null Point, Artpark, occupied Haudenosaunee land (“Lewiston, NY”), July 16, 2022.

brook study for brook and live electronics, Null Point, Artpark, occupied Haudenosaunee land (“Lewiston, NY”), July 1, 2022.

Curation: Excavating Niagara, Null Point, Artpark, occupied Haudenosaunee land (“Lewiston, NY”), July-August 2022.

new works, Null Point, outdoors, 450 Rhode Island St. @ 18th St., occupied Seneca land (“Buffalo, NY”), Spring-Fall 2022.

Curation/Performance: Feminist Excavations, University at Buffalo Music Department/Poetry Collection/Gender Institute, online, occupied Seneca land (“Buffalo, NY”), May 6, 2022.

Talk: “Western Art Music and Abolition: Thresholds to an Artistic Research Program,” Centre for Practice-Led Research in the Arts, University of Leeds, Leeds, UK, online, April 25, 2022, 5pm BST/noon EDT. Details here.

epithalamion video with eponymous poem by Paula Claire, Null Point, online, University at Buffalo Art Galleries, occupied Seneca land (“Buffalo, NY”), March 3, 2022.

You are located in the position of the Spectator new realization of Alvin Lucier, I am Sitting in a Room, Null Point, online, University at Buffalo Art Galleries, occupied Seneca land (“Buffalo, NY”), March 3, 2022.

Curation/Performance: “To give your letters cgaracter,” event scores and concrete poetry, Null Point, online, University at Buffalo Art Galleries, occupied Seneca land (“Buffalo, NY”), March 3, 2022.

Talk: “‘Everywhere, the symbolics of domination are reiterated:’ Listening and Racialization in the Longue Durée of Western Art Music—Notes on Excavation,” CUNY Graduate Center (online), November 23, 2021.

Talk: “Arts Organizing through Solidarity Economies in Colonial-Racial Capitalism,” Depauw University (online), October 27, 2021.

World of un-writing for “everyday” location, speakers, and print materials, Null Point, 450 Rhode Island St., “Buffalo,” occupied Seneca land, October 27, 2021.

in the wake of the Santa Maria for speaker(s) near carbon-intensive infrastructure, Null Point, 450 Rhode Island St., “Buffalo,” occupied Seneca land, October 20, 2021.

ghosts attribute beauty to it for lawn, speakers, and annotations, Null Point, 450 Rhode Island St., “Buffalo,” occupied Seneca land, October 6, 2021.

framing Works / framing Alterities for concert hall and annotations, Null Point, Kleinhans Music Hall, “Buffalo,” occupied Seneca land, August 22, 2021.

geo-graphia (Penn-sylvania Street) for speakers near settler colonial infrastructure, Null Point, Kleinhans Music Hall, “Buffalo,” occupied Seneca land, September 12, 2021.

spectral inscriptions for performer and objects, Null Point, Kleinhans Music Hall, “Buffalo,” occupied Seneca land, August 22, 2021.

these actions were never separate for speakers, Null Point, Kleinhans Music Hall, “Buffalo,” occupied Seneca land, August 22, 2021.

Curation/Performance: Art Music Uncomposed, Null Point, Kleinhans Music Hall, “Buffalo,” occupied Seneca land, August 22 & September 12, 2021.

Ghosts in the Machine on/for/against Zoom/Facebook Live, Null Point, Burchfield-Penney Art Center, online, July 23, 2021.

nature is an anxious relation for audio in a Public Park, Null Point, Artpark (outdoors), “Lewiston,” occupied Seneca land, July 10, 2021.

Curation/Performance: Nature is Not Natural: Works by Yoko Ono, Ben Patterson, and Null Point, Null Point, Artpark (outdoors), “Lewiston,” occupied Seneca land, July 10, 2021.

Waters of Empire: Modern Water as Relation on Occupied Turtle Island, audiovisual performance-lecture, Null Point, Visual Studies Workshop, online, video premieres June 30, 2021.

Talk: “Conquest and Aesthetics of Nature in Experimental Music,” University of Michigan, School of Music, Theatre, and Dance, Reimagining Ritual Class, online, April 8, 2021.

Talk: “Always in Flight: Excavating Spectatorship and Whiteness as Sedimented Knowledge,” Exploded Ensemble, iDeATe, Carnegie Mellon University, online, March 22, 2021.

Artist Residency & Talk, Shaver’s Creek Environmental Center, Penn State University, State College, PA, October 2020.

Curation: “Hiding in the Open: Banality, Terror, and Care in Everyday Atmospheres,” Null Point, Bemis Center for Contemporary Arts, online, September 24, 2020.

9-minute Self Cultivation Practice guided meditation for video (made collaboratively with Megan Kyle and Ethan Hayden as Null Point), premiere, Null Point, Bemis Center for Contemporary Arts, online, September 24, 2020.

insulating with The Outdoors for found video footage and listening/viewing score, premiere, Null Point, Bemis Center for Contemporary Arts, online, September 24, 2020.

new work, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY, May 2, 2020. cancelled due to COVID-19

Talk: “Against Content: Musicking within, against, and beyond Platform Capitalism,” University of Missouri, online, April 24, 2020.

you are Nature for performers, recording device, projection, and props, Festival of Original Theatre, University of Toronto, Toronto, ON, February 28, 2020.

Artist Talk: “Music without Spectators,” Cornell University, Graduate Composition Seminar, Ithaca, NY, November 22, 2019.

Talk: “Practice in Yoko Ono’s Grapefruit,” Cornell University, Ithaca, NY, November 21, 2019.

Talk: “Gender Beyond ‘Social’ and ‘Biological:’ the Autonomic Nervous System and Embodiments of Masculinity,” Society for Literature, Science, and the Arts, University of California-Irvine, Irvine, CA, November 7-9, 2019.

Artist Talk: “Music without Spectators,” Canadian Music Centre-Toronto & Jumblies Theatre, Toronto, ON, October 25, 2019.

voice-dross, Performance Studies International, University of Calgary, Calgary, Alberta, July 7, 2019.

Talk: “Limits to Elasticity: the Autonomic Nervous System and Embodiments of Masculinity,” Performance Studies International, University of Calgary, Calgary, Alberta, July 7, 2019.

Talk: “Nature Sound Mobile Apps and Salvage Ethnography,” Media Ecology Association, Toronto, CA, June 28, 2019.

Curation/Performance, David Dunn–PLACE (excerpts), Tang Art Museum, Skidmore College, Saratoga Springs, NY, April 26, 2019.

Curator Talk, Tang Museum of Art, Skidmore College, Saratoga Springs, NY, April 25, 2019.

Curation/Performance: Sounding Landscape, Null Point, Memorial Art Gallery, University of Rochester, Rochester, NY, April 20, 2019.

a unique title will likely reinforce the framing of a human embodied activity as a stable Work (i.e. unit of intellectual property) within the realm of Culture, as categorically distinct from Nature (premiere), Null Point, Memorial Art Gallery, University of Rochester, Rochester, NY, April 20, 2019.

Curator talk, Princeton University, Princeton, NJ, April 9, 2019.

Curator talk, “Place and/as Music,” LASER (Leonardo Art Science Evening Rendezvous) Talks, University of California-Davis, Davis, CA, January 31, 2019.

this title refers to a counterproductive piece of private property, CCRMA, Stanford University, Palo Alto, CA, January 30, 2019.

Curator talk, “Hearing Orientations: Audio Technology and the Production of Ecological Space in 1970s Experimental Sound,” Colloquium, CCRMA, Stanford University, Palo Alto, CA, January 30, 2019.

this title refers to a counterproductive piece of private property (premiere), Indexical, Santa Cruz, CA, January 26, 2019.

Artist Talk with Chris Lee, El Muséo Francisco Oller y Diego Rivera, Buffalo, NY, December 8, 2018. Info.

untitled installation with Chris Lee and Leo Grant, El Muséo Francisco Oller y Diego Rivera, Buffalo, NY, November 15-December 22, 2018. Info.

Curator/Performer Residency with Null Point, Otterbein University, Westerville, OH, November 9-10, 2018.

Curator/Performer Residency with Null Point, Temple University, Philadelphia, PA, October 26, 2018.

Midwest Lecture/Performance Tour. September 13-28, 2018:

Artist/Curator Talk, Michigan State University, September 28, 2018.

Curator Talk, College for Creative Studies, Detroit, MI, September 27, 2018.

Curator Talk, School of the Art Institute of Chicago, Chicago, IL, September 26, 2018.

Curator Workshop, Depaul University, Chicago, IL, September 25, 2018.

Curator/Performer Residency with Null Point, Depauw University, Greencastle, IN, September 20-24, 2018.

Artist/Curator Talk, University of Louisville, Louisville, KY, September 19, 2018.

Artist Workshop–preview of new work for embodied listeners, University of Michigan, Ann Arbor, MI, September 17, 2018

Curator Talk, Eastman School of Music, Rochester, NY, September 13, 2018.

string figures for two or more human bodies, electric guitar, and environmental materials (world premiere), Null Point, Artpark, Lewiston, NY. August 19, 2018.

Workshop: Teamwork and Music, Holt-Delhi Library, Holt, MI. August 8, 2018.

how does your bodily awareness shift when you read these words? for instrumentalists and embodied listeners (world premiere), ELMS, Third Life, Boston, MA. August 5, 2018.

studies in interiorities, Null Point, WASH Project, Buffalo, NY, July 28, Aug. 18, Aug. 25, & Sept. 1, 2018.

Curation: Sound Garden–Place-Responsive Sound at Artpark. Null Point, Artpark, Lewiston, NY. July-August 2018.

Talk: Chris Lee, “Mineral, Immutable: To Design a Document” featuring discussion of collaborative work in progress. Het Nieuwe Instituut, Rotterdam, NL. June 28, 2018.

Talk: PhD dissertation defense with David Felder, James Currie, and Charles Smith, University at Buffalo (SUNY), Buffalo, NY. May 11, 2018.

not the subject’s language (world premiere), Buffalo State College Digital Music Ensemble, Ciminelli Hall, Buffalo, NY. May 3, 2018.

Talk: Ross Aftel, “Shaky Hands and Cold Feet: Analyzing Disability in Body Works,” featuring discussion and performance of remainder. Staller Center, SUNY Stonybrook, Stonybrook, NY. April 26, 2018.

Sound American: The PLACE Issue Release Tour. Talks, workshops, and Performances with Null Point. April 2018-.

Curator’s Talk: “Towards Slow Institutions,” Visual Studies Workshop, Rochester, NY, April 11, 2018.

center unmoored in the presence of infinite fringes, Weston Olencki (premiere of version for prepared euphonium), Null Point, Squeaky Wheel, Buffalo, NY. April 6, 2018.

Curation: Artificial Life–Works by George Lewis, Michelle Lou, Weston Olencki, and Colin Tucker, Null Point, Squeaky Wheel, Buffalo, NY. April 6, 2018.

Recording session with Chartreuse, supported by Mark Diamond Research Fund, University at Buffalo, NY. March 22, 2018.

Curation/Performance: Margins–Works by Yoko Ono, Mark So, Ethan Hayden, and Colin Tucker, Null Point, WASH Project, Buffalo, NY. February 11, 2018.

ever-receding horizon, Null Point, WASH Project, Buffalo, NY. February 11, 2018.

Curation/Performance: Margins–Works by Yoko Ono, Mark So, Ethan Hayden, and Colin Tucker, Null Point, Syndicate for the New Arts, Cleveland, OH. February 9, 2018.

Curator’s Talk, Syndicate for the New Arts, Cleveland, OH. February 9, 2018.

ever-receding horizon (world premiere), Null Point, Syndicate for the New Arts, Cleveland, OH. February 9, 2018.

voice-dross, Null Point, Burchfield-Penney Art Center, Buffalo, NY. December 8, 2017.

Curation/Performance: Works by Mieko Shiomi, David Dunn, Arrow Fitzgibbon, Ethan Hayden, and Tucker, Null Point, Burchfield-Penney Art Center, Buffalo, NY. December 8, 2017.

this is a performance about you, not its maker, Null Point, The Cass Project, Buffalo, NY, September 23, 2017.

Curation/Performance: Works by Oliveros, So, and Tucker. Null Point, The Cass Project, Buffalo, NY, September 23, 2017.

Artist/Curator Talk, SUNY Fredonia, Fredonia, NY. September 20, 2017.

this is a performance about you, not its maker (world premiere), ELMS, Third Life, Boston, MA. August 6, 2017.

Talk: “The Politics of the Genre-Designation ‘Experimental Music,'” ELM Session, Boston, MA. August 3-6, 2017.

simulacrum, TJ Borden and Colin Tucker, Null Point, Silo City, Buffalo, NY. July 27, 2017.

Curation/Performance: PLACE by David Dunn, Null Point, Artpark, Lewiston, NY. July 16, 2017.

Curation/Performance: PLACE by David Dunn (world premiere), Null Point, Silo City, Buffalo, NY. June 17, 2017.

a rift, like the breath drawn in, immaculate, Bifrost Ensemble, Norwegian Seamen’s Church, New York City. June 8, 2017.

a rift, like the breath drawn in, immaculate, Bifrost Ensemble, June in Buffalo Festival, Lippes Concert Hall, Buffalo, NY. June 6, 2017.

remainder, Christian Smith, percussion. Null Point, Hallwalls Contemporary Arts Center, Buffalo, NY. April 25, 2017.

Curation/Performance: Works by Downs, So, and Tucker with Null Point and Gyre Ensemble, Hallwalls Contemporary Arts Center, Buffalo, NY. April 25, 2017.

Performance: Anima no. 7 by Takehisa Kosugi, Silence/Noise/Stasis, Sugar City, Buffalo, April 16, 2017.

Curation/Performance: Works by Antoine Beuger, Takehisa Kosugi, and Mieko Shiomi with Null Point, WASH Project, Buffalo, NY. March 28, 2017.

Curation: Null Point 10: Matter/Instrument, Hallwalls Contemporary Arts Center, Buffalo, NY. November 9, 2016.

center unmoored in the presence of infinite fringes, Aaron Hynds, prepared bass tuba,  Null Point, Hallwalls Contemporary Arts Center, Buffalo, NY. November 9, 2016.

center unmoored in the presence of infinite fringes (world premiere), Aaron Hynds, prepared bass tuba, Bowling Green State University, Bowling Green, OH. November 5, 2016.

Talk: “Reconsidering the ‘Empty Mind’: Experimental Music and/as Radical Democracy,” Experimental Music and Listening Session, Boston, MA. August 20, 2016.

Workshop: “Creative Soundmaking with Recycled Materials,” The Scrap Box, Ann Arbor, MI. August 3, 2016.

voice-dross, Spread Art at Detroit Contemporary, Detroit, MI, August-December 2016, opens August 2, 2016.

Curation: Null Point 9: SOLO, Hallwalls Contemporary Arts Center, Buffalo, NY. July 1, 2016.

futures unmade in the boundlessness of the instant (premiere of revised version), David Wegehaupt, soprano saxophone, Null Point, Hallwalls Contemporary Arts Center, Buffalo, NY. July 1, 2016.

threshold, Uusinta Ensemble, June in Buffalo, Buffalo, NY. June 11, 2016.

Curation: Surfaces by James Saunders (North American premiere, premiere of new site-specific version), Null Point at Echo Art Fair, Buffalo, NY. May 14, 2016.

morass, Wooden Cities, Pausa Art House, Buffalo, NY. April 28, 2016.

Workshop: “Creative Soundmaking with Cues,” Sonic Explorations, Orange, NJ. April 26, 2016.

Guest artist residency, Bard College, Annandale-on-Hudson, NY. April 25, 2016.

Curation: Found Sound Program, Null Point, Buffalo, NY. Spring-Summer 2016.

MAPS OF DISINTEGRATION AND FORGETFULNESS: clinamen, simulacrum, and morass (US premiere), Trinosophes, Detroit, MI. January 22, 2016.

Curation: Null Point 8: Virtuosities, Hallwalls Contemporary Arts Center, Buffalo, NY. November 4, 2015.

distances swarming and encompassing, Zane Merritt, prepared electric guitar, Null Point, Hallwalls Contemporary Arts Center, Buffalo, NY. November 4, 2015.

voice-dross (new site-specific version), Null Point, Hallwalls Contemporary Arts Center, Buffalo, NY. November 4, 2015.

Performing: Hit by Christof Migone, Nuit Blanche Toronto, Toronto, CA. October 3, 2015.

engulfed, constrained in a widening gap (European premiere), ensemble surplus, Akademie Schloss Solitude, Stuttgart, DE. August 20, 2015.

Talk: Presentation of Recent Works, Akademie Schloss Solitude, Stuttgart, DE. August 15, 2015.

distances swarming and encompassing, Zane Merritt, prepared electric guitar, Null Point tour of American midwest. July 7-15, 2015.

voice-dross, null point tour of American midwest. July 7-15, 2015.

surplus (world premiere), Null Point, Silo City, Buffalo, NY, USA. June 12-14, 2015.

Curation: Decay/Reverberate: Site-Specific Sound at Silo City, Null Point, Silo City, Buffalo, NY, USA. June 11-14, 2015.

vanishing point version for trombone (world premiere), Matt Barbier, trombone, Betalevel, Los Angeles, CA, May 27, 2015.

remainder (world premiere), Ross Aftel, percussion, Slingshot Festival, Athens, GA, USA. March 27, 2015.

Talk: “Notation and Impossibility in my Recent Music,” University at Buffalo MuGSA Symposium, Buffalo, NY, USA. March 21, 2015.

Curation: Null Point 4: With Paper, participatory workshop-performance for/with untrained musicians in community activity space, WASH Project, Buffalo, NY, USA. February 21, 2015.

engulfed, constrained in a widening gap, S.E.M. Ensemble, Willow Place Auditorium, Brooklyn, NY, USA. February 11, 2015.

distances swarming and encompassing, Zane Merritt, prepared electric guitar, and nor nothing towards obstruction or else erasure yet and, Crossfire Percussion, New Music and Culture Symposium, SUNY Albany, Albany, NY, USA. January 31, 2015.

remainder, Christian Smith, percussion, Music Academy Basel, Basel, Switzerland. January 21, 2015.

futures unmade in the boundlessness of the instant, Joshua Hyde, soprano saxophone, University of Malaya, Kuala Lumpur, Malaysia. December 9, 2014.

tips of the fingers direct the uncontrollable surface, Nick Emmanuel, piano, vanishing point (world premiere), Bob Fullex, percussion, and voice-dross. Unity Church, Null Point, Buffalo, NY, USA. November 15, 2014.

Curation: Null Point 3: Impossibilities. Unity Church, Null Point, Buffalo, NY, USA. November 15, 2014.

futures unmade in the boundlessness of the instant, Geoffrey Landmann, soprano saxophone, Miami University of Ohio, Oxford, OH, USA. November 4, 2014.

futures unmade in the boundlessness of the instant, Geoffrey Landmann, soprano saxophone, Cincinnati Conservatory of Music, OH, USA. November 3, 2014.

futures unmade in the boundlessness of the instant, Geoffrey Landmann, soprano saxophone, Kent State University, OH, USA. November 2, 2014.

Talk: “Difficulty and Excess in my Recent Compositions,” Butler University, Indianapolis, IN, USA. October 30, 2014.

futures unmade in the boundlessness of the instant, Geoffrey Landmann, soprano saxophone, New England Conservatory, Boston, MA, USA. October 26, 2014.

voice-dross (first presentation). Echo Art Fair, Buffalo, NY, USA. September 5-7, 2014.

Talk: “The Silent Performance: Notation and Interpretation in futures unmade in the boundlessness of the instant” (lecture-recital given collaboratively with Joshua Hyde). Darmstadt Ferienkurse für Neue Musik, Darmstadt, DE. August 9, 2014.

Curation: Null Point 2: Cast and Work. Unitarian Universalist Church of Buffalo, Buffalo, NY, USA, June 13, 2014.

not this (world premiere), and futures unmade in the boundlessness of the instant, soundinitiative. Fondation des Etats-Unis, Cité Universitaire, Paris, FR. May 19, 2014.

Talk: “Toward an Ontology of Nearly-Inaudible Sound Works.” Histories, Theories, and Practices of Sound Art, London, UK. May 15-17, 2014.

engulfed, constrained in a widening gap (NYC premiere), East Coast Contemporary Ensemble. DiMenna Center, NY, NY, USA. May 15, 2014.

distances swarming and encompassing, Zane Merritt, electric guitar, University at Buffalo Contemporary Ensemble. Slee Hall, Buffalo, NY, USA. May 3, 2014.

engulfed, constrained in a widening gap (East Coast premiere), East Coast Contemporary Ensemble. Brandeis University, Waltham, MA, USA. May 1, 2014.

Curation: Null Point 1: Too Much/Too Little. Hallwalls Contemporary Arts Center, Buffalo, NY, USA. April 29, 2014.

distances swarming and encompassing (world premiere), Zane Merritt, electric guitar. Null Point, Hallwalls Contemporary Arts Center, Buffalo, NY, USA. April 29, 2014.

engulfed, constrained in a widening gap (premiere of version with saxophone), ensemble dal niente. Northwestern University New Music Conference, Evanston, IL, USA. April 27, 2014.

Talk: “Neither Something nor Nothing: Toward an Ontology of Nearly-Inaudible Music.” Sound Rerouted Conference. University of Toronto, Toronto, ON, CA. March 29-30, 2014.

futures unmade in the boundlessness of the instant (North American premiere), Joshua Hyde, soprano saxophone. Eastman School of Music, Rochester, NY, USA. March 26, 2014.

Talk: “Neither Something nor Nothing: Toward an Ontology of Nearly-Inaudible Music.” University at Buffalo Graduate Symposium. SUNY-Buffalo, March 1-2, 2014.

slant (world premiere), Seth Woods, cello, with members of the Edges Ensemble. Extended Durations Symposium, University of Huddersfield, September 7, 2013.

engulfed, constrained in a widening gap (world premiere), Ensemble Linéa. June in Buffalo Festival, Buffalo, NY, USA. June 7, 2013.

nor nothing towards obstruction or else erasure yet and, Crossfire Percussion Duo. Meridian Gallery, Buffalo, NY, USA. April 3, 2013.

tips of the fingers direct the uncontrollable surface (world premiere), Eric Huebner, piano. Pausa Art House, Buffalo, NY, USA. March 15, 2013.

nor nothing towards obstruction or else erasure yet and (world premiere), Crossfire Percussion Duo. Pause Art House, Buffalo, NY, USA. March 7, 2013.

mesh, University at Buffalo Graduate Ensemble, Center for the Arts, Buffalo, NY, USA, October 26, 2012.

minus (site-specific sound installation), Center for the Arts, Buffalo, NY, USA, October 26, 2012.

simulacrum, University at Buffalo Contemporary Ensemble (T.J. Borden and Colin Tucker, cellos), featured in site-specific intermedia event American Grain Reimagined. Marine A Grain Elevator, 20 Childs St., Buffalo, NY, USA. August 25, 2012.

nexus-void (site-specific sound installation with diagrams and text), Buffalo Infringement Festival. El Museo, 91 Allen St., Buffalo, NY, USA. July 27-August 24, 2012.

one is always crossing the horizon, yet it always remains distant, Boychoir of Ann Arbor, Thomas Strode, conductor. St. Paul’s Church, Ann Arbor, MI, USA. June 3, 2012.

one is always crossing the horizon, yet it always remains distant (world premiere), Boychoir of Ann Arbor, Thomas Strode, conductor. 25^th Anniversary Concert, Concordia College Chapel, Ann Arbor, MI, USA. May 12, 2012.

simulacrum from maps of infinite disintegration and forgetfulness, Slee Sinfonietta. Lippes Concert Hall, Buffalo, NY, USA. April 3, 2012.

tips of the fingers direct the uncontrollable surface (world premiere), Sebastian Berweck, piano. St. Paul’s Hall, Centre for Research in New Music, Huddersfield, UK. October 27, 2011. CANCELLED

futures unmade in the boundlessness of the instant (European premiere), Joshua Hyde, saxophone. l’atelier Marbleu, Paris, FR, September 24, 2011

futures unmade in the boundlessness of the instant (world premiere), Joshua Hyde, saxophone. 45 Downstairs, Melbourne, AU. August 29, 2011.

drift (world premiere), Huddersfield Postgraduate Ensemble. St. Paul’s Hall, Huddersfield, UK.  May 6, 2011.

gluehend (world premiere), Maggie Hasspacher, double bass.  O, Miami Poetry Festival. Miami, Florida, USA. April 9, 2011.

spaltung (world premiere), Johnny Chang, violin.  Phipps Hall, Huddersfield, UK.  April 5, 2011.

the indifferent horizon apathetically rests on the ground, devouring everything that looks like something (world premiere), plus-minus ensemble.  St. Paul’s Hall, Huddersfield, UK.  March 10, 2011.

open (world premiere), thingNY. LaGuardia Performing Arts Center, Long Island City, NY, USA. February 25, 2011.

shards (US premiere), ensemble dal niente (Chris Wild, cello). Music Institute of Chicago, Chicago, IL, USA. January 20, 2011.

clinamen (US premiere), simulacrum (world premiere), mesh (world premiere), and veil (world premiere), Matt Endahl, piano & electronics, Colin Tucker, cello & electronics.  Canterbury House, Ann Arbor, MI, USA.  September 8, 2010.

shards (world premiere), Chris Wild, cello.  Internationale Ferienkurse für Neue Musik, Darmstadt, DE.  July 29, 2010.

…must go on…, Austin Wulliman, violin.  Heaven Gallery, Chicago, Illinois, USA.  May 23, 2010.

morass (world premiere) and clinamen, Edges Ensemble (University of Huddersfield).  Site Gallery, Sheffield, UK.  May 15 & 22, 2010.

clinamen (world premiere), Huddersfield Postgraduate Ensemble. University of Huddersfield, Phipps Hall, Huddersfield, UK. April 27, 2010.

…must go on…, dal niente: Austin Wulliman, violin. MidAmerican Center for Contemporary Music, Bowling Green State University, Ohio, USA.  April 24, 2010.

…must go on…, dal niente: Austin Wulliman, violin.  Issue Project Room, Brooklyn, NY, USA.  March 12, 2010.

time corners (world premiere), ELISION.  Center for Research in New Music, University of Huddersfield, Huddersfield, UK.  December 2, 2009.

…must go on…(world premiere), ensemble dal niente: Austin Wulliman, violin. Music Institute of Chicago, Chicago, IL, USA.  June 10, 2009.