Projects

realizations of indeterminate scores (2014- ) (more)

before the Spectator transcends the earth score for video production (2025)

before Art secures its Modernity photomontage series (2025) (more)

not another Composer Anniversary protocol for institutional practice (2025)

before vibration becomes sound for speakers, images, and performers (2025)

the haunting before Listening for projected or printed images in a concert hall (2025)

split address textual notations, with or without interpretations (2025)

before the Audience coheres protocols for marking the concert music Audience (2025)

grounds of the Aesthetic for printed text and found exhibits (2025)

before the Spectator can appear for concert hall and lights (2025)

this institution has dangerous powers of abstraction for concert hall exterior, audio, and text (2025)

the concert hall was founded in 1441 — the concert hall was founded in 1492 text for realization on, in, or around a concert music institution (2025)

before the spectator is well-behaved for historically white “high art” venue, textual notations, and audio, light, olfactory, and/or tactile markings (2025)

before the spectator can be Disinterested protocols for marking the concert music spectator (2025)

before the spectator can be Sensitive protocols for marking the concert music spectator (2025)

before the spectator can reconcile Head and Heart protocols for marking the concert music spectator (2025)

before the spectator can be Dynamic protocols for marking the concert music spectator (2025)

the haunting before the Aesthetic for projected or printed images in a historically white “high art” venue (2025)

Quiet as a Verb — Five Constellations for Vertixe Sonora for audience and 8 performers

(performing spectators, live electronics, lights, speaking voice, and keyboard) in a concert hall (2025)

lawn is a euphemism for occupation work series (2025-) (more)

before the lawn can be banal constellations for activities on/against US lawns (2025)

behind the Common Man, the Colonizing Man photo-text work (2025) (more)

an unthinkable accounting notations for the concert hall (2025-)

marking the metropole work series (2021-) (more)

“Perpetrator, the safest city in America” for edited found text and optional images (2025) (more)

before Image for screen-based visual media device, viewers, and markings (2025)

“the perpetrator was cleansed of all earthly trivialities” for image of product produced by perpetrator arts donor and MC (2025)

the inscription Wilderness, seething, bristling… score for hauntings in a Wilderness scene (2025) (more)

The Treaty of Hartford, [date] for edited found text (2024) (more)

before the spectator coheres for images in a historically white “high art” venue (2024)

about The Artist text for intervention in a historically white “high art” venue (2024)

3 protocols for striking exoticism text scores (2024)

before the spectator’s capacity for images and lights in a historically white “high art” venue (2024)

answers cannot be found within the Aesthetic text for intervention in a historically white “high art” venue (2024)

before Listening protocols for a concert music venue (2024)

so sensitive as to need protection protocols for a historically white “high art” venue (2022-24)

what is necessary prior to the otherwise text for intervention in a concert music venue (2024)

لا للتباهي (La Le Ttabahe) co-composed with Hala El Ouarrak, for performer(s) and image or bust of a Great Historical Figure (2024)

The Weapon of Harmony for dominant seventh chord, annotations, tools of “harmonization,” and images (2022-24)

framing the framer 4 interventions against art music Exoticism (2024) (more)

before Taste language for intervention in a historically white “high art” venue (2023-)

“after the whole army was turned out…” for title, quotation, and photo (2023) (more)

before Art elevates for images installed around a historically white “high art” venue (2021-23)

asking the unthinkable texts for intervention in a historically white “high art” venue (2023)

title to land project with sampled musical titles (2023-)

the coherence is the problem text for intervention in a historically white “high art” venue (2023)

transcendence is the problem intervention for statue of Great Artist (2023)

before the empire lives long for musical sample and annotation (2023) (more)

before mapping this title onto sensory experience for performers, audio, and audience (2023)

before Universal judgement for concert music infrastructures and audio (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 (2022-23)

“certain that i can own this music and not be…” constellation for title, score, speaker, and program note at a concert hall (2022-23), as [author present as printed words]

For Austin Wulliman for any number of bowed string instruments (2022)

Shadows in the Forest performance-installation for print, objects, and audio in a Wilderness scene (2022)

Babbling Brook Calming Water Sounds to Help Sleep and Relax for babbling brook on occupied Turtle Island, electronics, and print materials (2022) (more)

the alibi of animacy for musical expression marks (2022)

You are located in the position of the Spectator new realization of Alvin Lucier, I am Sitting in a Room (2022) (more)

in the wake of the santa maria for audio and imperial core carbon-emission-producing infrastructure (2021-25) (more)

ghosts in the machine performance for and against Zoom and Facebook Live (2021) (more)

nature is an anxious relation audio for intervention in a Public Park (2021) (info)

Waters of Empire: Modern Water as Relation on Occupied Turtle Island audio-visual lecture/performance around scores by George Brecht and Yoko Ono (2021) (more)

you are Nature for 2-4 performers, recording devices, and props in a spectatorial venue (2020)

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 framework for collective embodied study, for bodies and environment (2019)

this title refers to a counterproductive piece of private property framework for collective embodied study, for bodies and installation (2018)

untitled installation for text, images, and metronome, with Chris Lee (2018)

string figures for musicians with or without formal training, electric guitar, and environmental materials (2018) (more)

this is a performance about you, not its maker for three to ten acoustic instruments in an indoor concert music venue (2017) (more)

center unmoored in the presence of infinite fringes for solo prepared bass tuba (2016) (more)

surplus site-specific displacement for two concealed speakers at Silo City, occupied Seneca land (“Buffalo, NY”) (2015)

threshold for string trio (2015-16)  (more)

voice-dross displacement for concealed speakers (2014) (more)