Artworks | Music | Writings | Dance | Teaching | CV


PHD: University of California, Santa Cruz, CA, USA (2016 – ongoing)
MFA:  Simon Fraser University School for the Contemporary Arts, Vancouver, BC, Canada (2011-2013)
BA:  University of California, Santa Cruz, CA, USA  (1995-1997 incomplete)


University of California, Santa Cruz

Winter 2017 – Teaching Assistant – HISC 1 Introduction to the History of Consciousness; Instructor: Robert Meister (Undergraduate lecture course, History of Consciousness)

Emily Carr University of Art + Design

Summer 2014 – Seminar Leader – AHIS 333 Interdisciplinary Forums: Making It; Instructor: Allison Collins (Undergraduate lecture course, Art History)

Simon Fraser University School for the Contemporary Arts

Spring 2015 – Sessional Instructor – FPA 285 Collaboration and Composition; (Undergraduate Studio, Fine & Performing Arts)

Fall 2012 – Teaching Assistant – FPA 314 Readings in The History of Arts and Culture Studies: Artists and the Institution; Instructor: Mariane Bourcheix-Laporte (Undergraduate seminar, Fine & Performing Arts)

Spring 2012 – Teaching Assistant – FPA 137 The History and Aesthetics of Cinema II: 1945-Present; Instructor: Christopher Pavsek (Undergraduate lecture course; Fine & Performing Arts)

Fall 2011 – Teaching Assistant – FPA 111 Issues in Fine and Performing Arts; Instructor: Dr. Laura U. Marks (Undergraduate lecture coarse; Fine & Performing Arts)


My research areas include sound studes; critical geography; visual culture and art theory; histories of social movements; queer theory; performance studies; anarchisms; feminisms; affect theory; poetics; improvisation; esoteric studies; critical race and indigenous studies.

Noise, The Body and the Struggle for Space

This project considers the ways that people produce and struggle for space using sound to extend beyond the limits of their bodies, particularly in formal and informal modes of protest.

Interdisciplinary Composition and Collaboration

This project engages both scholarly and artistic research into methodology, history and pedagogy  relating to interdisciplinary techniques of composition and collaborations between and across artistic disciplines. The foundations of this work came out of developing an iteration of a core course at Simon Fraser University’s School for the Contemporary arts and a subsequent research project called MAPPING COLLABORATION developed with the project’s director Rob Kitsos.


The short glossary below is intended to provide an entry point into particular key concepts and theorizations which make their way variously into compositions, texts and artworks.








“What is Noise? It is a sound who’s total qualities can only be measured by it’s effect. For my purposes I will appropriate from Paul Haggerty’s definition and say that Noise is a sound that Disrupts. Noise is not, under all conditions, strictly an unwanted or unpleasant sound; an unmusical sound; a loud sound; a confused or ill-defined sound. It is a sound that disrupts… but disrupts what? I’ll frame my definition of noise this way – as part of a broader description of the Subjective experience of sound.
  • Ambient Sound – a sound which we aren’t conscious of or which we do not respond to.
  • Augmentative Sound – a sound which augments our internal or external (cognitive or sensual) experience.
  • Disruptive Sound – a sound which disrupts our internal or external (cognitive or sensual) experience.
For the purpose of definition, I insist that we don’t place value judgements on these experiences of sound, nor do I view any hierarchy among the creators or listeners of a sound, regardless of intention. This is critical because when we assign values we are either doing so from a purely biased position – “I don’t like this sound” – or we are conforming to a societal structure that privileges certain noises – and certain noisemakers – over others.
The problem we face in Sound Studies when we talk about Noise is that we still tend to think of it as “unwanted sound”. This describes an experience of Noise, but it doesn’t tell us what it does. If a Noise disrupts, it is more critical that we ask “What is it disrupting” and “why is it being made… for what purpose”. I believe the most common answer is that Noise is a reclamation of space. A direct grab at physical territory.”
(from Noise and Resistance, 2010)


” John Berger (in ‘Ways of Seeing’) acknowledges that our own passivity in our relationship to materiality is what abdicates our power to define our relationship to the past, through the act of seeing. To give meaning to our lives we must become “active agents”, but what form does that action take? I would argue that it must take the form of engagement. We must enter into a relationship with material, with Art Objects, with their reproductions where those reproductions become recognized as inherently unique. All materials pass through history, and most in some capacity holds a relationship with Human beings. Our responsibility is to acknowledge the subjective experience of these objects. Each one has been held, touched, affected, changed by its passing through a material world. It carries with it a memory that can be accessed only through listening, and witnessing. This is the “knowledge” that all Persons, human and other-than-human, possess. What transforms an object from its static mundane existence into one which can convey this knowledge is our presentness. Only when we see these objects as Subjects do they communicate, which is their inherent “desire”, and the reason for their survival. It is our duty, if we wish to transform our relationship with the world, to help these Persons fulfill their needs.”
(from The Subjective Object; or Harry Hay in the Age of Mechanical Reproduction, 2010)



“Anarchism is a consciousness, an awareness that permeates every aspect of our lives and in so doing creates our realities.
To say that Anarchism is a consciousness is not to reject its role as a material way of being in the world, but rather recognizes that it is what provides context for all our lives: our relationships, our work, our homes, our art, our love. It acts as the prime motivation that leads to our direct actions, our struggles and our liberated celebrations. These acts are in fact a praxis, dependent not upon codes or moralities set out by theorists in their bedrooms, libraries and cells, but upon our own awareness of what truly is. Anarchism is psychedelic, as in “mind manifested”, emergent because we believe it to be so.”
(from Psychic Secession, 2010)


“Few who decry laws and authorities don’t recall a moment when the illusion of law or the illusion of authority first was ruptured. Stepping into the street not just to break with law, but to debunk it. Refusing the order of an other not just to reject the validity of their authority, but to disprove it. These constructs are so thinly veiled, so clearly illusory, that the miracle is not their construction by others, but our own ability to make them solid. More important is our ability to pull aside this veil and to see clearly and brilliantly the un-formed nature of reality, ever being created by its inhabitants.
This moment of awareness is the moment of Psychic Secession. The moment when we leave the authoritarian structures of society as they have been shaped and enforced by passive consensus. The moment when we recognize our own participation in the formation of reality. The moment when we recognize the potential of our desires, our dreams, our utopian fantasies, our needs for justice and will to determine our own lives. The moment of liberation.”
(from Psychic Secession, 2010)





Artworks | Music | Writings | Dance | Teaching | CV

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s