RESEARCH PRESENTATIONS AND PANELS
Refereed Presentations
“Building a Body of Work through Co-Composing.” SEAMUS. Purdue University, Indiana. March 2025
“Building a Body of Work through Co-Composing.” MoxSonic. March 2025
“It’s All in the Mix: Labor Acknowledgement in Liner Notes.” Guelph Jazz Colloquium. University of Guelph. Canada. September 2024.
“Hearing Vision for trumpet, electronics, and biofeedback sensing.” A pre-concert historical overview. Reconsidering Music, Technology, and Gender Symposium at the University of California Lo,s Angeles. Los Angeles, CA. January 2024.
“Towards a Protocol of Feminist Methods for Musical Instrument Design.” MoxSonic. University of Central Missouri. March 2024.
“Listening: Performing with Plants.” New Music on the Bayou. University of Louisiana Monroe. June 2023.
“Situated Listening: Alternative Epistemological Standpoints on the Building, Performing and Interfacing with Wearable Electronics.” MoxSonic. University of Central Missouri. March 2023.
“Chaos and Compromise: Experimentations with Flugelhorn and Feedback.” Circulations Conference. University of Chicago. 2020 (cancelled due to Covid)
“Mother Woke Me.” Lecture Recital. Sonic Fluidities Conference. San Diego, CA. 2018.
Invited Presentations
“Data-Driven Music: Embodying Electronic Music and Biological Data.” Spatial STS Field School (funded by NSF). Science, Technology, and Attunement. Georgia Institute of Technology. February 2026.
Sustainability Showcase: From Big Bets to Local Solutions: Tech’s Role in Resilience. "Sonifying AI Data Centers: Performance & Installation" Brook Byers Institute for Sustainable Systems. Georgia Institute of Technology. January 2026.
“Approaches to Data Driven Music.” University of Central Missouri. Warrensburg, MO. January 2025.
“Approaches to Data Driven Music.” University of Michigan. Ann Arbor, MI. October 2025.
“Biofeedback Music and Creation.” Portland State University. Portland, OR. Feb 2025.
“Biofeedback Music and Creation.” Mercy University. New York, NY. November 2024.
“Current State of the Field in Music Technology.” Music Industry Studies MMGT 111. University of the Pacific. Stockton, CA. March 2024.
“Biofeedback Music performance and Creation.” Dragon Con: Robotics Track. Atlanta, Ga. August 2024. An estimated 72,000 people attended Dragon Con.
Pre-Concert talk on Annea Lockwood’s Bayou Borne. Chaos Cultures II. New Marigny Theatre. New Orleans, LA. May 2024.
“Practice-led Perspectives on Listening to Biological Data.” Body Doubles. Carnegie Mellon University. February 2024.
Artist Conversation 1: Body, Technology, Identity, and Sensing. Hunt Library Media Lab. Carnegie Mellon University. February 2024.
“Affordable Ways to Bring Music Technology Skills Into the Classroom.” New Orleans Music Educators Convening. Hosted by Artist Corps New Orleans, Save the Music Foundation and the New Orleans Arts Education Alliance. May 2023.
“Writing for Extended Trumpet Techniques and Electronics.” Harvard Graduate New Music Group. Harvard. 2019 and 2022
“Physical vs. Virtual Intimacy” Installation. Immersive Storytelling Symposium. The New School. 2018
Refereed Panels
“Inclusion in Music Technology Education – Critical Making as Educational Methodology.” Association for Technology in Musical Instruction. Washington DC (2024).
“Inclusion in Audio Engineering Education – Critical Making as Educational Methodology.” Audio Engineering Society. New York, NY (2024).
“Towards a Feminist Protocol of Feminist Methods for Musical Instrument Design.” Audio Engineering Society. New York, NY (2023).
“The Future of Instrument Design.” Audio Engineering Society. New York, NY (2023).
Invited Panels
“Creative Technology in a Physical World.” Georgia Tech Media Arts Day. Heidi Biggs, Abigale Stangl, Alexandria Smith, and Lisa Marks. January 2025.