Towards a Critical Musical Practice
Sound Work: Composition as Technical Practice
Orpheus Institute, Ghent, Belgium
Spectromorphology, human affinities, animal voices
MuSA, Karlsruhe, Germany
The Spaces of Animal Voices: in the ears of elephants and whales
Sounds in Space, University of Derby, UK
The Spaces of Animal Voices
University of York, UK
Scientific Listening: Representing and exploring dynamic animal soundscapes
University of St Andrews & Plymouth University, UK
Scientific Listening: Radical Perception? (lecture-performance)
Performance, Subjectivity and Experimentation in Artistic Research
Orpheus Institute, Ghent, Belgium
Scientific Listening: Representing and exploring dynamic animal soundscapes (interim report)
University of York, UK


“My God! What has sound got to do with music?”
Gesture and relationship as compositional materials in two pieces by Christian Wolff
Christian Wolff Study Days, Orpheus Institute, Ghent, Belgium
Enigmatic Findings: Discovering large cetacean vocalizations
Panel – Listening to Nature: The sounds of conservation
American Society for Environmental History, Washington, D.C.


Listening to Birds in Flight: Sonification of migration pathway data
with Sharinne Sukhnanand & Daniel Fink
Deep Listening Art/Science: The 2nd Annual International Conference, Troy, NY
Humpback Whales: Composers of the sea
with Katy Payne
Cornell Lab of Ornithology Monday Night Seminar, Ithaca, NY
Erasing the Glitch
f(Glitch): The function of Glitch Colloquia, Stony Brook, NY


Listeners are observers and musicians
& Round Table: Hearing vs. listening, artistic and scientific perspectives
Deep Listening Art/Science: The 1st Annual International Conference, Troy, NY


Listening to Birds Symposium, University of Aberdeen, UK


Determining seasonal occurrence and distribution of North Atlantic right whales (Eubalaena glacialis) off New York Harbor and Long Island using passive acoustic monitoring
North Atlantic Right Whale Consortium Annual Meeting, New Bedford, MA


Natural Sound: Science, Music, Experiment–Early Macaulay Library recordings
and some listening they inspired

Cornell Lab of Ornithology Monday Night Seminar, Ithaca, NY
Nightingale Song: Musical analysis, scientific synthesis
Nightingalia conference, Sibelius Institute, Finland


Broadband sound production by feeding blue whales (Balaenoptera musculus)
Lucia DiIorio, Manuel Castellote, Ann Warde, Christopher W. Clark (poster)
Society for Marine Mammals conference, San Diego, CA
Singing the notes between the keys
with Martin Hatch
Society for Ethnomusicology conference, Atlanta, GA


Composing music for electro-acoustic environments
Media Ecology conference, Rochester, NY


Towards a simultaneous differentiation of musical systems: the use of catastrophe theory, envelope structures, and real-time re-synthesis in an interactive performance environment
The 8th Biennial Symposium on Arts and Technology, New London, CT


Catastrophe theory and musical composition
Cornell University Society for the Humanities, Ithaca, NY
Women and music technology: Ada Lovelace, Daphne Oram, Pauline Oliveros, Hildegard Westerkamp, Lydia Kavina
Sigma Alpha Iota, Hartwick College, Oneonta, NY


I Nyoman Wenten’s Merapi: Investigating cultural boundedness through improvisation
Improvising Across Borders symposium, San Diego, CA


Anticipating the Unexpected: Using the computer to realize musical models
University of Illinois, Urbana-Champaign, IL
Composing Ammalagammala and Helios
University of Washington, Seattle, WA


NewSpectPro: A new computer program for modifying sounds using user-defined envelopes
University of Illinois, Urbana-Champaign, IL