10 October 2022
The Performer Composer in the Second Half of the 20th Century
Orpheus Institute, Ghent, Belgium
John Cage, Pianist
12 March 2022
Book Symposium Panel Discussion: Women in Pragmatism: Past, Present, Future
Society for the Advancement of American Philosophy (SAAP)
Annual Meeting, Rollins College, Winter Park, Florida
Instigators of Experimental Artwork: Resonances of Jane Addams in arts education
11 November 2021
ReVIEWING Black Mountain College 12: Revisiting John Cage.
Black Mountain College Museum and Arts Center, Asheville, North Carolina.
Collaboration and Experiment in Cage and Hiller’s HPSCHD:
Messages for a future global world.
15 December 2020
Sound Instruments and Sonic Cultures: An interdisciplinary conference.
National Science and Media Museum, Bradford, UK.
Divergent Sonic Cultures: Investigating the vocalizations of large whales and birds.
4 March 2020
HPSCHD@50, Krannert Center for the Performing Arts,
University of Illinois, Urbana-Champaign, IL
Harpsichord performer
3 March 2020
HPSCHD@50 Composers Forum, University of Illinois, Urbana-Champaign, IL
Happening People Smiling, Cage ‘n’ Hiller Dancing
28 February 2020
HPSCHD@50 Symposium, Northwestern University, Chicago, Illinois
Happening People Smiling, Cage ‘n’ Hiller Dancing
27 February 2020
Society for the Advancement of American Philosophy
at the American Philosophical Association Central Division Meeting, Chicago, Illinois
Jane Addams, Progressive Education, and John Cage’s HPSCHD
26 February 2020
Evergreen State College, Olympia, Washington
Composing for Voices, Computers and Instruments
14 February 2020
Experience :: Music :: Experiment, Orpheus Institute, Ghent, Belgium
Peirce’s Aesthetic of Experiment
30 January 2020
Women in Pragmatism International Conference, Barcelona, Spain
Instigators of Experimental Artwork: Resonances of Jane Addams in arts education
15 November 2019
Feminist-Pragmatist Philosophy Colloquium, St. John Fisher College, Rochester, New York.
Instigators of Experimental Artwork: Progressive traces of women arts educators.


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Sound Installations

Three recent sound installations stem from a 2016 installation called Radically Different Perceptions, which included speakers distributed throughout the Orpheus Institute building, in Ghent, Belgium.

Each of these three distinct works is in itself a specific realization — a pause — within an ongoing exploration of interactive sound installation systems that probe and investigate encounters with animal vocalizations. The entire project, as well as each of its unique iterations listed below, is called Hidden Encounters.

2018: Hidden Encounters, Meres Bookstore, Nicosia, Cyprus, sponsored by the European University Cyprus Interfaces Project. Further interactive installation explorations took place at the Cyprus Wine Museum, during a second residency in summer, 2019.

2018: Hidden Encounters, The Global Composition Conference, Dieburg, Germany

2019: Hidden Encounters, Tone Deaf Kingston Festival, Isabel Bader Centre for the Arts, Queens University, Kingston, Ontario, Canada

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2019 NYSCA/NYFA Fellow in Music/Sound

Tone Deaf Festival, Kingston, Ontario
18-22 November 2019
Hidden Encounters, interactive sound installation
Sounds: the Cyprus Scops owl was recorded by Julia Wittman
Coyote + Blue Jay recordings: Ann Warde
See links for Sperm whale and Blue Whale + Bearded Seal

Hidden Encounters/Kingston (excerpt)

European University Interfaces Artist-in-Residence, Nicosia, Cyprus
August 2019
Hidden Encounters (installation – new version)

BEAST FEaST, Birmingham, UK
2-4 May 2019
Four Hands Vier Hände

Visiting Artist, Queen’s University, Kingston, Ontario
4-8 March 2019
Hidden Encounters (installation)
Doubtful Sound (performance)

Rhinofest, Prop Theatre, Chicago
21 and 28 January 2019, 7 pm
Doubtful Sound (performance)

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Hidden Encounters – The Global Composition 2018

Conference on Sound, Ecology, and Media Culture
Darmstadt University of Applied Sciences
Media Campus Dieburg, Germany
4-7 October 2018
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Hidden Encounters – Nicosia, Cyprus

Interfaces Network Residency
European University Cyprus and the Creative Europe Programme of the European Union
An interactive sound installation exploring the voices of animals living in Cyprus,
at the lovely Meres Bookstore, 33 Pentadaktylou, 1016 Nicosia.
Thank you to the owners of this beautiful and insightful resource.  more
23-25 July 2018
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Visual Music

The Line Theater (1984) is an analog, physical mechanism for making visual music. Made of a black fabric screen framed by wooden two-by-fours, with the help of hooks and other metal hardware, differently sized ropes and threads are manipulated, mostly from behind the screen . . . .. ….. .. … Sound & Music > archive
Very special thanks to Luba Drozd for stabilizing this video.
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VCCA 2018

As a composer, sound artist, and researcher, I’m interested in sounds we perceive as “inside” or “outside” performance, and in the ambiguities that may arise at boundaries between them. I’m  exploring this idea in a set of pieces for solo performers and webs of animal voices (and their surrounding environments), called Doubtful Sound. Begun during recent residencies at the Virginia Center for the Contemporary Arts, these compositions reference my earlier interactive work with catastrophe theory through their use of time-based network structures as sources of emergent processes. This summer I aim to investigate animal sounds as emergent processes in themselves, through a set of sound installations for the EUC Interfaces project in Cyprus.
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Doubtful Sound

Seminar: The Power of Musical Networks
Orpheus Institute, Ghent, Belgium
22 February 2018
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Non-Human Temporalities

Songs of Black-capped Vireos and Blue Whales
Out of Time Conference
Society for Literature, Science, and the Arts
Arizona State University, Tempe, AZ
10 November 2017
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Experimental Music & D’Arcy Thompson’s On Growth and Form

On Growth and Form in Experimental Composition and Analysis: Music by Pozzi Escot and James Tenney
On Growth and Form 100 conference – Dundee and St Andrews, Scotland
Univerisity of Dundee, 15 October 2017
Research Seminar at the University of York, 18 October 2017
This conference celebrated the centennial of the publication of D’Arcy Thompson’s seminal book On Growth and Form. Its focus on formal similarities across biological and geological phenomena has had a profound impact not only on biological research but also on artists, including architects and musicians. Composer and theorist James Tenney begins two of the chapters of his MetaHodos with quotes from Thompson’s text. My presentation investigates connections between Thompson’s ideas and Tenney’s text, which he used as a basis for early experimental computer-generated pieces realized at Bell Labs in the 1960s. Pozzi Escot’s interest in Thompson is also presented as clearly linking of music and mathematics in her analysis of Chopin’s first Prelude.
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