My interdisciplinary research centers on three questions:
What are the politics of listening?
How are these politics rendered possible through new media material cultures?
How are they made audible – and knowable – by artists?
I answer the questions by attending to sonic and electronic artworks (analog and digital) that exist in the middle of techno-social systems of power, and which can concisely highlight the intersection of topics including disability, gender, sexuality, colonialism, and race. Rather than studying "sound art" as a distinct genre, my work examines strategies of sounding/listening in postwar and contemporary art in an expansive sense, especially examining intermedia theory and practice.
My book project, Public Supply: Max Neuhaus and the Politics of Sonic Art, argues that sonic art is circumscribed by intersecting systems of power that interrelate gender, race, sexuality, disability, and colonialism to produce a politics of listening. The book argues for a critical sonic art history that connects the formal analysis of sound-based works to the related fields of critical media studies, history of science, gender/queer/trans studies, and postcolonial studies.
My research has also produced numerous publication projects, including three peer-reviewed journal articles (Leonardo Music Journal, 2017; Parallax, 2017; Public Art Dialogue, 2021) and a special guest-edited journal issue on sound and public space (Public Art Dialogue, 2019). A recent article, "Windspun (1981): Liz Phillips, Sonic Public Art and the Greening of the South Bronx" in Public Art Dialogue (Spring 2021) examines a windmill turbine-based sound installation by Liz Phillips, and considers the social networks and sociopolitical relationships between experimental music/sonic art, public art institutions, urban gardening, and gentrification in postwar New York.