I explore real-time signal processing in improvised performance, a practice built around an augmented violin. By trial and error, I designate the salient features of my instrument, which I construct through an abductive process symmetrizing action and perception. The choices in the mathematical analysis of the feature vectors construct a sound, a new one, that has never been heard.

Matter² aspires to grow K-12 strings education in the U.S. by offering technology-enhanced versions of common string instrument accessories—shoulder rests and end-pins—I developed and have licensed from Arizona State University. With the help of an ASU award and a committed research team, we intensively beta-tested for 18 months and discovered the joy we can bring to young musicians. With a recent startup award, we’re now pushing towards commercialization.

I use Cycling 74’s RNBO and Gen patching environments to craft generative instruments and effects, bridging digital innovation with the tactile world of embedded hardware. The Bela Pepper module serves as my playground for exploring RNBO within the Eurorack ecosystem. Similarly, the versatility of Noise Engineering’s Versio platform allows me to deploy Gen code on Electrosmith’s Daisy submodule to explore digital texture and detritus.

My teaching spans a rich spectrum of interdisciplinary work, merging technology, music, and interactive design. It includes creating movement-responsive instruments through wearable technology, foundational media computing with sensor-embedded boards, augmented musical instruments design, and custom music software and hardware development. I emphasize hands-on learning across digital fabrication, circuitry, sonic interaction design, and modular synthesis. Additionally, courses cover electronics basics through circuit bending and advanced composition techniques in generative and procedural composition.

By suggesting playful interactions rather than mastery, the experiential poetics of “wearable music” offers a body-centric motivation alternative to normatively gendered and combative tropes that historically shape electronic music discourses. This page highlights projects I’ve led that explore collectively playable instruments in the context of performance practice (especially dance) and neurodiverse movement.