What can performance as research practice render possible in scholarship? Can performance be a queer method? Can it sketch out bodily cartographies and render these relations audible?

/ Replicunts, CyberPunks, Disciplinary Daddies, and other gender dissonants /
She/Boi/Herz

I work across opera, art song, contemporary vocal music, and multimedia performance. My practice often involves voice-processing tools, sound technologies, and crudely (ie. poorly) edited video as I explore how bodies and voices are classified, controlled, and excluded across different systems of power. Through these performative, sonic, and technological interventions, I treat multimedia performance as a research practice—one that makes bodily matters of concern newly audible.

In past projects, I’ve appeared as my own clone, a submissive masc-4-masc daddy, an abstract dandelion powered by fans, and a 19th-century Irish immigrant sex worker. In the U.S. I’ve performed at Vox Populi, Slought, the Philadelphia Institute of Contemporary Art Incubation Series, Fringe Arts Scratch Night, and contributed to HOTLINE at SPACE Gallery in Portland, Maine. In Saint John, I’ve performed with Act III productions. I approach my own research practice as an effort to work out the knotty valences and generative relational modes between writing, research, and performance as a queer method.

For QUAD/MAAS TWO: +4dBu at Maas Garden, Philly, PA
A lineup of Philly sound artists using a unique quadraphonic set up in the environment of the Maas garden

For HOTLINE, an interactive group show featuring soundworks by artists, musicians, scholars, performers, and poets at SPACE gallery, Portland, Maine

Recording with Xingtong (Bess) Liu

Performance from “1000 Years of Musical Listening” music history survey at the University of Pennsylvania