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MY SOUND PIECE "AUDIO EVIDENCE FOR INDEFINITE UNIVERSAL SUPPLICATION BREAKFAST" WILL BE BROADCAST ON RADIOPHRENIA, A SCOTTISH EXPERIMENTAL RADIO PLATFORM AND FESTIVAL, IN SEPTEMBER

SETH WARREN-CROW AND I LED A WORKSHOP ON TOOLS FOR MAKING INTERDISCIPLINARY PERFORMANCE AT MEXICO CITY'S PRESTIGIOUS AND GORGEOUS NATIONAL CENTER FOR THE ARTS (check it out on the left).

2 OF MY EXPERIMENTAL FILMS WERE SCREENED AT WUNDERGROUND FILM FESTIVAL IN BELGIUM.
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I am an artist-scholar based in Texas. I think a lot about technologies of personhood under conditions of cosmic networked communication. I make time-based art and media theory in a doomed attempt to work things out. I also work too much, so I think about work. Homo laborans. My fourth book project is about  extraction of sonic labor in the first 100 years of reaction media, from the earliest sound cartoons to chiropractic adjustment videos on social media. A symptom of this project is a certain obsession with steam engines and the history of thermodynamics. Parts of the manuscript were published in the journals Feminist Media Studies and Mechademia: Second Arc.
 
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My scholarship is distinctive in its early attention to girliness as an operative aesthetic in online settings and computational cultures most broadly, from the mid-20th century to the present.
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My art practice uses repetition to fiddle with the boundary between preprogrammed and spontaneous action. Currently working primarily in experimental film and sound art, I design stubbornly lo-tech procedures for media creation, often using my own messy embodied cognition to accomplish what computational algorithms do better. For various process-focused pieces, I compiled every reference to the smell of money on Google Books; listed every indication of the sound of animal labor from the closed captions of Westerns streamed day and night over two weeks; wrote 47 permutations of a description of the interior of Airforce One and other presidential aircraft; and used microbes to decompose 35mm found footage over 6 days for a film about death. I consider what I do to be wet conceptual art (following Warren Neidich), performance, and expanded writing, no matter the medium of its expression. My work has been shown at festivals and in galleries around the world--recently, in Pune (India), Venice (Italy), London (UK), Austin (Texas), and Kansk (Russia).

I have written three books: Girlhood and the Plastic Image, Young-Girls in Echoland: #Theorizing Tiqqun (co-authored with Andrea Jonsson), and Shakespeare and Nonhuman Intelligence, which presents the Bard as the embattled figure of writing in the age of ChatGPT and other alleged crimes against the human organism. I just finished an essay about influencers, microbes, and something I'm calling slime capitalism. 

I am a member of CO-OPt, an artist-run gallery and experimental music venue in Lubbock profiled in The Wire music magazine. I like to curate exhibitions of sound art for CO-OPt to bring attention to this often misunderstood and relatively unknown practice. I also recently started Outpost for Semi-Rural Listening as an umbrella entity for my sound art projects and those of my students and collaborators. Outpost is a partnership with the always inspiring Bureau for Listening, a durational art project and nomadic research platform.
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I am also Associate Professor of Interdisciplinary Arts at Texas Tech University. I coordinate the Transdisciplinary Arts track of our innovative Fine Arts Doctoral Program, the second oldest Interdisciplinary Arts graduate program in the country. As a mentor of graduate students, I specialize in supporting practice-based and/or philosophy-oriented arts research; projects engaging with film and media studies; and performance and intermedia art. My PhD is in performance studies with a certificate in film studies from the University of California, Berkeley.

I like intellectually unruly projects.