Before the Rainbow generates an ambient, yet active soundscape. The piece meditates on sounds and rhythms from nature like wind, waves, raindrops, creatures, but the work is entirely synthesized from only streams of pink noise. Using virtual analog synthesis (VCV Rack), layers of modulated filtering and randomly generated pulses shape the work. A sparse aleatoric tonal scheme is introduced using filter resonance and resonant comb filtering. Spatialization is generated using modulation of ambisonic panning parameters. The work’s processes run live without ever repeating or looping. It is hoped that the music offers a thoughtful experience that recalls the complexity and beauty of everyday soundscapes.

In A Cenotaph, the aesthetics of true crime media are combined with speculative architectural renderings to explore how contemporary architecture visualizes our greatest fears and dreams. The film centers on a monologue in which the artist discusses topics ranging from a personal connection to a crime in a suburban “dream home” to unsettling experiences with virtual architecture, and her ongoing fascination with Étienne-Louis Boullée’s plans for Isaac Newton’s cenotaph. A richly unsettling score by Nick Bentz guides the viewer through shots of architectural models and dreamlike 3D environments. Though empty, these spaces allude to the personal dramas they might contain. In A Cenotaph, both real and imagined spaces suggest the unstable foundations of our personal beliefs.

Patriot Act is an immersive three channel installation that features three megaphones (One Red, One White, and One Blue) broadcasting individual live feeds from three different precincts local to Washington DC. In this version of the installation for the Listening Room, the audio has been stripped into a multichannel recording. The recordings heard are three separate recordings from live Police and EMS feeds from the DC Metropolitan Police Department recorded on and around the Presidential Inauguration of 2025.

Reincarnate, My Heart mediates the recorded artifacts of another work of mine, Crystal Says, with its own resynthesis; reimagining, but not attempting to recreate its origins. Each of these versions, these hearts, dredge up and revive the other, drawing it forth in gradual waves which question the spectrum between the organic and artificial. 

This fixed media version of Promiscuous Metals instantiates a new collaboration between Jessica Shand (MMC) and Alice Zhao (MCM) exploring the utopian and dystopian promises of intimacy with electronic networks vis-a-vis the elements of air and metal. Foregrounding the promiscuous intimacies among metals’ presence inside musical instruments, electronic hardwares, computers, ornamentations and more, we explore how the libidinal knowledge and affective residues metal hold constitute threads of unlearning while lending alchemical possibilities for lives fashioned outside of liberal personhood. A live performance version will debut in early May as part of the class MUSC 2290: Seminar in Sonic Practice. 

Jim Moses is a composer, sound designer, engineer/producer, and educator. He has worked extensively in electronic/experimental music, and audio producing and engineering for music, radio, theater and multimedia. He is currently senior lecturer and technical director at the Brown University Department of Music. 

Nick Bentz (b. 1994 - Charleston, SC) is a composer, violinist, and multimedia artist whose work is drawn to remote fringes and recesses of experience. In his work he seeks to render intimately personal spaces imbued with an individual sense of storytelling and narrative. His art centers around the blurring, juxtaposition, and amalgamation of stylistic idioms into singular sonic statements. Nick's music has been performed by leading artists including the Philadelphia Orchestra, International Contemporary Ensemble, and yMusic, and featured at Lincoln Center, Kimmel Center, and the Museum of Modern Art in Shanghai. Current projects include works for Ensemble Intercontemporain and Sandbox Percussion. Nick holds a BM in composition and violin and an MM in violin from the Peabody Institute, and an MM in composition from the University of Southern California.

Kamari Carter (b. 1992; lives and works in NYC) is a producer, performer, sound designer, and installation artist primarily working with sound and found objects. Carter's practice circumvents materiality and familiarity through a variety of recording and amplification techniques to investigate notions such as space, systems of identity, oppression, control, and surveillance. Driven by the probative nature of perception and the concept of conversation and social science, he seeks to expand narrative structures through sonic stillness. Carter’s work has been exhibited at such venues as Automata Arts, MoMA, Mana Contemporary, Flux Factory, Fridman Gallery, Lenfest Center for the Arts, and Issue Project Room, to name a few. Carter holds a BFA in Music Technology from California Institute of the Arts and an MFA in Sound Art from Columbia University.

Allyson Packer is a video artist whose work examines our uneasy relationship to a dematerializing world. Her exhibitions span globally at venues including Vapaan Taiteen Tila in Helsinki, Hošek Contemporary in Berlin, the Torrance Museum of Art in Los Angeles, La Box in Bourges, France, and the OSTRALE Biennale in Dresden, Germany. In 2023, she completed the public art commission CR Y for the Artichoke Trust in London and has held screenings at venues including Ada X in Montreal, Columbia Digital Futures Institute in New York, and DIS.art. Awards and residencies include the Cité Internationale des Arts Residency in Paris, the La Box Artist Residency at l’École Nationale Supérieure d'Art de Bourges, and the 2024 Prospect Art 4th Wall
Fellowship. Her work has also been featured in publications including
The Guardian, Artmirror, and the Centre Pompidou’s Journal de l'Université d'été de la Bibliothèque Kandinsky. Based in Brooklyn, Packer is Teaching Assistant Professor of Visual Art & Technology at Stevens Institute of Technology and is represented by birds + Richard in Berlin.

Sofía Rocha writes music of uncompromising emotional intensity while exploring cognition, randomness, rhythm, and counterpoint in post-tonal frameworks. Recent projects include new works for the International Contemporary Ensemble, Emory University Symphony Orchestra and New York Youth Symphony. Sofía is a PhD student in Music and Multimedia Composition at Brown and received her master’s in composition at the University of Missouri-Kansas City, studying primarily with Yotam Haber and Chen Yi. She received her BA from Gettysburg College, studying with Avner Dorman.

Jessica Shand is a performer-composer and researcher driven by the belief that music can expand our sensibilities. While her early love for dance eventually led her to pick up her primary instrument, the flute, her original solo and ensemble music now calls on an eclectic set of influences—from classical and jazz to electronic music and the avant-garde—to combine flutes, electronics, vocals, and more. She holds an M.S. in Media Arts and Sciences from the Massachusetts Institute of Technology (2024) and a B.A. in Mathematics and Music from Harvard University (2022).

Alice Zhao is a PhD student in Modern Culture and Media at Brown University. She received her M.A. in Curatorial Practices from the University of Southern California, and B.A. in History of Art and Political Science from the University of Pennsylvania. Alice is interested in queer and trans communities’ practices of (un)worlding through fashion and electronic music. Merging theory and practice, she explores the alchemical, affective, and temporal possibilities for Asian diasporic lives fabricated among noise and glitter. She is most recently the co-curator of Wayward Refusals (Los Angeles, October 2023). Her essay on the burlesque and performance artist, activist, and South Korean adoptee Kayla Tange (Coco Ono) is part of the Private Practices collection, the very first archive of AAPI artists and sex workers within the U.S.