This paper is an early version of my dissertation. It was written in 2012, while I was a Research Affiliate with the Center for Arts and Cultural Policy Studies at Princeton University.

Abstract:  Our body mediates our experience of the world. It is the interface through which we know our surroundings, our lives, and our culture. Through a detailed study of Richard Wagner and Bill Viola’s The Tristan Project (2007), this paper explores the relationship between physical engagement and the creation of meaning in contemporary performance. The Tristan Project, under the direction of Peter Sellars, weaves Wagner’s classic opera Tristan Und Isolde with contemporary video art by Bill Viola. In this production, Bill Viola’s actors perform slow rituals in simultaneous action with the opera, becoming windows into the subtext of the narrative. How does Viola’s larger than life presentation of the physical body influence the viewer’s physical engagement and what does this communicate? My research will investigate embodied cognition’s assertion that meaning is constructed through physical experience. It will inspect how these ideas influence our conception of arts participation; how physical participation in art generates and invigorates shared cultural symbols; and how new technologies and new media can support physical engagement in contemporary art. At the root of it, this research explores how we create meaning individually and communally and how this is inextricably connected to the body.


Abstract:  Middle Passage: Reclaiming what is Lost was written for and performed by the Princeton Laptop Orchestra in the spring of 2010. The work began as a Concerto for Laptop Orchestra and my own instrument, The Tape Machine (a live analog looper) and has evolved into something bigger. It currently exists both as a performance work and as a workshop practice that explores grief and loss. It is through this unconventional use of the laptop ensemble that I have come to have a deeper understanding of this piece and the musical, technological, and cultural potential of laptop ensembles.

You can find the entire SLEO (1st Symposium of Laptop Ensembles and Orchestra) Proceedings here. My paper can be found on p. 47-50.


TOWARD UNDERSTANDING HUMAN-COMPUTER INTERACTIONS IN COMPOSING THE INSTRUMENT (2010) by Fiebrink, R., D. Trueman, C. Britt, M. Nagai, K. Kaczmarek, M. Early, M.R. Daniel, A. Hege, and P. R. Cook.

Presented as a part of the proceedings of the International Computer Music Conference (ICMC), New York City, June 1–5, 2010.



2015     “Ritual Practice as Compositional Material: Including the Audience in the Process,” co-presented with choreographer Carrie Ahern at the New Music Gathering, San Francisco Conservatory, SF, CA

2015     “From the Waters: Reclaiming What is Lost & The Art of Burial” presented with Carrie Ahern at the 112th Earl Lectures and Leadership Conference Be Art Now, Pacific School of Religion, Berkeley, CA

2013     “From the Waters” Workshop presented at the First Annual Deep Listening Conference at EMPAC, Rensselaer Polytechnic Institute, Troy, NY

2013     “From the Waters: Performance and Practice” presented at the Conference of Contemplative Practices for a Technological Society: Cultivating Mind Body Practices to Invent Our Future, Virginia Tech, Blacksburg, VA.

2012     “There’s a Spirit in the Flesh: Physical Engagement and the Creation of Meaning” presented at the Center for Arts Center Policy Studies as a part of their working paper series, Princeton, NJ (see above)

2012     “Middle Passage: Reclaiming What is Lost as Performance and Practice” presented at the Symposium on Laptop Ensembles and Orchestras at LSU, Baton Rouge, LA  (see above)

2010     Reclaiming What is Lost Workshop presented at the Oakopolis Gallery, CA

2010     “When the Spoken Word Sings: Kenneth Gaburo’s Maledetto” excerpt published for Theoretical: The Music and Theory of Kenneth Gaburo with Chris Mann, David Dunn, Larry Polansky and Nate Wooley, Issue Project Room, NYC

2010     “Sympathetic Vibrations: Connecting With the Audience Through Images of the Body” revision, presented at the (Re)making (Re)presentation Conference at CUNY, NYC

2009    “Sympathetic Vibrations: Connecting With the Audience Through Images of the Body” presented at the Music and the Moving Image Conference at NYU, NYC

2009    “Composing an Instrument, Building a Performer: The works of 
 Galás” presented at the Eighth Annual New Music Festival at Cal State Fullerton, CA

2007     “Where Music and Politics Converge: Luigi Nono’s Il Canto Sospeso” presented at the Princeton University Italian Studies Symposium, NJ