Teaching
My approach to teaching is the same as my approach to performance: construct and care for the context, and make space for people to enter it on their own terms. I understand teaching as mentorship, and mentorship as a balance of expertise and restraint.
Courses
Hochschule für Musik und Theater Hamburg 2019–2022
- Kinetics in Sound and Space: Wavefield Synthesis. The technical and æsthetic dimensions of composition for a wavefield array.
- Kinetics in Sound and Space: C Programming for Media/Arts Applications. Introduction to C programming in the context of authoring Max/MSP externals.
- Programming Languages for Multimedia Composition and Performance. Survey of programming languages used in multimedia: Max/MSP, Pure Data, SuperCollider, OM#, Isadora, TouchDesigner, C, C++, assembly, Lisp, Python, Haskell, JavaScript, Java.
- Science of Music. Introduction to music perception and cognition.
- Performance Philosophy: Artistic Practice in Times of Social Unrest. A survey of performance philosophy, addressing performance itself as philosophy, and philosophy as performance. Discussions included Black Lives Matter, #MeToo, climate change, and political unrest. Co-taught with Teoma Naccarato.
- Performance Philosophy: On the Critical Appropriation of Technology in Artistic Practice. Appropriation, transgression, mastery, and misuse of technologies across disciplines. Co-taught with Teoma Naccarato.
California College of the Arts 2012–2013
- Math and Media. Artistic practice and mathematical concepts such as measure, space, and abstraction.
Northeastern University, College of Arts, Media and Design 2011–2012
- Music Composition Seminar. Undergraduate seminar on spectral harmony, randomness, open-form notation, and extended techniques.
- Composition Lessons. Weekly individual lessons for eleven composition students.
- Composition with Random Processes. The technical, historical, and æsthetic aspects of randomness in music.
- Interactive Real-Time Performance. Max/MSP, with an emphasis on sound synthesis, composition, and real-time human-computer interaction.
- Music Since 1900. Musical styles and concepts in Europe and North America in the twentieth century.
UC Berkeley, Department of Music 2005–2011
- Music Composition. Undergraduate seminar on spectral harmony, randomness, open-form notation, extended techniques, and musique concrète.
- Introduction to Computer Music. Programming in Max/MSP, computer music, and digital audio (with Edmund Campion).
- Music Perception and Cognition. Auditory and cerebral physiology, auditory illusions, and auditory scene analysis.
- Introduction to Western Music. Sonata form, early twentieth-century music, and the music and politics of post-war Darmstadt.
McGill University, Faculty of Music 2000–2002
- Melody and Counterpoint, Renaissance Style. Species counterpoint.
- Elementary Harmony and Analysis. Four-part harmony, diatonic chords, tonality, and modulation.
Workshops
- November 2025 · Max/MSP intensive, one week · Academy of Performing Arts in Prague (HAMU)
- 2020 · Machine Creativity at CNMAT: odot · Ars Electronica
- 2019 · odot Immersion Course, four days · CNMAT, UC Berkeley
- 2009–2017 · Max/MSP introductory and advanced summer workshops · CNMAT, UC Berkeley
- 2009–2010 · Max/MSP developer’s workshop (C, Java, and JavaScript) · CNMAT, UC Berkeley
Course designs
- Interactive Systems for Performance: Sound, Sensors, and Real-Time Media . A studio course, cross-listed for undergraduate and graduate students, building performance systems from sound, sensors, and movement.
- Creative Coding for Sound and Performance (Max) . A hands-on introduction to interactive and generative audio in Max.