is a composer and electronic musician moving between electroacoustic, multimedia, and performance art works. Her work  has been described as “full of discovery, cooperation and unpredictability” (Gaudeamus Award jury) and “shatteringly visceral”  (VAN Magazine).

In any medium, her work constructs environments meant to  merge electronic and acoustic forces into one composite organism, dependent on this merging to become more than just  an extension of itself. Her work focuses on sculpting noise, shifting materiality, housing structures, and machinery.

Beyond composition, she is an active performer, integrating  custom-built electronics, extended instrumental techniques  including machine learning, and live processing into her practice. She has performed at venues such as the Banff Center for  the Arts, Art Institute of Chicago, Goethe Institute of Boston and  the impuls International Contemporary Music Festival.

She is Assistant Professor of Composition and Music Technology  at the Bienen School of Music. She holds a PhD in Music Composition from Harvard University, where she studied with Chaya  Czernowin and Hans Tutschku.

Selected works: Three Movements for chamber ensemble  (2016–17), tech bite for slide whistle, contact microphone, small  amplifier, multieffect pedal and pocket operator (2017). Talk Circus for two percussionists and one musician on no-input mixer  (2018). four sharp cornersfor amplified prepared string quartet  and materials (2018). circle speak for maze toy and electronics (2018; rev. 2022), a series of colors for snare drum, light and  tape (2018), zP42 for trombone, no-input mixers, video and more  (2018–), From gathered leaves and flowers we build ourselvesfor  string trio, MIDI keys and electronics (2018–19), R.A.M for any  four instruments and video score (2019), eyes on for electric guitar, flute, clarinet and feedback (2019), Brainzaps for flexible trio,  tape and video (2020), *()the drummer for drum set, 1–2 noisemakers, baritone saxophone and tape (2020), et error no. 2 for  amplified piccolo and wind-up toys (2021), new ears for solo  or duo using speaker-instruments (2021), Speaker Spit for large  ensemble, conductor, tape and live processing (2021), the bends  for cello, bass clarinet / contrabass clarinet, violin, percussion,  alto flute, three DIY speaker operators, two sound engineers and  one electronics musician (2021), acoustic sourings for two pianos  with feedback and two percussionists with electronics (2022–23),  creature like lichen for amplified violin, cello, piccolo, trumpet,  electric guitar, MIDI keyboard, B♭ clarinet and live processing  (2022), consumed; teeth shut for amplified soprano, baritone,  bass clarinet, percussion and double bass (2022), nerve shrouded  wire for amplified Pierrot ensemble, mezzo-soprano, percussion  and electronics (2023), Splitting to Collapsefor large ensemble and fixed media (2023), inefficient sky for accordion / open instrumentation, percussion, MIDI keyboard, video and electronics (2024), shy crown for percussion, speaker cones and electronics (2024), strainer for large ensemble (2024), Ten Thousand One  Hundred and Fifty Eight Divisions (2026).