Langue Étrangère
Presented at ICMC, NYCEMF, Audio Mostly, and ICAD (2025)
This evocative electronic sound poetry piece explores the alienation of living between languages -- live electronics and video installation immerse the listener in a liminal space between communication and incomprehension. Processed voice samples and glitch aesthetics highlight the tension between meaning and loss, between words and their sonic residues.
Mulholland Revisited
Presented at NIME (2025)
This project explores the intersection of real-time algorithmic sound generation and live piano performance through ChucK and MIDI-based interaction. Inspired by the interplay between dream and reality in David Lynch’s "Mulholland Drive" (2001), the piece utilizes a series of ChucK scripts that dynamically respond to the pianist’s input, transforming the piano into a multidimensional, interactive system.
Of Sand and Sound
Presented at CCRMA Open House (2025)
“Of Sand and Sound” is an immersive sound installation where elemental matter becomes music and light. Glowing tubes of sand and water pulse in darkness, while a soundscape of melting ice and humming appliances reimagines overlooked materials as organic instruments. Both light and sound emerge from substances in constant flux, repeating their course while continually diverging in trajectory. Developed in collaboration with Koh Terai from the Stanford Design School.
Jeux D’eau I & II
Presented at CCRMA Bing Concert & Open House (2025)
Jeux D’eau is a series of works that blend live music with light-based performance, created in collaboration with designer Koh Terai. As the music unfolds, strands of light trace choreographic patterns, responding organically to the ebb and flow of sound. This series imagines a meeting between two intangible forces -- light and sound -- that swirl, clash, and converge in a fleeting dialogue, creating a dance without bodies, a duet without form.
Ritus
Performed by the Stanford Laptop Orchestra (2025)
Developed in collaboration with Nick Shaheed and Ben Hoang, this series of pieces explores the ritualistic potential of feedback through vocal and bodily performance.
A Playful Mimicry
“A Playful Mimicry” is an audiovisual performance developed around the concepts of the digital double and audiovisual representation. The composer composes by directing herself directing the composer/actor -- a recursive gesture that creates a mise en abyme, both visual and conceptual. This disrupts linear space-time, generating concentric circles of narrative that emerge through concatenation.
The Stanford Prism Experiment
Presented at CCRMA Winter Concert and Bing Concert (2025)
Developed in collaboration with Walker Smith, this show consists of a series of pieces blending theater, music, and live performance. Exploring systems of knowledge such as religion, science, law, and artificial intelligence, it questions how we construct understanding, and how we communicate — or fail to communicate — our conclusions.
Playtime
Presented at the CCRMA Open House (2025)
Developed in collaboration with Ben Hoang, Playtime is a multimedia performance that questions what lies behind the mirror, both literally and metaphorically. Drawing inspiration from the dichotomy between work and what lies behind work, the piece examines the structures, performances, and labor that underpin our daily realities. Through a playful yet critical lens, the mirror becomes a stage blurring the boundaries between productivity and performance.
Algorithme
“Algorithme” is a live coding performance in which sounds, designed in ChucK, directly shape visuals generated in TouchDesigner. Using ChAI, the AI development component of ChucK, the piece unfolds through the gradual layering of musical and visual elements.
This piece explores the question of the origins through instruments, voices, and electronics. Inspired by research in philosophy and physics conducted under the supervision of physicist Brian Greene, the piece is divided in three movements depicting the origin of the universe, the origin of life, and the origin of art.