MUSIC TECH · INTERACTIVE MEDIA · EMOTIONAL SYSTEMS DESIGN
My love for music technology began at the start of the pandemic, on a call with my friend Max. Neither of us had touched a DAW before, but in an era of distance and isolation, we wanted to make music together in any possible way!
That spark grew into a journey of sampling, production, coding, and more. Since then, I began exploring Max/MSP, Pure Data, Imogen Heap's MiMU gloves, Elf.Tech, Python, fixed and live electronics, field recordings, hybrid orchestral production... and worked with computer scientists and fellow musicians also interested in technology.
I am passionate about building storytelling systems where sound listens back, environments respond to breath and touch, and narratives are co-authored in real time. Drawing from composition, psychology, and HCI, my work spans bio-responsive sound, networked performance, interactive opera, and community-centered installations. I’m interested in how technologies of signal processing, narrative design, psychophysiology, etc. can come together to responsibly prototype new architectures for connection, co-regulation, and repair.
OSEANA: Nervous-System Art-Pop Opera x Emotional Technology
Music • Multimodal Worldbuilding • Narrative Design • Affective Neuroscience • Signal Processing
OSEANA is my ongoing artist project and “nervous-system opera”: a three-act universe of 20+ songs, visuals, and interactive prototypes about memory, exile, and repair. I treat each song as both music and emotional interface, working to design spaces inspired by neuroscience and psychosomatic reintegration that combine tech and immersive storytelling.
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One prototype, for instance, is a bio-responsive performance system that takes live mic input, extracts features like loudness and breath irregularity in real time, and maps them to the room’s brightness, hue, reverb, spectral tilt, and gentle playback-rate warping. A listener’s own breath slowly reshapes the sound and light around them; the room “breathes back,” inviting co-regulation rather than passive consumption.​ Another is a 3D “nervous-system garden” built in Three.js. Visitors walk through a field of song-flowers; their movement crossfades between stems and reveals text fragments, and embodied navigation becomes a way of sculpting grief, memory, and relief.
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Roles: narrative designer, composer/producer, vocalist, creative technologist
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Tools: Logic Pro, Max/MSP, Web Audio / basic Three.js, real-time audio feature extraction, neuroscience and psychophysiology
I’m Outside Still: A musique concrète voice and electronics piece exploring urban textures, migration, and in-between belonging in Los Angeles.
City as Instrument • Environmental Sound Studies • Urban Fieldworks • Live Electroacoustic Performance
Created for USC’s Visions and Voices Forum, I’m Outside Still merges field recordings, processed city ambience, and live vocal performance to build an emotional portrait of urban in-between spaces (bus stops, cafés, intersections, etc.) where isolation and intimacy coexist. Developed in collaboration with poets and writers in LA, the piece layers spoken word with electronically transformed street sounds, transforming snippets of conversation, footsteps, and environmental noise into rhythmic and harmonic materials.
The result is a sonic collage where the city becomes both instrument and interlocutor, its hums, echoes, and dissonances mapped into an evolving dialogue about belonging, visibility, and the everyday choreography of coexistence. Performed as a live set with adaptive electronics, this work experiments with how environmental sound can function as score and social mirror.
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​Roles: composer, sound designer, multimedia artist
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Tools: fixed-media electronics + live voice, urban field recordings
Soaring: a multilingual song cycle reimagining language as sonic architecture for cross-cultural memory and belonging.
Vocal Diction and Performance • Composition • Linguistics • Cross-Cultural Collaboration
Soaring is a multilingual song cycle I composed and presented in close collaboration with literary experts (Mandarin, Spanish, Farsi, English), setting the texts of Walt Whitman, Li Shang Yin, Pablo Neruda, and Rumi. The work investigates migration, cultural othering, and return as sonic phenomena: how the voice reorganizes itself across borders, how “home” splinters into accent and remembrance, and how return is never a simple rewind. Across its movements, language becomes compositional matter (phonemes as rhythm, syntax as pacing, translation as harmonic modulation...) so multiple languages can coexist in dialogue, sharing an arc of tenderness, displacement, and expressive commonalities.
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Roles: composer, co-designer, collaborator (text + language)
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Tools: vocal & instrumental performance; vocal writing + text-setting; multilingual diction research; motif-driven narrative design; rehearsal workshop/iteration​
Session & Industry Collaborations: Building Hybrid Vocal Worlds
Alongside multimedia installation work, I collaborate as a session vocalist, co-writer, and producer on electronic and pop projects with artists and producers in Los Angeles and beyond. Recent collaborations include trance/electronic works with producer Elitrax, where we built hybrid vocal worlds: layered, processed voices functioning simultaneously as lyric carrier, synth pads, and percussive texture.
In session work, I experiment with extended vocal techniques, multilingual phrases, and evolving FX chains so that the voice becomes an adaptive instrument shifting between intimate storytelling and architectural sound design.
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Roles: session vocalist/engineer, lyricist, vocal arranger, co-producer
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Media: trance, EDM, pop, hybrid electroacoustic production and orchestration
Project HEAL: "Unboxing Loss, Unboxing Love"
Project HEAL was a grief-centered installation and vigil that transformed a theater into a series of “grief boxes” for participants to interact, remember, and listen together.
I designed a network of live-electronic soundscapes built from processed voice, heartbeat-like pulses, and environmental recordings in response to live embodied performance and improvisations of the actors, and co-wrote a communal song performed by the cast and joined by the audience as a finale to the installation.
The space functioned as a shared instrument and memory space. Audience movement inspired subtle sonic shifts, and the final song invited everyone to sing together. The goal was to build an architecture where grief, community, and healing could coexist.
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Roles: sound designer, composer, performer
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Tools: live electronics, spatial audio, field recordings, choral writing​
SecondsBeforeWaking / DREAM(E)SCAPE: opera prototype inspired by dream science
This immersive opera prototype emerged directly from my work in Northwestern’s Cognitive Neuroscience Lab, where we used sound and light cues to communicate with lucid dreamers in REM sleep. 
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Seconds Before Waking translates EEG rhythms and dream reports into musical texture: oscillating timbres mirror sleep-cycle dynamics; fragmented vocal lines and suspended harmonies render the unstable boundary between dreaming and waking. The piece treats dream engineering data as compositional material and asks what it means ethically and aesthetically to intervene in such a vulnerable cognitive state.
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Roles: composer, librettist, vocalist, creative researcher
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Tools: chamber writing, Logic Pro sketches, EEG-inspired temporal mapping
Kolaj Electroacoustic Ensemble & RainCLoud
At Northwestern, I joined the Kolaj Electroacoustic Ensemble, a collective of composition students exploring the intersections of music technology, experimental sound, and collaborative creation. We met weekly starting in the pandemic, turning isolation into a space for creativity and friendship.
Each member brought a distinct lens. Jay linked mathematics to musical form, Olive, Kate and I explored sound design and production tools with multimedia artforms, and Aspen later went on to found Intervallic, an education startup whose creative learning framework I later collaborated with for Sunflower Education, my own music education venture.​
Together, we experimented across genres and disciplines, from electroacoustic improvisation to interactive media. One highlight was “Rain Cloud”, a sound design project for Northwestern’s Theatre Department. We built soundscapes from layered field recordings, synthesized textures, and instrumental fragments, then diffused it through the theatre to blur the line between diegetic environment and emotional underscoring. Projects like this have taught me to think of sound design as world-building: creating auditory ecosystems that performers and audiences can inhabit together.
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Roles: composer, sound designer, collaborator
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Tools: DAWs, synthesis, field recording, theatre sound systems