1000+ was performed and screened at CCRMA Stanford Center for Computer Research in Music and Acoustics.
This work was developed in the course Queer Electronic Music Composition, which centers the creative, historical, and theoretical contributions of LGBTQ+ composers in the field of electronic and computer-based sound. The class emphasizes personal narrative and the queering of process and perspective through experimental composition, guided by queer-led workshops, lectures, and media-based assignments.
Blending fixed playback, live performance, and sound manipulation, my final project reimagines the air raid siren—a sound etched into both personal and national memory—as a site of distortion, queering, and sonic transformation.
🎙 Feb 24 (intro)
An excerpt from a performance grounded in field recordings I made on the morning of Russia’s full-scale invasion: February 24, 2022.
As my past self quietly documents the moment and packs an emergency bag, my present self appears live before an audience—holding the same suitcase.
Together, we unpack layers of physical and moral ground through sound, gesture, and memory.
Hello, World!
🔊 1000+
By March 2024, Kyiv had experienced over 1,000 air raid sirens—a constant, triggering signal of potential death.
This performance-ritual transforms the siren’s sound:
Waveforms are detuned and stretched, queering their original function.
Frequencies are retuned to resonate with the body’s chakra system, reframing the siren as a meditative force.
The piece reorients the listener—from panic to presence, from rupture to ritual. It asks how sound holds memory, and how queering that sound might offer a path to release, reclamation, or peace.
