I am currently interested in the materiality of sound, especially in the use of sound for affective deterrence in US policing contexts.
In the past, I have conducted research on cultures of music, exchange, and value using feminist ethnography and critical cultural theory.
I use work from a variety of disciplines including post-reflective anthropology, exchange theory, science and technology studies, network theory, the sociology of taste, performance studies, cultural studies, and queer theory, and feminist theory. I generally focus on the following aspects of popular music: circulation, political economy, fine art/pop crossovers, bad taste, pop music avant gardes, popular music criticism, the cultures of recording, reproduction, distribution and playback technologies, and audience reception. I have worked extensively on popular music in U.S., UK, Czech, and Slovak Republic contexts.
Recent Papers/Talks/Workshops given:
EMP/IASPM-US 2012 "Turn It Up! Listening To Difference," a project of the Feminist Working Group
SEM 2011 "Svoboda Cultura: The Sound of 'Free Culture' in Czech translation," Philadelphia, PA, November
IASPM-US2011 "Free Culture in the Czech Republic" at the International Association for the Study of Popular Music, US, in Cincinatti, OH, March
EMP2011 "Direct-to-fan vs. DIY: 21st century music business models in Czech Pop Music Networks" at the Experience Music Project Pop Conference, UCLA, February.
EMP2011 Work It!: gender, race, and sexuality in pop professions. Conference co-chair and facilitator of the "Publishing/Journalism" break out session. USC, February..
2010 U.S. Intellectual History Conference (CUNY) "Situating gender and sexuality in Spin and Vibe 1996-2006
My Masters thesis addressed the crossover of fine artists into popular music performance in the contemporary New York City indie/dance scene and focused on the musicians Casey Spooner (Fischerspooner), Rob Corradetti (Mixel Pixel) and Lalena Fissure (The Color Guard). It was titled “Fine Art Education and Popular Music: A Crossover of Competence.” Papers derived from this thesis were given at IASPM-US 2006 and the Experience Music Project Pop Conference 2006.
Way back machine:
2010 Jiny Pohled (Queer Eye) Festival, Prague, Czech Republic "How to Rock like a Girl"
EMP2010: Nostalgia for cassette culture in the MP3 age (presented in absentia on cassette)
EMP2009: Computer Love(r)s
EMP2009 Co-organizer: Dance This Mess Around: 2nd Annual Feminist Working Group
IASPM-US 2009: Tape-trading, Tuzex-shopping Depešaci: Depeche Mode as underground megastars in 1980s Czechoslovakia
IASPM-US 2008: Myspace is the Message: How a Czech Band Went from Local to Transnational in a 2.0 Minute
EMP 2008: Getting Closer: Extreme Loudness and the Body in Pain/Pleasure
EMP2008 Co-organizer: Feminist Working Group
SPARK2007: Attention music trogs, snobs, plebes, elites: Bad may be better when writing about popular music
EMP2007: Selling Sad: How Hot Topic Made the Mall (Safe for the) Miserable
EMP2007: Organizer: Ellen Willis Tribute
IASPM-US2006: O Superman: Gender and pop music performance by art-school trained musicians
EMP2006: Poo pooing pop’s poseurs: An analysis of anxiety around liking art-school trained musicians and their work
EMP2005: Dancing, democracy and kitsch: Poland’s Disco-Polo
EMP2004: The Art of Noise: How the Providence, RI Loft Scene Hears its Godawful Racket
EMP2003: The film remains the same: The making and deconstruction of rock myths in punk music documentaries
Education: M. Phil, Columbia University Music Department; M.A. Columbia University Music Department; B.A. New York University