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Current Position

  • ACLS Public Fellow, Digital Producer, To the Best of Our Knowledge, Wisconsin Public Radio

Education

  • Ph.D. American Studies, University of Iowa, 2013 [Dissertation: “Making Silence Audible: Sound, Nature, Technology, 1890-1970”]
  • M.A. American Studies, University of Iowa, 2010
  • B.Phil. Interdisciplinary Studies, Miami University, 2004
  • B.A. American Studies, Miami University, 2004

Research and Teaching Interests

Sound studies; environmental history; history of science and technology; media and popular culture; digital humanities; sound art and audio production; publicly engaged scholarship

National Fellowships and Appointments

  • 2013-14: Postdoctoral Fellow, Institute for the Arts and Humanities, Penn State University [Project: “Hearing Humans Hearing Nature”]
  • 2012: Smithsonian Predoctoal Fellow, Center for Folklife and Cultural Heritage, Smithsonian Institution [Project: “Making Silence Audible: Sound, Nature, and Technology, 1900-1970”]
  • 2012: Humanities, Arts, Science, and Technology Advanced Collaboratory (HASTAC) Scholar, Online

Research Awards and Recognition

  • 2015: Coordinator, Sound Studies Borghesi-Mellon Workshops in the Humanities, UW-Madison Center for the Humanities
  • 2013: Obermann Graduate Fellow, Obermann Center for Advanced Studies, University of Iowa
  • 2010: Graduate College Summer Fellowship, University of Iowa
  • 2006: Publicly Active Graduate Education (PAGE) Fellow, Imagining America Consortium

Peer-Reviewed Publications

  • 2014: “‘A Birdlike Act’: Sound Recording, Nature Imitation, and Performance Whistling,” Velvet Light Trap 74 (Fall 2014): 4-15. (PDF)
  • 2013: “Making Them Talk: Animals, Music, and Museums,” Antennae: The Journal of Nature and Visual Culture 27 (Winter 2013): 6-18. (PDF)

Book Chapters

  • 2011: “Home Taping is Saving Music: Noise Music and Cassette Culture, 2001-2009.” The Politics of Post-9/11 Music: Sound, Trauma, and the Music Industry in the Time of Terror, Joe Fisher and Brian Flota, eds. (London: Ashgate, 2011).

Selected Conference Papers

  • 2015: “Strange to Your Ears: Field Recording and/as Experimental Music”, Association for the Study of the Arts of the Present, Greenville, SC.
  • 2014: “Going Deep: The Hydrophone and the History of Underwater Recording,” International Association for the Study of Popular Music-United States, Chapel Hill, NC.
  • 2013: “A Natural History of Digital Sound,” New Media in American Literary History Symposium, Boston, MA.
  • 2013: “Hoodlums and Hermit Thrushes: Sound, Masculinity, and Performance Whistling, 1900-1939,” New York Metro American Studies Association, New York, NY.
  • 2013: “Naming Birds Without the Gun: Animal Imitation and Early Sound Recordings,” Society for Literature, Science, and the Arts, South Bend, IN.
  • 2013: “Taxidermy and Turntables: Music at the American Museum of Natural History, 1939-1954.” International Association for the Study of Popular Music-United States, Austin, TX.
  • 2011: “‘Boom’: The Anti-Supersonic Flight Movement and the Materiality of Sound.” Mid-American American Studies, Madison, WI.
  • 2011: “Hearing Forests and Trees: Nature Sounds and Popular Music.” International Association for the Study of Popular Music-United States, Cincinnati, OH.
  • 2007: “‘Yankee Crickets’: Sounds of the Rainforest and the Representation of Environmental Audio.” Studies in Sound in the Age of Visual Culture, Iowa City, IA.

Invited Talks

  • 2016: “Migratory Soundscapes: The Global Circulation of Early Environmental Recordings,” Global Midwest Global Music Symposium, UW-Madison
  • 2015: “The Art of Radio: Making Scholarly Voices Public,” panel presentation with Steve Paulson, University of Wisconsin-Madison Center for the Humanities.
  • 2015: “A Resonant Boom: Supersonic Flight, Psychoacoustics, and Environmental Sound”, Communication Arts Colloquium, University of Wisconsin-Madison.
  • 2015: “Sounds Transformed: From Analog Capture to Digital Formats,” panel presentation for the Paramount Records Workshop, University of Wisconsin-Madison Center for the Humanities.
  • 2015: “Making Silence Audible: Recording Nature in the Twentieth Century,” Michigan Tech University, Houghton, MI.
  • 2014: “Hearing Natural History,” Paterno Fellows Speaking Series, Penn State University.
  • 2014: “Birdlike Acts: Animal Imitation and the History of Environmental Sound Recording,” Institute for the Arts and Humanities Lecture Series, Penn State University
  • 2013: “Whistling’s Work: Bird Imitation and Preservation,” Floating Friday Series, American Studies Department, The University of Iowa.
  • 2012: “The Folkways Science Series,” Smithsonian Center for Folklife and Cultural Heritage, Washington, DC.
  • 2007: “Riffs, Chords, and Prose: Shaping the Future of Music Writing,” NonfictioNOW Conference, Iowa City, IA.

Courses Taught

  • 2015: Nature’s Music, UW-Madison Continuing Studies
  • 2014: The Sound of Nature / The Nature of Sound (self-designed interdisciplinary seminar, Penn State State University). Course website
  • 2010-2011: Rhetoric (self-designed; subtopic: Nature and Popular Culture)
  • 2009-2010: Understanding American Cultures (self-designed sections of the American Studies survey course, subtopic: Listening to American Voices)
  • 2008-2009: Understanding American Cultures (survey sections)
  • 2007-2008: Rhetoric (self-designed; subtopic: The Rhetoric of Sound and the Voice)
  • 2006-2007: Rhetoric (self-designed; subtopic: The Rhetoric of Wilderness)

University Positions

  • 2013: Academic Mentor, Intercollegiate Athletics, University of Texas at Austin
  • 2011-2012: Teaching Assistant, Speaking Center, Rhetoric Department, University of Iowa
  • 2011-2012: Graduate Assistant, Rhetoric Technology Lab, Rhetoric Department, University of Iowa
  • 2006-2011: Teaching Assistant, Rhetoric and American Studies Departments, University of Iowa
  • 2005-2006: Research Assistant, American Studies Department, University of Iowa
  • 2005-2006: Grading Assistant, American Studies Department, University of Iowa

Professional Service

  • 2014-present: Editorial Advisory Board, ASAP/Journal, The Associate for the Study of the Arts of the Present
  • 2014-present: Chairperson, World Forum for Acoustic Ecology Committee on Best Practices for Audio Metadata

University Service/Involvement

  • 2009-2010: Steering Committee, Sound Research Seminar, University of Iowa
  • 2006-2007: Disc Jockey, KRUI Radio station, University of Iowa
  • 2005-2007: Social Co-Chair, American Studies Graduate Student Association, University of Iowa

Music and Sound Projects

  • 2013: “The Driving Force,” an audiovisual live performance in collaboration with Jared Fowler presented at the American Musicological Society Conference, Pittsburgh, PA
  • 2013: “After the Steed is Stolen,” experimental composition featured in the Sound Devices Miniature Soundscapes Exhibit, Rathmines Library, Dublin, Ireland
  • 2011: “Border Warfare and the Chase,” a nonfiction sound essay published in Wag’s Revue 10 (Autumn 2011): 57

Community Engagement

  • 2006-2012: Producer, Mission Creek Music and Arts Festival, Iowa City, IA
  • 2009-2012: Board Member, Public Space ONE Music and Arts Space, Iowa City, IA
  • 2008-2009: Music Director, Public Space ONE Music and Arts Space, Iowa City, IA

Journalism and Criticism

  • 2012-2013: “Prairie Pop” column, Little Village Magazine, Iowa City, IA
  • 2008-2011: “The Haps” column, Little Village Magazine, Iowa City, IA
  • 2006-2008: Music critic, Cokemachineglow.com, online

Professional Organizations

  • American Historical Association
  • American Studies Association
  • International Association for the Study of Popular Music
  • Society for Cinema and Media Studies
  • Society for Literature, Science, and the Arts
  • World Forum for Acoustic Ecology


Last updated: Feb 20, 2016 at 11:54AM