May 13 2017 | 8pm
Performed with Anna Jalving
SPOR festival
Aarhus, Denmark


May 26 2017 | 8pm
Hydra Nightingale
Kyle Motl
Center for New Music
San Francisco, California


June 3 2017 | 8pm
Tarantella Carbine
Boston Court Performing Arts Center
Pasadena, California


June 15 2017 | 7:30pm
SPLICE Ensemble
SPLICE institute
Western Michigan University


June 17 2017 | 8pm
Hydra Nightingale
Kyle Motl
Scholes Street Studio
New York, New York


September 22 2017 | 5pm
Hydra Nightingale
Kyle Motl
UC San Diego


September 24 2017
SPLICE Ensemble
Strange Beautiful Music 10
Detroit, Michigan


October 27 2017
Premiere of Subsong
Experimental Theater
UC San Diego


January 27 2018 | 8pm
SPLICE Ensemble@SPLICE festival
Dalton Recital Hall
Western Michigan University


March 2, 2018
Festival of Contemporary Art Music
Washington State University
Pullman, Washington


March 10 2018 | 7pm
Soma, Intermedia performance with
Lyndsay Bloom
on Audiographs II
with João Pedro Oliveira
and Gaspar Peralta
San Diego Art Institute


March 16 2018
SPLICE Ensemble@BEAMSfest
Brandeis University
Boston, MA


March 29-31 2018
Subsong for fixed media
Paper presentation: "Texture, Materiality, and Sensation in the Digital Production of Electronic Dance Music Subgenres"
SEAMUS conference
University of Oregon


April 13 2018 | 5pm
SD Soundings Festival, XX
Experimental Theater@UCSD


April 26-29 2018
San Diego State University


Caroline Louise Miller
composition & sound design


Contemporary classical magazine I CARE IF YOU LISTEN reviewed SPOR festival and my latest work Vivarium. Check out the review here.

Vivarium premiered in May. It was performed by myself and Anna Jalving. Amplified, magnified pomegranates are dissected with kitchen utensils, medical instruments, and fingers to explore tactile facets of the culinary, the surgical, and commodity fetishism. Fruit, as an everyday substance of desire, abjection, consumption, and nourishment, opens a window into lives of organic matter that are animated by human experimentation, obsession, and sensation. As the pomegranates disintegrate and insides become outsides, the performers strive for a heightened tactile familiarity with the fruit, reflecting a dual curiosity/repulsion toward the workings of one's own viscera, and the partial dissolving of subjectivity that accompanies these affects.


How to survive a 100-hour workweek

This musical theater work explores bodily and vocal relationships to labor, institutional discipline, and glitch in late capitalism. Laborers (played by Hillary Jean Young, Ashley Cutright, and Jonathan Nussman) struggle to stay afloat amidst snippets of inspirational advice from iconic voices and lifestyle video bloggers. A fourth laborer (played by Constantin Basica) operates a wooden crank that feeds advice through the speakers at different speeds. The ending chorus, To Choke, unfolds in a surreal soundscape of church organ, arctic seals, a Sibelius symphony, a marching band playing Christmas hymns, and charcoal crackling.


New electro-acoustic work

I've spent much of this summer in the studio, stitching together an electroacoustic work called Subsong, influenced by future bass, glitch pop, and acousmatic music. I recorded many of the singing and clapping samples in an enclosed space of smooth concrete, on Laguna Mountain, Southern California. I pulverized, distorted, and squeezed the sounds through claustrophobic and cavernous spaces, digital nightmares and underground bunkers.