2024, March 20-22nd 10th Annual Conference of the School of Performing Arts, University of Malta: Subject/Object/Practice/Place: Connecting Creatively Through the Performing Arts.
‘Disseminating Connectivity: Musik für ein Haus and Fresco as Mobile Event’

2023, November 23-25th IMPACT: Improvisation and Creativity In and Through Performing Arts, Lithuanian Academy of Music and Theatre, Lithuania. 
‘Framing Interpenetration: Improvisation in John Cage’s Late Number Pieces.’

2023, June 30th-July 2nd  Royal Birmingham Conservatoire, UK. RMA Music and/as Process 10th Annual Conference: Making Music Together.
‘Radio as Agent of Radical Decentering in Communal Music’

2023, June 28-30th Orpheus Instituut, Ghent, Belgium. Conference: Vintage Materialities in Music.
‘Tuning in to John Cage’s Radio Music’

2023, May 25-26th University of Uppsala/ University of Oslo, Norway. Conference: The Aesthetics of Absence.
‘Lacuna and Parergon in Late Vocal Works by Hans Joachim Hespos’

2023, March 14-15th AR@K (Artistic Research at Kristiania), Kristiania University College, Oslo, Norway. Conference: AR@K Symposium.
‘The Experimental Tradition Across Cultural Contexts: A Case Study’

2022, October 10-12th Orpheus Instituut, Ghent, Belgium. Conference: The Performer-Composer in the Second Half of the 20th Century.
‘Voice and Shocking Things’ – John Cage as Composer-Performer’

2022, September 8–10th 58th Royal Musical Association Annual Conference, Durham University.
‘On Jupiter, the skies are always blue… (Sun Ra) A Derridean Approach to The Intergalactic Journeys of Sun Ra and Karlheinz Stockhausen’

2022, August 22nd-26th International Musicological Society (IMS) Quinquennial Conference, Athens, Greece.
‘Borderlands of Improvisation in Hans Joachim-Hespos’ Weiβschatten’ 

2022, August 18-19th Musical Retrofuturism in the 20th Century, University of Leeds.
‘Plunderphonics and Crate Digging: So Old it’s New, or ‘What does it mean to follow a ghost?’

2022, July 7-8th Royal Musical Association, Music & Philosophy Study Group Biennial Conference, King’s College, University of London, UK. Chair for Themed Session.
‘Music and Deconstruction’

2022, June 30th – July 3rd PSN Annual Conference (Performance Studies Network), University of Surrey, Guildford, UK.
‘Hidden in Plain Sight: Improvisation as Parergon and Temporary Autonomous Zone in Hans Joachim Hespos’ Weiβschatten’

2022, June 20–24th IFTR International Federation for Theatre Research Annual Congress, University of Iceland, Reykjavik, Iceland. Music Theatre Working Group.
‘The Centre is a Function, not a Place: Derridean ‘Play’ in Stockhausen’s Sternklang and Cage’s HPSCHD’

2022, June 7-8th Orpheus Instituut, Ghent, Belgium. Conference: Performing by the Book? Artist-Researchers’ Negotiations Between Text and Act.
‘The Virgin Act: Mediating Supplement and Repetition in Performance’

2022, March 23-25th University of Malta, School of Performing Arts Conference 2022, Mediating Performance.
‘Mediating Signals in the Work of Karlheinz Stockhausen’

2022, February 1st New York University Abu Dhabi, Heritage, Memory and Mobility Research Group (Clare Lesser, Alia Yunis, Jonathan Shannon).
‘Music for the Kitchen: A Conversation with the Heritage, Memory and Mobility Research Group’ 

2021, September 27th Royal Musical Association Study Day, Oxford University (online): Vicarious Vocalities. Paper and roundtable panelist.
‘Butchered Voices: Haunted Memories in the Work of The Caretaker’ 

2021, June 14th New York University Abu Dhabi (online): Explorations in the Indian Ocean World and Beyond. Conference introduction.

2021, April 17th University of Leeds, UK. International Conference: Vibrant Practices. Panelist for ‘Social Assemblages: human-nonhuman assemblages.’
‘Materiality, Indeterminacy, Contingency: A Materials Centred Approach to Performance in John Cage’s Child of Tree’

2021, February 4th British Audio-Visual Research Network (BARN), University of Cambridge, UK. Virtual Colloquia Series:
‘No Room is Actually Empty… The Interface between Film and Music in John Cage’s HPSCHD and One¹¹ and 103’

2020, December 1st Contemporary Music Research Centre, University of York, UK. Seminar:
‘Hans Joachim Hespos: Deconstructive Approaches to the Performer/Composer Interface’

2020, November 13-15th University of Dundee, Duncan of Jordanstone School of Art and Design, UK. International Conference: Indeterminate Futures / The Future of Indeterminacy.
‘Deconstruction, Hauntology and Indeterminacy: Radio as Aleatoric Instrument in the Works of Karlheinz Stockhausen’ 

2020, June 30th Contemporary Music Research Centre, University of York, UK. Seminar:
‘Supplements, Hauntology and Différance: Derridean Concepts at Play in John Cage’s Four⁶ ’

2020, March 26th MCICM-FASOS conference, University & Conservatoire of Maastricht, Netherlands. ‘Sharing Challenges and Learning in Classical Music Innovation.’ Workshop:
‘Chance, Contingency and Gamut: Lessening the Impact of Prior Musical Knowledge in an Educational Performance Context’

2020, February 13-14th Orpheus Institute for Practice Research Conference: Experience: Music: Experiment–Pragmatism and Artistic Research, Ghent, Belgium.
‘The Rehearsal Process: Hespos, Finnissy and Pragmatic Approaches to Indeterminacy’

2019, February 21st Orpheus Institute for Practice Research Conference: From Authorship and Spectatorship to Usership, Ghent, Belgium.
‘A disparate multiplicity – Cage, Tschumi , Derrida and the programme-less folie’

2019, February 9th Institute for Musical Research Conference: Notation for Improvisors, University of London.
‘…the play that links them amongst themselves… Derridean Approaches to Musical Notation’