Ocean memory for me is the synthesizing unit for my various identities and endeavors. As a scholar, I’ve spent years thinking about what logic could be if at its foundation it has dynamic, process-based units, rather than fixed entities like statements and symbols. The ocean offers many such fundamental units, both concepts perpetually in flux like the water column and evolutionary foundations like the rare biosphere. Remembering those, and relearning them, for me is enacting my various non-classical logical thought experiments. From that, as an artist I have explored this non-binary logicality with a focus on the body and on sound. I consider our bodies to be the most potent carriers of oceanic logic, both because the ocean has literally evolved in human bodies alongside outside of them, and because the body recursively enacts fluidity irrespective of the forceful external structures that dictate a binary way of being. Coming back to the ocean, then, and recurrently inviting others, through my art and my scholarship, into the state of remembering one’s oceanic history, is my connection to the Ocean Memory Project. The medium, format, and genre that I work in are similarly fluid, and I cherish that within the OMP I can be all those selves. Sonically, I find that floating in conversations and collaborations within the ocean memory community that emphasize oscillations, proto-rhythms and pulses over beat, evolutionary cycles over platonic cyclicity, attunement over the composition/improvisation binary, and ecology over the signal/noise binary – all provide incredibly rich material with which I weave both my independent and collaborative work.