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She flexed her compositional muscles on “Living Torch,” an electroacoustic work created for the Acousmonium, a multichannel setup developed in the 1970s at Groupe de Recherche Musicales, or GRM, in Paris.

Stockhausen, an impresario of electroacoustic experimentation and far-out notions like a string quartet playing inside a helicopter, imagined the audiences for his “Kugelauditorium” sitting on a sound-permeable level within the sphere, so that speakers could be placed under, as well as around and over, them.

The title of her recent dissertation — which focuses on caves as sites of music-making and ritual — was “Black Space,” two words that also evoke the darkly mesmerizing sound she makes with Eunoia Society, her quartet of all electroacoustic musicians.

But rarely too traditional: On Tuesday, the vocalist Judith Berkson — who sings adaptations of Schumann as well as her own electroacoustic pieces — will bring her visionary practice to the Soapbox.

“I Think I’m Good” unpacked the experience of living with bipolar disorder through scant electroacoustic backing tracks and heavily modulated vocals.