Epstein has also spoken and written about the impact of local media on the arts, music service gatekeeping, effective social networking, and crowdfunding.

[5] Epstein became a tenured professor at the university,[6][7] studying psychoacoustics, loudness, auditory electrophysiology, and sound design before leaving Boston in 2016 to pursue full-time filmmaking.

[17] Discussing his first feature TEN, he noted, "We really wanted to expand typical characterization themes of using shortcuts and stereotypes to touch on the broader narrative of the film.

"[18] Michael Gingold of Fangoria described TEN saying, "it veers off in directions you likely won't see coming, both in narrative terms and in the way it explores questions of female identity.”[19] Lauren Shiro of Curve wrote, "the movie takes on a political and sociological stance, examining stereotypes, identity, and also the subtext and themes behind story lines.

[50] His PLOS ONE 2016 article, "Toward a differential diagnosis of hidden hearing loss in humans"[51] was featured in The Wall Street Journal[52] and Scientific American.

Epstein has written short stories in the anthology "The Unnaturals" as part of Hydra Publications' Dystopian Express,[54] BIGFOOT DOES NOT EXIST!

: An introduction to the fundamental principles of statistics, science, and logic,[55] and a crowdfunding guidebook for the In 30 Minutes series,[56] which was a finalist in the Foreword INDIES competition[57] and the Independent Publishers of New England Book Awards.

[61] Epstein also created sound collage art under the name "M-sli©k da ninjA"[62] and was involved with The Droplift project,[63][64] for which CDs with copyright-violating samples were reverse-shoplifted onto store shelves,[65][66] Dictionaraoke,[67][68][69] songs created with vocals by dictionary readings of words, and the Beethoven Reclamation Society, a piece in which many artists each recreated a segment of Beethoven's 9th Symphony using sound collaging.