. s o n i c w o r k s
My recent projects engaged in sonic/audio composition and performance have been built through my activities of data sonification, field recording and sampling as they intersect with my creative research into emerging forms of the biological narrative. Interactions with these sonic works are at the center of my investigations into performative forms of bioinformatics and their translated equivalents. Individual sonic works as well as their incorporation into my live cinema projects can be accessed through the links provided under sonic works and live cinema | video at the left.
The sonifications I am producing are generated from my investigation into perceptualizing bioinformatics datasets. My recent and current investigations have produced a conceptually relevant audio base from MIDI translations of genomic and proteomic sequences – that is a sequence of MIDI notes is generated via the programmatic translation of the chemical composition of the biomolecules. For example a software program which can read the protein sequence of H-L-T-P (hystidine-lysine-threonine-proline) may have a MIDI output of note numbers 33-60-45-50 (notes A1-C4-A2-D3). These note equivalents are assignable to an arbitrary pitch scale structure and can be shifted based on the specific physiochemical characteristics one may want to relate to note and/or pitch.
These sonic projects expand upon the research and creative investigations of Peter Gena, John Dunn and Dr. MaryAnn Clark investigating sonification of DNA and protein sequences to audio equivalents. My recent projects have expanded this technique base of individual biomolecular audio translations into a broader conceptual approach for the authoring of audio and live cinema compositions. In these projects I have streamed together meta-media elements that converge upon the biocultural context/significance for the molecules I am referencing.
My recent projects have built a sonic base around the specific proteins and DNA/genetic sequences that relate to the locative processes of endangered migrations. (see OPSIN and cytoDoptera). Additionally I have enlisted the sonification of human cryptochrome proteins (proteins which sense light, direction and time) in projects speculatively exploring the interactions between human mappings, psychgeography and ecological encroachment (see CRYPTO : MINDO)
In the development of my sonic works I have co-streamed bioacoustic field recording and sampling sets with my sonification base into my digital audio investigations of biological narrativity. The past four years I have pursued bioacoustic field recording in endangered habitats as sonic content references to the conceptual base of my projects. I have conducted field recording in the Mexican Sierra of Michoacan that has been essential to the composition, mixing and sampling base of the live cinema projects microMacroCosm and Biological Narrative #7: Danaus as well as the individual audio compositions mentioned above (see OPSIN and cytoDoptera). In 2006, I conducted a field expedition into the Manu Biosphere Reserve of the Madre de Dios region of the Peruvian Amazon to acquire specific bioacoustic field recordings that are being incorporated into developing live cinema projects conceptually dealing with the recession of the Equatorial icecap and the impact on the biodiversity of these regions.
Additionally I conducted a second field expedition in 2006 to the Occidental rainforests of northwest Ecuador for specific bioacoustic materials for integration into developing compositions of the above mentioned icecap project and into my current Hylaea project. Materials from this bioacoustic library have been used for sampling that was compositionally incorporated into the sonic work CRYPTO : MINDO.
Complementing this sonification and bioacoustic audio library is experimentation into the development and usage of custom field microphones/recording devices for unique field recording opportunities and studio audio production. I have developed a number of piezo film-based contact microphones for recording surface vibrations of vegetation and plants. Additionally I have been utilizing these microphones and audio sensors for studio production of recent works and interacting with the sonications and sampled bioacoustics mentioned above as realized forms of performative bioinformatics.
My current “Tools for Life Cinema” investigation extends this line of inquiry into sonic works.