David Dunn

Born, 1953 San Diego, California
Lives in Santa Fe, New Mexico

1970-84 Mentored with Kenneth Gaburo, Jerzy Grotowski, Harry Partch and others
1973-2002 Various Positions: San Diego State Univ., Southwestern College, Drew Univ., International Synergy Institute, College of Santa Fe, Univ. of New Mexico
2000-present President, Art and Science Laboratory, Santa Fe

SELECTED PUBLICATIONS AND RECORDINGS

2002 Four Electroacoustic Compositions (cd), Pogus
2001 Madrigal (recording and score), in Writing Aloud: The Sonics of Language, Errant Bodies Press
2001 Nature, Sound Art and the Sacred (essay), in Music and Nature, Wesleyan Univ. Press
2000 Harry Partch: An Anthology of Critical Perspectives (book/cd), Gordon and Breach, London
1999 Why Do Whales and Children Sing? (book/cd), EarthEar
1999 Purposeful Listening In Complex States of Time (score), in Site of Sound: Of Architecture and the Ear, Errant Bodies Press
1999 Music, Language, and Environment (cdrom), Art and Science Laboratory
1997 Music, Language and Environment (2 cds), Innova
1995 The Lion in Which the Spirits of the Royal Ancestors Make Their Home (cd), IML
1993 Speculations: On the Evolutionary Continuity of Music and Animal Communication Behavior (essay), in Perspectives on Musical Aesthetics; W.W. Norton and Co.
1993 Environment, Consciousness, and Magic (interview), in Perspectives on Musical Aesthetics; W.W. Norton and Co.
1993 Why Not Music?: Thoughts on Sound Art and the Environment (essay), Music Today, (Japan)
1992 Angels and Insects (cd), What's Next? Recordings (reissued O.O. Discs, 1998)
1992 Die Eigenwelt Der Apparate-Welt (edited by David Dunn), Ars Electronica, Austria
1989 Madrigal (score), in Words and Spaces, University Press of America
1988 Wilderness as Reentrant Form: Thoughts on the Future of Electronic Art and Nature (essay), Leonardo (MIT)
1983 Publishing As Eco-System (with Kenneth Gaburo); Lingua Press, 1983 (reissued by Frog Peak, 1995)
1979 Skydrift (score and book), Lingua Press

SELECTED WORKS

2004-05 In Air, In Water, In Earth, In Trees, autonomous surround sound installation using natural soundscapes, many recorded with custom designed transducers
2003-05 Autonomous Systems, autonomous sound generating systems based upon complexity theory and principles of self-organization
2002-05 The Theater of Pattern Formation, live performance for digital computers and chaotic oscillators (visuals by physicist James P. Crutchfield)
2001 Errant Light, digital audio
2001 A Day at Playa de Oro: Vernacular Sounds of Ecuador, digital audio
2000 Charaxio, two antiphonal ensembles and two computers
1999 Ennoia 2, digital audio
1999 Gradients, digital audio
1999 Three Dynamical Systems; digital computer, 2 analog computers, oscilloscope and video projector
1999 Pleroma1-3, live computer music system
1998 Purposeful Listening In Complex States of Time, for solo listener
1996 Chreiai 1, digital audio
1994 Wildflowers, digital audio
1993 "...with zitterings of flight released," digital audio
1991 Tabula Angelorum Bonorum 49, digital audio
1991 Chaos and the Emergent Mind of the Pond, collage of underwater invertebrate sounds
1991 The Lion in Which the Spirits of the Royal Ancestors Make Their Home, digital audio
1990 Mhondoro Dzemidzimu, video/audio composition
1986-87 Simulation 1: Sonic Mirror, portable computer system for environmental interaction
1985 Entrainments 2, site-specific performance (voices, electronics)
1984 Entrainments 1, site-specific performance (voice, electronics)
1982 Position As Argument (with Chris Mann), voice, violin, and 2-channel tape
1981 Rainfall at Launching Place, live electronics
1980 Madrigal, seven voices and 2-channel tape
1979 (espial), site-specific performance (violin, electronics)
1977 Interjacence; tuba, clarinet, two tam-tams, binaural microphones and tape
1976-78 Skydrift, site-specific performance (ten voices, sixteen instruments, electronics)
1976 Mimus Polyglottos, mockingbird communication research
1974-75 Oracles, ten environmental stimulus compositions for various media
1973 Nexus 1, site-specific performance (three trumpets)

SELECTED AWARDS AND GRANTS

2005 Alpert Award for Music 2005
2004 Delle Foundation (scientific research grant)
2003 Tides Foundation (scientific research grant)
2003 Cranbrook Academy of Art/Detroit Zoo, Artist Residency
2002 Ford Foundation
2001, 2000 McCune Foundation (PI, Art and Science Lab)
2001, 2000 Rockefeller Foundation (PI, Art and Science Lab)
2001, 2000 Langlois Foundation (PI, Art & Science Lab)
2000 United States Embassy, Argentina, Travel Grant
1989 New Mexico Arts Division, Interdisciplinary Grant
1989, 1977 National Endowment for the Arts

 

SELECTED LECTURES, PERFORMANCES, EXHIBITIONS

2004

Dartmouth College (lectures); Hanover, New Hampshire
American Society for Acoustic Ecology; Santa Fe, NM .
Sound Trips: Sonic Landscapes, The Exploratorium; San Francisco, CA
The Exploratorium (artist residency); San Francisco, CA
Pacific Design Center, Sound Migration (exhibition); Los Angeles, CA

2003

Graduate Center of the City University of New York (2 lectures); NYC
The Integration of Form and Function, Collegium Budapest, Institute for Advanced Study, Budapest, Hungary
Artist-in-Residence, Center for Contemporary Art; Santa Fe, NM
The Logos Foundation (performance); Ghent, Belgium
Artist-in-Residence, Cranbrook Academy of Art/Detroit Zoo; Detroit, Michigan
Artist-in-Residence, Art Technology Center, Univ. of New Mexico; Albuquerque, NM

2002

The Philosophical Club (lecture), Santa Fe Institute, Santa Fe, NM
Artist-in-Residence Workshop (lecture), Art Technology Center, UNM; Albuquerque, NM
Artist-in-Residence, Cranbrook Academy of Art/Detroit Zoo; Detroit, Michigan
Olympia Chamber Orchestra (performance of Charaxio); Olympia, Washington

2001

Time/Energy Objects Installation w/W. Vasulka, Georgia O'Keeffe Museum, Santa Fe
T10 Video Festival at 21 Grand (exhibit); Oakland, CA
Invideo 2001(exhibition); Spazio Oberdan, Milan, Italy
Cranbrook Academy of Art (lectures); Detroit, Michigan
Santa Fe Institute Public Lecture Series; James A. Little Theater, Santa Fe
Techne and Eros 2001 (six lectures and panels); Georgia O'Keeffe Museum, Santa Fe
Between Sound and Vision (exhibition); Gallery 400, Univ. of Illinois at Chicago

2000

Experimenta 2000 Festival (concert/workshops); Buenos Aires, Argentina
Instituto Torcuato Ditella; Buenos Aires, Argentina
Dartmouth College (lectures); Hanover, New Hampshire
4th Annual International Electroacoustic Music Festival; CSF, Santa Fe, NM
Techne & Eros: Human Sensory Space and the Machine (workshops); Santa Fe Art Institute, NM

1999

Beyond Music Festival (performances); Beyond Baroque, Venice Beach, CA
3rd Annual International Electroacoustic Music Festival; CSF, Santa Fe, NM
Central Michigan University (performance and lecture); Mount Pleasant, Michigan
School of the Art Institute of Chicago (lecture); Chicago, Illinois
Western Illinois University (performance); Macomb, Illinois
California Institute of the Arts, Electroacoustic Music Festival (performance); Valencia, CA

1998

Illinois Wesleyan University, (featured composer and residency)
Assoc. for the Study of Literature and Environment, National Conference; Univ. of Montana, Missoula

1997

Dartington College of Arts, (research seminar lecture); Totnes, Devon, England
Dream Angels Circus (opening sound environment), Odaiba Circus Tent, Tokyo, Japan

1996

Santa Fe Community College Planetarium
Hamline University (lecture); St. Paul, Minnesota
Western Illinois University (featured composer for New Music Festival); Macomb, Illinois
Carthage College; Wisconsin

1995

Outpost Performance Site; Albuquerque, NM
Elektro-Aukustische Musik 2 (performance); Essen, Germany
Center for Contemporary Art (Installation); Santa Fe, NM
Center for Contemporary Art, (lecture/performance); Santa Fe, NM

1994

California Institute of the Arts; Valencia, CA
Nonsequitur Music Gallery (exhibition of scores); Albuquerque, NM
Mass. Art Institute (lecture); Boston, Mass.

1993

SoundCulture '93 (solo concert and lectures); Tokyo, Japan
Composer to Composer Festival (lectures and performances); Telluride, Colorado
Composer's Symposium (lectures, panels and performances); UNM, Albuquerque, New Mexico

1992

New Music Across America (lecture/performance); UNM, Albuquerque, New Mexico

1991

Institute for New Media (lecture); Frankfurt, Germany
L'Immagine Elettronica (performance in collaboration with Woody Vasulka); Ferrara, Italy

1990

Ars Electronica (performances and lectures); Linz, Austria
Composition as Eco-System (exhibition); University of Iowa, Iowa City, Iowa

1989

Autumn Festival: Order and Chaos (lecture/ performance); Graz, Austria
Ars Electronica (solo concert); Linz, Austria

1988

University of Calif. (lecture/performance); La Jolla, CA
Southern Calif. Institute of Architecture (lecture/performance); Santa Monica, CA

1987

Chapman College; Anaheim, CA
Association of Alternative Newspapers (guest speaker); Los Angeles, CA
Seminars; International Synergy Institute, Los Angeles, CA
University of Calif.; Los Angeles, CA
University of Iowa; Iowa City, Iowa
Esalen Institute (interdisciplinary conference: Resonance and Vibration); Big Sur, CA

1986

Forming the Open Universe (exhibition); Bibliotheque Nationale, Luxembourg
New Music America, Scribing Sound Exhibition; Houston, Texas

1985 I

nternational Synergy Institute; Los Angeles, CA
Neofest/Sushi; San Diego, CA
Quint Gallery (Music for City Forest Installation); San Diego, CA

1984

International Gallery (Performance Architecture 2); San Diego, CA
Langton Arts; San Francisco, CA
Harvard University; Cambridge, Mass.
Experimental Intermedia Foundation; New York City
Center for Music Experiment; University of Calif. at San Diego
New Music America, Real Art Ways/Scribing Sound Exhibition; Hartford, Conn.
Words and Music (Performance Architecture 1); San Diego, Calif.

1983

Sonorita Prospettiche, International Exhibition:
Rimini, Venice, Bonn, Munich, Lugano

1982

Composer's Forum 82; Symphony Space, New York City
SUNY/Albany; Albany, New York
On the Environment 2, Sushi; San Diego, CA
Center For Contemporary Music, Mills College; Oakland, CA

1981

Books by Artists Exhibition, Traction Gallery; Los Angeles, CA
Museum of Modern Art; New York City
National Gallery of Victoria; Melbourne, Australia
George Paton Gallery; Melbourne, Australia
Canberra School of Music; Canberra, Australia
Gippsland Institute of Advanced Education; Gippsland, Australia
La Trobe University; Melbourne, Australia
Melbourne State College
University of Melbourne
Victorian College of the Arts; Melbourne, Australia
Preston Institute of Technology; Victoria, Australia
International Music and Technology Conference; University of Melbourne
San Diego Museum of Art; Balboa Park, San Diego, Calif.
Mira Costa College; Oceanside, Calif.

1980

Drew University; Madison, New Jersey
San Diego State University; San Diego, Calif.
West German Radio (WDR); Koln, West Germany
Berlin Festival; Akademie der Kunst, West Berlin

1979

New Instrumental Resources Conference; University of Calif. at San Diego
American Society of University Composers, National Conference; Univ. of Calif. at San Diego
33 Grand Street; New York City
The Kitchen Center for Video, Music and Dance; New York City

1978

Percussive Arts Society, International Convention; Arizona State University at Tempe
Music/Context - Environmental Music Festival; London, England
Dominican College (Center for World Music); San Rafael, CA

1977

Vortex Theatre; Albuquerque, New Mexico
Oakland Art Museum; Oakland, CA

1976

Monday Evening Concerts; Los Angeles County Museum of Art
International Tape Music Festival; Melbourne, Australia

 

Statements From Colleagues:

"A great talent."
Harry Partch

"The music is elegant as is its concept."
John Cage

"Dunn is one of the most unusual, exciting, and intelligent of the younger composers."
Pauline Oliveros

"David Dunn is at once an ecologist, a philosopher, a member of the new 'science', a performer, an integrator of human values with technological ones, and an artist."
Kenneth Gaburo

"In these times of easy cynicism, Dunn's composition stands out as an achievement in criticism. It is a criticism anathema to the chic nihilism of back-to-the-wilderness naivete. It is a critical construction of altered perspectives."
R.A. Robboy

"It is the combination of sound and idea and context that makes David's work so potent, and an inspiration to a whole generation of radical composers, artists, and ecologists."
Warren Burt

 

EXTENDED BIBLIOGRAPHY

Dunn, David, SKYDRIFT, Lingua Press, 1979.
Dunn, David, and Gaburo, Kenneth, Publishing As Eco-System, Lingua Press, 1983 (distributed by Frog Peak, 1995).
Dunn, David, Position As Argument, Post Neo, Australia, 1984.
Dunn, David, Speculations: On the Evolutionary Continuity of Music and Animal Communication Behavior, Perspectives of New Music, vol. 22, 1984.
Dunn, David, Music, Language, and Environment, Musicworks #33, Canada, 1986.
Dunn, David, Mappings and Entrainments, Musicworks #33, Canada, 1986.
Dunn, David, Entrainments 2, Musicworks #33, Canada, 1986.
Dunn, David, Madrigal, Musicworks #33, Canada, 1986.
Dunn, David, and Lampert, Michael, Environment, Consciousness, and Magic, Perspectives of New Music, 1988.
Dunn, David, Wilderness as Reentrant Form: Thoughts on the Future of Electronic Art and Nature, LEONARDO, Volume 2, No.4, 1988.
Dunn, David, Abbildungen und Einstiege, Kunstforum 103, Germany/Austria, Sept./October, 1989.
Dunn, David, Entrainments 2, Kunstforum 103, Germany/Austria, Sept./October, 1989.
Dunn, David, An Expository Journal of Extractions from Wilderness, Words and Spaces, University Press of America, 1989.
Dunn, David, Madrigal, Words and Spaces, University Press of America, 1989.
Dunn, David, and Vasulka, Woody, Digital Space, Ars Electronica, Virtuelle Welten, Austria, 1990.
Dunn, David, and Vasulka, Woody, Digital Space: A Research Proposal, Scan+ 3, Australia, 1990.
Dunn, David, editor, Die Eigenwelt der Apparate-welt: Pioneers of Electronic Art. Ars Electronica, Linz, Austria, 1992.
Dunn, David, Entrainments 2, Furnitures No. 8, 1992.
Dunn, David, Speculations: On the Evolutionary Continuity of Music and Animal Communication Behavior, Perspectives on Musical Aesthetics, John Rahn, ed., W.W. Norton and Co., 1993.
Dunn, David, and Lampert, Michael, Environment, Consciousness, and Magic, Perspectives on Musical Aesthetics, John Rahn, ed., W.W. Norton and Co, 1993.
Dunn, David, Why Not Music?: Thoughts on Sound Art and the Environment, Music Today, Japan, Sept., 1993.
Dunn, David, and Vasulka, Woody, Brotherhood-Table 3, Ars Electronica: Festival of Art, Technology and Society, Weibel and Gerbel, eds, PVS Verleger, Austria, 1994.
Dunn, David, Die elektronischen Theater des Woody Vasulka, SEHSUCHT, Schriftenreihe Forum, Band 4, Germany 1995.
Dunn, David, editor, A Kenneth Gaburo Memorial, Perspectives of New Music, vol. 33, 1996.
Dunn, David, A history of electronic music pioneers, Classic Essays on 20th Century Music, R. Kostelanetz, ed., Schirmer Books, 1996.
Dunn, David, Nature, Sound Art and the Sacred, TERRA NOVA, Nature & Culture (MIT Press), Vol. 2, No.3, 1997.
Dunn, David, Woody Vasulkas elektronisches Theater, Der elektronische Raum, Axel Wirths, ed., Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 1998.
Dunn, David, Purposeful Listening In Complex States of Time, Site of Sound: Of Architecture and the Ear, Errant Bodies Press, 1999.
Dunn, David, Why Do Whales and Children Sing?, EarthEar, 1999.
Dunn, David, and Van Peer, Rene, Music, Language, and Environment: An Interview with David Dunn, Leonardo Music Journal #9, 2000.
Dunn, David, El caos y la inteligencia que surge de la laguna, Experimenta 2000, Buenos Aires, October, 2000.
Dunn, David and Van Peer, Rene, Musica, lenguaje y medio ambiente, Experimenta 2000, Buenos Aires, October, 2000.
Dunn, David, editor, Harry Partch: An Anthology of Critical Perspectives, Harwood, 2000.
Dunn, David, Madrigal, Writing Aloud: The Sonics of Language, Brandon LaBelle and Christof Migone, eds., Errant Bodies Press, 2001.
Dunn, David, Music, Language, and Environment: A Thirty-Year Retrospective, (Cdrom), IML, 2001.
Dunn, David, Nature, Sound Art and the Sacred, Music and Nature, David Rothenberg ed., Wesleyan Univ. Press, 2001.
Dunn, David, Audible and Inaudible Worlds, Frog Peak Publishing, Hanover, NH, 2005.
Dunn, David, Cybernetics, Sound Art and the Sacred, Frog Peak Publishing, Hanover, NH, 2005.

 

EXTENDED DISCOGRAPHY

As Composer:

Besa Village, The Dreams of Gaia, EarthEar, 1999.

Besa Village, EarthEar Radio, Volume 2, Winter 2002.

Chaos and the Emergent Mind of the Pond, The Aerial: A Journal in Sound #2, 1990.

Chaos and the Emergent Mind of the Pond, Angels and Insects; What's Next? Recordings, 1992.

Chaos and the Emergent Mind of the Pond, Angels and Insects; O.O. Discs (re-release), 1998.

Chaos and the Emergent Mind of the Pond, The Dreams of Gaia, EarthEar, 1999.

Chaos and the Emergent Mind of the Pond, EarthEar Radio, Volume 2, Winter 2002.

Ennoia2, David Dunn: Four Electroacoustic Compositions, Pogus , 2002.

Entrainments 1, IS Journal #2, 1986.

Entrainments 1, Music, Language and Envronment, Innova, 1997.

Entrainments 2, Music, Language and Envronment, Innova, 1997.

(espial), Music, Language and Envronment, Innova, 1997.

The Lion in Which the Spirits of the Royal Ancestors Make Their Home, IML, 1995.

Madrigal, Musicworks #33, 1986 (Canada).

Madrigal, Writing Aloud: The Sonics of Language, edited by Brandon LaBelle and Christof Migone, Errant Bodies Press, 2001.

Mhondoro Dzemidzimu (video/audio), IML, 1993.

Mimus Polyglottos, Music, Language and Envronment, Innova, 1997.

Nexus 1, Perspectives of New Music, vol. 22, 1984.

Nexus 1, Music, Language and Envronment, Innova, 1997.

Simulation 1: Sonic Mirror, David Dunn: Four Electroacoustic Compositions, Pogus , 2002.

Sky Drift, Music, Language and Envronment, Innova, 1997.

Tabula Angelorum Bonorum 49, Angels and Insects, What's Next? Recordings, 1992.

Tabula Angelorum Bonorum 49, Angels and Insects, O.O. Discs (re-release), 1998.

Why Do Whales and Children Sing? (CD with book), EarthEar, 1999.

Wildflowers, David Dunn: Four Electroacoustic Compositions, Pogus , 2002.

"...with zitterings of flight released,", INIAL 1, views from the perfect city: new electronic music from north america, 1995.

"...with zitterings of flight released,", David Dunn: Four Electroacoustic Compositions, Pogus , 2002.

 

As Performer:

The Bewitched by Harry Partch (performer), Enclosures V (3 CDs), Innova, 1998.

The Dreamer That Remains by Harry Partch (performer), New World Records, 1978.

The Dreamer That Remains by Harry Partch (performer), CRI, The Partch Collection Vol.3, 1997.

The Letter by Harry Partch (performer), CRI, The Partch Collection Vol.2, 1996.

The Letter by Harry Partch (performer), New World Records, The Partch Collection Vol.2, 2004.

EXTENDED CATALOG OF WORKS

String Quartet #1; 2 violins, viola, and cello, 1970.

For Three Players; flute, tenor sax, and viola, 1970.

For Tuba and String Trio; tuba, violin, viola, cello, 1970.

Sentence for a Dead Swan; soprano and piano, 1970.

Sun Ritual; electronic violin and electronics, 1971.

Wail; voice, aeolian harp, and electronics, 1971.

Efflux; flute, trumpet, violin, cello and electronics, 1971.

Nexus 1; three trumpets, 1973.

Nexus 2; municipal sound sculpture, 1973.

Aura; cetacean communication stimulus for eighteen voices and electronics, 1973.

Oracles; ten environmental stimulus compositions for various media, 1974-75.

Place; electronic performance in ten parts, 1975.

Arroyo; magnetic tape, 1975.

String Quartet #2; two violins, viola, cello and 2-channel tape, 1976.

Mimus Polyglottos (with Ric Cupples); mockingbird stimulus for electronic sounds, 1976.

Interjacence; tuba, clarinet, two tam-tams, binaural microphones and tape, 1977.

Wind Trace; five voices and tape, 1977.

Mimesis/Methexis; twelve voices, ten instruments, 2-channel tape and eight cassettes, 1977.

Sky Drift; ten voices, sixteen instruments, 4-channel tape, 1976-78.

(espial); solo violin with electronics, 1979.

Flutters; seven percussionists, 1979.

Madrigal: (The Language of the Environment Is Encoded In the Patterns of Its Living Systems); seven voices and 2-channel tape, 1980.

Ring of Bone; ten voices, 1981.

Rainfall at Launching Place; live electronics, 1981.

Position As Argument (With Chris Mann); voice, violin, and 2-channel tape, 1982.

Two Studies for Synclavier: 1) Canon and 2) Blue Moon; magnetic tape, 1984.

Entrainments 1; binaural recording of an environmental performance, 1984.

Entrainments 2; binaural recording of an environmental performance, 1985.

Simulation 1: Sonic Mirror; magnetic tape, 1986-87.

Simulation 2: Sonic Mirror; magnetic tape, 1987-88.

Inscape 1: Bosque del Apache; solo piano and electronic sounds, 1988-89.

Mhondoro Dzemidzimu; video and audio composition, 1990.

Chaos and the Emergent Mind of the Pond; magnetic tape, 1991.

Tabula Angelorum Bonorum 49; magnetic tape, 1991.

Pariah; midi violin and computer-controlled laser disk player, 1991.

The Lion in Which the Spirits of the Royal Ancestors Make Their Home; magnetic tape, 1991.

"...with zitterings of flight released," (in memoriam Kenneth Gaburo) , magnetic tape, 1993.

Wildflowers; magnetic tape, 1994.

"The Great Liberation Through Hearing..."; amplified string quartet in just tuning with tape, 1995.

The Lion in Which the Spirits of the Royal Ancestors Make Their Home; installation, 1995.

Inscape 2 (Pied Beauty); female voice and electronic sounds, 1995.

Chreiai 1; magnetic tape , 1996.

Purposeful Listening In Complex States of Time; 20 pieces for solo listener, 1997-98.

Ennoia 1; organ and electronic sounds, 1998.

Sigils and Mirrors; electroacoustic composition for ambisonic projection, 1998.

Pleroma 1; live computer music system (4 channels), 1999.

Pleroma 2; live computer music system (4 channels), 1999.

Pleroma 3; live computer music system (12 channel installation), 1999.

Three Dynamical Systems; digital computer, 2 analog computers, oscilloscope and video projector, 1999.

Ennoia 2; electroacoustic composition for 2-channel playback, 1999.

Gradients 1-3; electroacoustic composition for 2-channel playback, 1999.

Charaxio 1; two antiphonal ensembles and two computers, 2000.

Errant Light; electroacoustic composition for 2-channel playback, 2001.

A Day at Playa de Oro: Vernacular Sounds of Ecuador; digital audio recording, 2001.

The Theater of Pattern Formation; live performance for 2 digital computers, 2 chaotic oscillators and multi-channel audio (with computer-generated visuals by James P. Crutchfield), 2002-2004.

Autonomous Systems; autonomous sound generating systems based upon complexity theory and principles of self-organization for networked computer systems, 2003-2004.

In Air, In Water, In Earth, In Trees; a continuously changing and autonomously controlled surround sound installation based upon the sounds of the earth and its living systems, 2004-2005.

 

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