![]() ![]() The main observable driving the project is incalescence-the heat generated by the com-posting process. Here, the author non-reductively describes the multi-agential and poly-temporal nature of compost through detailing the evolution of an artistic praxis involving: the observation, audification, and sonification of compost temperatures the development new sensing methods for data-collection and sound-mapping strategies. This paper introduces compost as a rich site for creative exploration and expression via the medium of sonification art in the context of Composing Composition, a large-scale audiovisual installation/performance work presented at University of California Riverside's Culver Center for the Arts from June-October 2015. Sonification of these patterns enables the composer/sound artist to create compositions in partnership with her subject/phenomenon of study. In addition, the recontexualization of temporally based temperature data into sound creates fertile ground for exploration in the compositional realm, as the collection of data over time depicts inherent patterns occurring in the systems analyzed, while the basis of music also builds upon the use of patterns (pitch based, rhythmic) through time. The collection and real-time audification of temperature data using a custom interface to route sensor data to MAX/MSP enables listeners to better understand the complex ecology of a heterogeneous mass that is simultaneously decomposing, supporting a myriad of life forms while also enabling the bioavailability of macronutrients to the soil. Audification of this biological processbrings a perceivably silent activity into the tangible reach of human hearing. The main observable driving the project is incalescence-the heat generated by the composting process. Here, the author non-reductively describes the multi-agential and poly-temporal nature of compost through detailing the evolution of an artistic praxis involving: the observation, audification, and sonification of compost temperatures the development new sensing methods for data collection and sound mapping strategies. This paper introduces compost as a rich site for creative exploration and expression via the medium of sonification art in the context of Composing Composition, a large-scale audiovisual installation/performance work to be presented at University of California Riverside’s Culver Center for the Arts from June-October 2015. To address the curatorial gap, meanwhile, a new genre of ‘ecological sound art’ will be proposed, with a second set of ecocritical listenings focused upon a selection of ecological sound works in order to determine the precise nature of their ecological engagement, and to develop both a comprehensive definition and an initial catalogue of works for this important and timely contemporary movement. This will then be used to develop a new ecocritical framework specifically designed for sound art, which will be employed to conduct ecocritical listenings to a selection of canonical and contemporary sound works. The critical gap will be tackled by coupling a thorough analysis of the field of ecocriticism with an investigation into the ways in which ecological principles manifest within sound as a medium and listening as a means of engagement. The research detailed within this thesis will address each of these gaps by conducting a comprehensive investigation into ecology and environmentalism in contemporary sound art. This can be recognised as the product of two significant gaps in sound art scholarship: the first critical in nature, regarding the lack of ecocritical engagement with sound art and the second curatorial, regarding the failure to recognise the growing number of ecologically-engaged works of sound art as a distinct genre in their own right. ![]() Across most major art forms, this trend has been identified, analysed and promoted both by critical studies in the growing field of ecocriticism, and by the curatorial recognition of new ‘ecological’ genres however, to date there has been no equivalent ecologically-focused engagement within sound art. In recent years, ecological issues have grown to become some of the most significant sociopolitical concerns of our time – something which has been reflected by an explosion in engagement with such issues across every area of arts and culture.
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