Drum, Warble, Hum, Buzz, Trill

Drum, Warble, Hum, Buzz, Trill, 2023, Wood, metal, plastic, cloth, plaster, resin, paper clay, cotton paper, magnets, electronics, sound, approximately 4′ x 8′ x 4′

Birds and insects demonstrate remarkable artistry. While they are inherently “of nature,” their behaviors produce artifice, as seen in their crafted nests, intricate vocalizations, and winged dances. Using mechanical synthesis, “Drum, Warble, Hum, Buzz, Trill” portrays the rhythms and tonalities expressed by animals and plants in the trees of coastal Southern Massachusetts. By integrating organic materials with technological components, I developed an auditory experience that blurs the dichotomy between biological and artificial.

The idea for this project emerged during my hikes along the forested coast of the East Bay, where I live. I was particularly drawn to the rhythmic pecking of woodpeckers—rapid rolling bursts that sounded like acoustic telegraphs, calling and responding between treetops. These rhythms were accompanied by the melodic warbling of songbirds and the soft rustling of leaves, forming intricate soundscapes that often seemed unnoticed by other hikers. My sensitivity to subtle auditory details prompted me to reinterpret the experiences into a multidirectional sound installation, bringing the layered soundscapes into a format more accessible at the human ear level.

I worked with various materials to capture the drumming of woodpeckers, the buzzing of insects, and birds chirping. I used motors and electromagnets to activate wooden structures to emulate the sounds. These structures actuate found wooden objects, incorporating the wood into the mechanical design, maintaining a cohesive timbre. Some instruments feature percussive actuators with custom electromagnet designs, while others include motorized Audubon bird callers. A wasp nest horn sculpture incorporates five tuned kazoo chambers driven by a sub-speaker. The acoustic performance is controlled by electronics, creating a dynamic rhythmic approach that merges organic-like patterns with human-centered musical forms.

The musical composition for the installation operates within a computer program that perpetuates constant change within a set repetitive structure. Using a probability-based algorithmic process, the program remixes patterns to simulate a continuously evolving soundscape. This work encourages listeners to engage with the subtle, complex, and often overlooked rhythms in an environment, challenging them to rethink the term “nature,” recognizing that the artificial can be an integral part of ecological and biological systems.

Commissioned by the New Bedford Whaling District National Park Service as part of their 2023 Visiting Artist Residency.