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SUNYA (12:19)
2014
an electroacoustic composition for two-channel playback using sounds from the Everglades, Florida

While on its surface this recording appears to merely be a representation of the soundscape that a listener might encounter at the Florida Everglades, it is a radical compression of time and space that no individuated consciousness could bear witness to. Through hundreds of edits, the recording is a description of the Everglades as a living meta-object—something inconceivable in its complexity and density—that is compacted through a compositional regime. The sounds come from multiple locations and multiple positions in time, juxtaposing the sounds of insects, fish, amphibians, reptiles, birds and mammals through the use of many different kinds of microphones and custom-built audio transducers. Some of these sounds— such as the ultrasonic signals produced by bats—must be made audible to our human ears through alterations of their frequency. Others must be highly amplified to become audible or collected in places—such as underwater— where our ears were not designed to go. Overall, the work seeks to evoke a sense of the deep web of life that we are a part of and to create an experience more akin to what the edge of science is telling us: that our sense of time as a flow from past to future is a perceptual illusion from which we cannot escape. The work was written for and is dedicated to Steven Miller.

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from At The Margin of The Sensate, released April 15, 2023

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David Dunn New Mexico

David Dunn was born in 1953 in San Diego, CA. From 1970 to 1974 he was assistant to the American composer Harry Partch & remained active as a performer in the Harry Partch Ensemble for over a decade. He has worked in a wide variety of audio media inclusive of traditional & experimental music, installations for public exhibitions, video & film soundtracks, radio broadcasts, & bioacoustic research. ... more

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