This page is referenced by:

• 1 2016-08-13T19:15:39-07:00 Hearing the Unheard: Forgotten Voices 4 plain 2016-08-23T17:13:20-07:00 Leif Brush’s aforementioned Terrain Instruments exposes not only the external sounds trees make (from leaves, wind, precipitation), but also in the “internal sounds” (the moan and groan of the sap, the creaking of wood) that create coalesce to create an “orchestra of trees.”[1] Likewise, Adams emphasizes that “The Place doesn’t illustrate the visible. It doesn’t amplify the audible. It resonates with the inaudible and the invisible.” By placing their audiences in new perspectives from which to listen to the environment, soundscape compositions initiate a “transformation of the inaudible into the sphere of the audible.”[2] The human ear can detect frequencies between about 33-16,700 Hz (approximately none octaves) with the highest sensitivity in the region of 1000-2000 Hz. Audification, however, allows us to perceive sounds below (infrasound) or above (ultrasound) this range.[3]
  Müller’s Bat (1989), for example, consists of ultrasound recordings of indigenous Icelandic bats processed to be audible to human ears.[4] (Bats use ultrasound to perform echolocation so they can fly in the dark without hitting objects, and locate insects).[5] Müller’s Bat allows the listener to become aware of the fact that there are many sources of sound and for that matter, sources of life) of which we are usually unaware. From the other direction of the audio spectrum. The youtube video “Sonification of the Tohoku Earthquake” audifies a time-aligned seismograph and heatmap of the earthquake into the range of human hearing. Winters and Weinberg argue in their article “Sonification of the Tohoku earthquake: Music, popularization & the auditory sublime” that by making creating a new experience of a seemingly-familiar phenomena that is more “immersive and visceral” than visuals alone, the video gives audiences access to an auditory sublime, “a sudden awareness of one’s own tiny presence against the vastness of the universe.”[6] According to the authors, artistic audifications like “Sonification of the Tohoku Earthquake” cause listeners to ultimately realize that they are conceiving something almost inconceivably great and powerful and thus represent a powerful strategy for attracting audiences to artistic sonifications.[7]
   
  The idea of making audible the humanly inaudible also applies to the sounds of  extinct species – sounds inaccessible to in terms of time rather than space. Müller’s 2008 project Séance Vocibus Avium, for example, recreated the calls of eleven extinct Icelandic bird species. Collaborating musician was assigned to reconstruct the sounds of a particular species would have many by studying historical documents. Rather than relying on electroacoustic technology, all the sounds are recreated using only the human voice – an underscoring of both a sentimental connection and the haunting fact that it was humans that directly or indirectly caused the extinction of these birds.[8]
   
  In sum, a deeper appreciation for natural environments can be gained by revealing the unheard. In a recent interview, Jana Winderen notes how recording sounds in “hidden places” – such as her speciality, underwater environments - put us in a position of humbleness towards Earth when we realize how we are unaware of, how much we do not know. Winderen further describes how oceanic soundscapes, soundscapes which cover 70% of our planet, “ reveals a complex and generally unknown sonic world under the surface. It reveals that creatures we did not know could communicate with sound are doing exactly that.” And when we realize that “something is communicating through sound,” “we gain a sense of it having intelligence.”[9]
   

  ---

  [1] Brush, Leif, and Gloria DeFilipps Brush. "Monitoring Nature's Sounds with Terrain-Based Constructions." Leonardo (1984): 4-7.
   

  [2] Adams, John Luther. The place where you go to listen: In search of an ecology of music. Wesleyan University Press, 2010.
   

  [3] Kruth, Patricia, and Stobart, Henry. Sound. Darwin College Lectures, Cambridge University Press, 2000. Print.
   

  [4] Müller, Wolfgang. Wolfgang Müller website, Web. http://www.wolfgangmueller.net/.
   

  [5] Kruth, Ibid.
   

  [6] Winters, R. Michael, and Gil Weinberg. "Sonification of the Tohoku earthquake: Music, popularization & the auditory sublime." In Proceedings of the 21st International Conference on Auditory Display (ICAD 2015).
   

  [7] Winters, Ibid.
   

  [8] Sudyka, Diana. “Wolfgang Müller - Séance Vocibus Avium,” Tiny Aviary. November 27, 2009, Web. http://thetinyaviary.blogspot.com/2009/11/wolfgang-muller-seance-vocibus-avium.html.
   

  [9] Fischer, Tobias. “Interview with Jana Winderen.” Tokafi.com, Web. http://www.tokafi.com/15questions/interview-jana-winderen/. (Accessed 10 July 2016).
   
• 1 2016-08-24T13:26:51-07:00 Wolfgang Müller 1 plain 2016-08-24T13:26:51-07:00

  Wolfgang Müller (1957-) is an artist and musician based Berlin, Germany and Reykjavík, Iceland. Since 1988, much of Müller’s recent work incorporates his interest in Icelandic natural history, culture, and mythology. Müller is particularly interested in Iceland myths of elves, creatures who communicate not through speech, but through singing, a music inaudible to the human ear. Inspired by this notion, several of Müller’s works bring the sounds of Iceland to life through audification and sonification techniques. Müller’s Bat (1989), for example, consists of Ultrasound recordings of indigenous bats (from Iceland) processed to be audible to human ears. Available as CD, the work was originally shown alongside painted oscillograms at an art gallery. With musician colleagues in 2008, Müller produced Séance Vocibus Avium, a project that recreated the calls of eleven extinct bird species. Each collaborating musician was assigned to a particular species, and reconstructed the sounds the bird would have many by studying historical documents. Müller includes in CD/vinyl a booklet with Müller’s sketches of each bird. Interestingly, in this sonification the calls (all from birds once found in Iceland) are recreated using only the human voice rather than electroacoustic technology – a bittersweet and haunting underscoring of the fact that it was humans, too, that directly or indirectly caused the extinction of these birds.

  You can learn more about Wolfgang Müller at his website, http://www.wolfgangmueller.net/. 

   

  Works Cited

  1. Sudyka, Diana. “Wolfgang Müller – Séance Vocibus Avium,” Tiny Aviary. November 27, 2009, Web. http://thetinyaviary.blogspot.com/2009/11/wolfgang-muller-seance-vocibus-avium.html. (Accessed 11 July 2016).
  2. Wolfgang Müller website, Web. http://www.wolfgangmueller.net/. (Accessed 11 July 2009).
  3. Schoon, Andi, and Florian Dombois. “Sonification in music.” (2009).