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” is an artificial ecosystem that 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 agnostic to whether it is biological or artificial.

The idea for this project came during my hikes along the forested coast and marshes of the East Bay, where I live. I was especially drawn to the rhythmic pecking of woodpeckers—quick, rolling bursts that sounded like marimba telegraphs, calling and responding between treetops. These rhythms were complemented by the melodic warbling of songbirds and the gentle rustling of leaves, creating a complex soundscape that seemed to go unnoticed by other hikers. I was inspired to reinterpret these experiences into a multidirectional kinetic sound installation, making the percussive soundscapes more accessible to the human ear.

I worked with various materials to interpret the drumming of woodpeckers, the buzzing of insects, and birds chirping. I used motors and electromagnets to activate wooden structures, producing the sounds. These bird-shaped 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 structure. Using a probability-based algorithm, 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.

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