Abstract

This paper describes the conceptual origins and development of the author's ongoing environmental sound-art project Fragments of Extinction, which explores the eco-acoustic complexity of the remaining intact equatorial forests. Crossing boundaries between bioacoustics, acoustic ecology, electro-acoustic technology and music composition, the project aims to reveal the ordered structures of nature's sonic habitats, define a possible model of compositional integration and make the outcome accessible to audiences to foster awareness of the current "sixth mass extinction."

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