"I wish to argue for the necessity of an art form that sometimes turns outward instead of reifying our obsession with human selfconsciousness. It is an art that desires to foreground the non-human world. This requires a merger of art and science that places the human back into a measured position within the biotic world and encourages both to contribute to real world problem solving. A number of questions are consistent throughout my work: What does music contribute to our understanding of the question of mind? How is it structured and where is its locus? What is accomplished by strengthening our aural sense within a visually dominant culture? What is gained or lost by a shift towards an aural perception of the world? How can art participate in the discovery of solutions that can accelerate or extend those of science?"

A relentless explorer, composer, performer and theorist, David Dunn uses electro-acoustic resources, voice, non-human living systems, as well as traditional instruments. Creating textsound compositions, environmental installations, works for radio and video, he has also written and published extensively. As a logical evolution in musical practice, he has investigated, among other things, the interrelationship between music and language and the ultrasonic world beyond human hearing. An expert wildlife recordist, Dunn has invented microphones to record such phenomena as the sounds of bark beetles within trees and underwater invertebrates in freshwater ponds. Underlying all his work is a common regard for music as a communicative source with a living world.


Born 1953, San Diego, California
Lives in Santa Fe, New Mexico
1970-84 Mentored with Kenneth Gaburo, Jerzy Grotowski, Harry Partch and others
2000-present President, Art and Science Laboratory, Santa Fe, New Mexico

2004-05 In Air, In Water, In Earth, In Trees, autonomous surround sound installation using natural soundscapes recorded with custom designed transducer systems
2003-05 Autonomous Systems, autonomous sound generating systems based upon complexity theory and principles of self-organization
2002-05 The Theater of Pattern Formation, live performance for digital computers and chaotic oscillators
1998 Purposeful Listening In Complex States of Time, for solo listener
1993 ...with zitterings of flight released, digital audio
1991 Chaos and the Emergent Mind of the Pond, collage of underwater invertebrate sounds
1990 Mhondoro Dzemidzimu, video/audio composition
1986-87 Simulation 1: Sonic Mirror, portable computer system for environmental interaction
1985 Entrainments 2, site-specific performance (voices, electronics)

2002 Four Electroacoustic Compositions (CD), Pogus
2001 Madrigal (recording and score), in Writing Aloud: The Sonics of Language, Errant Bodies Press
2000 Harry Partch: An Anthology of Critical Perspectives (book/CD), Gordon and Breach, London
1999 Why Do Whales and Children Sing? (book/CD), EarthEar
1997 Music, Language and Environment (2 CDs), Innova
1995 The Lion in Which the Spirits of the Royal Ancestors Make Their Home (CD), IML
1992 Angels and Insects (CD), What's Next? Recordings (reissued O.O. Discs, 1998)
1992 Die Eigenwelt Der Apparate-Welt (edited by David Dunn), Ars Electronica, Austria

2004 Delle Foundation (scientific research grant)
2003 Tides Foundation (scientific research grant)
2002 Ford Foundation
2000, 01 McCune Foundation (PI, Art and Science Lab)
2000, 01 Rockefeller Foundation (PI, Art and Science Lab)
2000, 01 Langlois Foundation (PI, Art and Science Lab)
1977, 89 National Endowment for the Arts

www.artscilab.org/~david