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"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. |
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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 |
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| 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 | Ò...with zitterings of flight released,Ó 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) | |
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| 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 | |
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| 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 | |
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| www.artscilab.org/~david |