Abstract:

Through the use of specialized musical encoding techniques, eight datasets representing significant scientific projects and research results are perceived as music. An analysis of the various approaches taken with each dataset/musical composition is undertaken using examples from the compilation CD "Music of the Earth, Sun, Planets and Space Vol 1". These compositions express the work of Design Rhythmics Sonification Research Lab over the past 10 years, and include the GISP2 Greenland Ice Sheet Project, AIRMAP, ACE Solar Songs and CLUSTER Bow Shock (UNH CCRC and ESPG), the Northridge California earthquake (IRIS), Water Ice on Mars (NASA Mars Odyssey Univ of Arizona LPL/JPL), the Tides of Venice (Venice Marine Institute), and El Nino (COAPS) datasets. In addition, we will examine the application of sonification in the context of the original musical theater production " The Seven Valleys" and discuss textual, brain wave, and rain transformations.

Bios:

Marty Quinn is a computer scientist, sonification specialist, master drummer and composer. He has developed innovative methods of converting information into music and has presented his work, "The Climate Symphony," at the National Science Foundation in Washington, DC and the Museum of Natural History in New York. Recently, his work has been featured in the New Scientist and he is involved in turning Mar's water data into music for NASA and the University of Arizona's Lunar and Planetary Lab. Marty performs with his wife, Dr Wendy Quinn, in their original stage adaption of the 19th century mystical book "The Seven Valleys." Some of the music for this production is derived from rain, the text of the Seven Valleys, and EEG and FMRI brain wave data. As a youth, he studied acting at the Cleveland Playhouse. He toured for many years playing drums and percussion for Broadway shows and Doah World Music Ensemble. He has recorded with Darius Brubeck, Pat Martino and Doah World Music Ensemble.

Wendy Quinn Ph.D., clinical psychologist, choreographer and dancer, was an active member of the avant-garde performing arts community in New York, performing with Pooh Kaye, Margaret Hoeffel and Simon Forti. Her work includes performances at the Judson Church, Trisha Brown Studio, Grommet Theater and Razor Gallery, as well as publications in Art in the Seventies by Jean Dupuy and Women's Work by Alison Knowles. She studied modern dance with Peter Boneham (La Groupe de le Place Royale) and Dorothy Vislocki (Alwin Nickolais) and ballet with Bill Pizutto and David Drummond (Boston Ballet). As well, she trained in voice with Jeannie Deva (The Voice Studio Boston). Wendy's choreography for The Seven Valleys reflects her interest in blending modern and classical forms in sensual, delightful and quirky movement phrases. Of note, Wendy conceived the unique sets and costume designs for The Seven Valleys. These provide continuous visual change and flow throughout the journey. Wendy has also been instrumental in contributing to the orchestration of a number of sonifications, in particular, The Tides of Venice.