This work is comprised of two experimental pieces which emerge from an ongoing curiosity about the phenomenon of communication in its broadest context. They work to link music, language and environmental sound. Tabula Angelorum Bonorum 49 is a suite of pieces for computer-expanded voices based on the mystical investigations of the Elizabethan astrologer, alchemist and mathematician, John Dee, and psychic medium Edward Kelly. The second piece, Chaos & the Emergent Mind of the Pond, was recorded in freshwater ponds around North America and Africa. It is an audio collage of the sounds generated by microscopic aquatic insects.

A 33 minute video tape exploring metaphors of spirit and ecology using sounds and images collected in Zimbabwe, Africa.

Fusing the disciplines of bioacoustics, linguistics, chaos theory, deep ecology, computer technology and musical composition, Santa Fe resident David Dunn has spent the last fifteen years exploring the relationships between music, environmental sound and language. He brings to this endeavor a broad background: violinist (contemporary and early music), electronic designer (San Diego State University electronic music studio, Ars Electronics Exhibit), music theorist (assistant to Harry Partch), and composer.

This work is comprised of two experimental pieces which emerge from an ongoing curiosity about the phenomenon of communication in its broadest context. They work to link music, language and environmental sound. Tabula Angelorum Bonorum 49 is a suite of pieces for computer-expanded voices based on the mystical investigations of the Elizabethan astrologer, alchemist and mathematician, John Dee, and psychic medium Edward Kelly. The second piece, Chaos & the Emergent Mind of the Pond, was recorded in freshwater ponds around North America and Africa. It is an audio collage of the sounds generated by microscopic aquatic insects.

A three-part collection of works (spanning the years 1973-1990) exploring various issues of sound, language and environmental interaction. Includes site-specific works, linguistic compositions, and experiments in inerspecies communication.

A three-part collection of works (spanning the years 1973-1990) exploring various issues of sound, language and environmental interaction. Includes site-specific works, linguistic compositions, and experiments in inerspecies communication.

Fusing the disciplines of bioacoustics, linguistics, chaos theory, deep ecology, computer technology and musical composition, Santa Fe resident David Dunn has spent the last fifteen years exploring the relationships between music, environmental sound and language. He brings to this endeavor a broad background: violinist (contemporary and early music), electronic designer (San Diego State University electronic music studio, Ars Electronics Exhibit), music theorist (assistant to Harry Partch), and composer.

Composer and sound artist David Dunn was born in 1953 in San Diego, California. From 1970 to 1974 he was assistant to the American composer Harry Partch and remained active as a performer in the Harry Partch Ensemble for over a decade. He has worked in a wide variety of audio media inclusive of traditional and experimental music, installations for public exhibitions, video and film soundtracks, radio broadcasts, and bioacoustic research.