jaden piblik

By : Scot Gresham-Lancaster and Sharath Chandra Ramakrishnan

“Sonder” is an ancient viral hit — a 2010s neologism coined by John Koenig to describe “the realization that each [...] passerby is living a life as [...] complex as your own”. They’re All Talking repurposes Koenig’s now-cheesy term into a soundwalk, merging it with language and the chronology of Boston. Samples of Native American languages, English and the various languages spoken through waves of immigration are specifically tied to locations around the pond, building a linguistic timeline in the city. The incredible language diversity in the Boston area fuels a phone-in-pocket soundwalk that only allows eavesdropping on languages a listener speaks. The multilingual soundscape leaves one very simple impression of most of its conversations: that everyone, just like you, is talking, talking, talking. Presented at the ICMC 2025.

A data sonification piece based on five poems written by female poets who lived/worked in Boston over the course of its history: Phillis Wheatley (1753-1784), Ellen Sturgis Hooper (1812-1848), Elizabeth Stuart Phelps Ward (1844-1911), Gertrude Hall (1863-1961), and Jadene Felina Stevens (1947-2013). Each poem is tied to a prominent monument or landmark within the Public Garden, over a walking path covering approximately a half-mile from its southeastern to the northwestern points. In addition to recorded readings of the poems, two selections of modern-day sound recordings made in Boston accompany each poem, with varying pitches determined by word and letter frequency data within each poet's body of work, and within the overall English language. Surrounding the monuments/poems, ambient music from each relevant time period plays in the background. 18th Century:"Sodgers Return", by Sturbridge Colonial Militia; Early-19th Century:"Home, Sweet Home (Folk-Song)" by Martin R. Lucas (Producer); Mid-19th Century: "Alexander's Ragtime Band" by Miff Mole And His Little Molars; Late-19th Century: "In a Blue Summer Garden" by Duke Ellington, Billy Strayhorn, & Joe Shulman; 20th Century: "Crystalline Neurons" by PrimalHouseMusic. (All music in public domain/Creative Commons.)

Instructions: Enter the Garden through the gate at Arlington and Commonwealth Ave. Proceed to the space right between the two fountains in front of the George Washington statue and begin. (Tip: the instructions will guide you around the Garden, but if you are ever at a loss on what to do next... just follow the line) Description: As children we often look at the world through the lens of play - sidewalk cracks invite us to avoid stepping on them under perilous threat; trees for climbing stand out amongst the rest; we determine which house hides the terrifying monster and walk on the other side of the street. However, as we reach adulthood, we often lose this lens of play. This soundwalk invites listeners to adopt a playful attitude toward their natural spaces and the people around them. For fifteen minutes, as listeners stroll around the lake in the Boston Public Garden, we will create the space for a playful interaction with the world. Together, we will explore the positive psychological benefits of play and how a playful attitude affects us and colors our lived experiences. We will hear stories of designers who seek to create playful moments in daily life - designers such as Bernard DeKoven who spent his life inviting others to participate in what he called “the infinite playground.” Finally, by exploring some of the aesthetic elements of play (including imagination, playful objects, flow, and the magic circle), we will create opportunities for playful attitudes towards nature, others, and ourselves.

Imagine the pond is a stormy sea. The closer you get, the more intense the gale becomes. Take cover behind monuments—listen to what speaks in their wake—and dare to glean what lies in the eye of the storm.

Tandem Running utilizes both synthesis and manipulated audio recordings to portray the involvement of invertebrates at every stage of plant life from pollination to decomposition. It specifically recognizes invertebrate species typically seen as scary and/or unappealing, such as wasps and worms, whose contributions to the ecosystem may go unappreciated, but are nonetheless critical for allowing human-planned natural spaces like the Boston Public Garden to thrive. Different species found in and around the Public Garden are represented both literally, with manipulated recordings of the sounds they make, and metaphorically, with melodic and rhythmic elements that become denser and more musical as points of interest along the route are approached.

MATTHEW AZEVEDO, University of Massachusetts, Lowell USA INGA CHINILINA, Brown University, Providence USA "Awake and lift their heads in all their prismatic glories" merges the invisible worlds of electromagnetic fields and seismic vibration with the auditory environment of the Boston Public Garden and composed score to create an immersive sound experience structured by the listener’s unique path through the work, evoking the yearly blossoming and renewal of the garden. The contours and title of the piece have been drawn from Charles W. Stevens’ article "The Boston Public Garden," published in the 1901 edition of New England Magazine, which provides the reader with a tour of the garden and history of the transformation of the “waste land” left when fire destroyed a series of rope walks into “a public exhibition of horticultural beauty such as can be seen in perhaps no other city of the Union.” Additional Performers: John Popham, Cello T.J. Borden, Cello

**Nature Walk** is set in Boston Common and Public Garden. Enter or dwell at any point. It is in three sections: The **Great Elm Remembers** surrounds **The Great Elm** in Boston Common and is a meditation on deep memory — both public and private. The Great Elm is no longer standing, yet it endures in our public memory. And for many — those still living and those now passed — it holds personal memories, some of which are woven with its public history. These memories have a power to connect us across time — to a moment, a people, or perhaps a person. In cultures native to this place, the songs of birds are sometimes heard as messages from the spirit world. It seemed fitting to place virtual flocks on this now phantom tree. Inhabiting its absence are sonic populations of local birds. At the tree’s core, these birds resonate wind chime bells to aid their messaging. These in turn resonate down through its roots — and its still- remembering rhizosphere. **Gibbons in The Garden** presents a tropical forest surrounding the Boston Public Garden Lagoon. There is a tradition at the Garden of planting tropical flora in the summer months. This stems from a Victorian era fascination with the Tropics. We extend that here with recordings of a 130 million year-old forest - among the oldest on earth - that I made in Sabah, Malaysia (Borneo) in the Fall of 2024. Several recordings are set around the Lagoon. A small group of gibbons have broken free to sing throughout the Garden along with a few of their Sumatran cousins. Near the entrance on Charles St, one of the forest soundscapes is mixed with tones derived from a mRNA sequence that is the focus of the next section. Running between the above two biomes between Charles Street and The Great Elm is **Ribosome Retune**. The name is a play on the focus of this section - exploring Just Intonation on scaffolding of gene expression. This section of the walk dives into a smaller scale of nature, but in a way with significance for Boston. Musically, I was interested in spatial animation of harmonic tunings mirroring natural patterns and processes. I was drawn to Just Intonation (JI) for its clarity and richness of harmony that defies Western tuning’s (12-Tone Equal Temperament) 12-TET categorizations of consonance and dissonance. This unmooring from 12-TET categorical intervals is abundant in the finer details of intervalic combinations and their relation to functional harmony. This more nuanced psychological space is what I wanted to explore. But it’s a vast and chimeric domain. So I sought a natural architecture on which to structure this exploration. I chose gene expression for a couple of reasons. Our recent experience with the Covid-19 pandemic brought broad public awareness (and gratitude!) to the field of biochemistry in its rapid development of mRNA vaccines. Secondly, for this ICMC, it seemed a modest way to honor the enormous contributions to this field from across Boston’s great research institutions. Indeed, last year (2024), Victor Ambros at Massachusetts General Hospital and Gary Ruvkun at Harvard Medical School were awarded the Nobel Prize in Physiology or Medicine for their work on microRNA regulation of mRNA. But what is that? Might it offer a “natural scaffolding” on which to explore JI? This piece is that exploration - a personal adventure to learn about the fundamentals of gene expression voiced through spatial JI. It is an exploration, not an explication. That is, I wouldn’t claim today’s result is a salient “sonification” of RNA transcription and translation. But I’ve tried to represent the biochemical qualities and processes coherently, and - as for any musical work - hopefully in ways that offer worthy listening. This section uses the coded section of the LIN-14 gene (that used in Ambros and Ruvkun's work) to generate tones from its bases and spin out chords of their coded amino acids using the amino acids' molecular weight, polarity, and charge to affect their chords' tones, size, spread, and rotation. The short LIN4 miRNA sequence enters above the walk and moderately stifles amino acid chords in its proximity. More information on the mRNA to Just Intonation mappings is found in their zones: "Ribosome Retune - LIN-14 Coding Region (CDR) Nucleotides and Amino Acids" and "Ribosome Retune - LIN-14 5' Untranslated Region (HTR)". The cover image is from ***Nature Walk***, by Teresa Parod. This painting is one of Teresa's garage door murals in Evanston, IL, USA. See @teresaparod (IG) or teresaparod.com for more work and a map to her ~100 public art works.

This roughly 1/3-mile sound walk should last around 15 minutes, but can be longer as desired, and listeners may pause at any point of the walk, as all sound events are looped (except the last one). Listeners will start at the Ether Monument, following a path from there east towards the pond and then south along its bank. Listeners are invited to take this path as slowly as they like. The action picks up a bit on the bridge over the lagoon, then walk east to finish the walk at the Bagheera Fountain. Bat walking is by necessity an active form of listening: When I’ve participated in bat walks, using my bat detector to make the animals’ calls audible, the other participants - often including young children - looked up in wonder whenever they heard a call, knowing a bat was about to flit by and would only be visible for a few moments. Bats don’t creep into, or come crashing into, your auditory attention. This sound walk is designed to suggest the feeling of a bat survey on foot. Normally a nighttime activity done with ultrasonic detectors, Bats of the Public Garden can be experienced any time of day. Rather than an attempting to be “realistic,” the soundscape is layered, shifted, and processed to communicate the urgency, mystery, and musical rhythm that arises from the joint improvisation of animal and human rhythms. At various points, the sounds of the bats will be combined with sounds from other ephemeral occupants of the garden - frogs, crepuscular birds, amphibians, and fish - along with voices of mythical, imagined, and other-than-nonhuman beings.