THE HUMAN GENOME

-A Sub-Reality Music System, composed for randomly generated logic-based intervalic (algorithmic) biological protein synthesis on the SuperCollider open source audio synthesis language.-

 

The concept behind this piece is rather simple: The human genome was recently decoded successfully, and now some of the decoded RNA strands have been released to the public. The concept behind sub-reality musics is a rather simple one as well: To reconstruct sub-human contexts regarding very human realities and relationships. So, it would only seem logical and sub-real to construct a logic-based sub-reality music system which deals with the decoded structural qualities of the very protein strands that make us human.

The Human Genome was conceived after much thoughtful research in the fields of medical protein analysis, as well as further exploring my own creations of electronic sub-reality musics of the past. What I discovered was that too much of the sub-reality musics were composed depending upon human-like characteristics, such as my mood at the present time of composition, or other such factors. The fact is that I want sub-reality musics to speak for itself, so that not one human being must need to implement any sort of bias in order for the piece to be completed.

This composition has successfully dodged this difficult issue. I have discovered the perfect SuperCollider library for my project: The open source BioProteinSynthesis class for SuperCollider. Many of my colleagues have used SuperCollider for their own uses, including Anthony Braxton with his Diamond Curtain Wall compositions, and both Aphex Twin and Merzbow for a number of years. This object-oriented programming language was by far the best option for my uses, and it has thus far proved to be quite helpful in furthering my works. I would recommend that any creative musician/composer examine carefully the various options for object-oriented audio synthesis before deciding that SuperCollider is not for them. I received much help from anonymous users on the SuperCollider user email list, and for this help I am very thankful. My gratitude could not enough be expressed to the countless people that helped me throughout my journey.

My composition implements SuperCollider on a very basic level. I simply inputted the human genome protein analysis available to me for free on the internet, and allowed the BioProteinSynthesis class to convert this into a usable object-oriented pattern, able to be implemented into any synthesis class creation object which I used. I decided to use a modified version of the popular "noiseGrain" example Synthesis Definition which is widely available on the internet for tutorial purposes. The SynthDef was programmed to have a randomly-generated amplitude as each note is played, and that the base frequency would be 440Hz (the tone, A). I then created a Pbind which would, first, define the modular scale as a western 12-step scale, and secondly, define the intervalic steps which this scale would take. I decided on an A harmonic minor scale. Then, I determined the legato and duration times of the notes played. For the purposes of my project, I wished to use a drawn-out notation style, and I wanted the patterned notes to overlap one another. Thus, I created a note duration which was shorter than the legato used. The notes, in a tonal style and in a harmonically-interesting style, beautifully collide with one another, creating disagreeing chords. However, these chords, in the context of the entire piece, fit quite peacefully with the desired result. The piece is meditative, ambient, and non-abrasive.

Some may argue that the decisions regarding duration and legato are examples of my previous explanation of ideas which "implement any sort of bias." However, I believe that these are stylistic decisions which only better help the listener realize the sub-reality logic. That is, the composition is meant to musically represent and contextualize the complexity and uniqueness of the human being. The fact is, not modifying the tones produced by the protein synthesis class would have produced a rather boring and counter-productive result. I wished for the average listener to be drawn to this piece, which I believe has not undermined its sub-reality goals or standards, nor does to detract from the end result on a subjective listening level. The piece is only more interesting and more compelling as a result. I wanted to construct a synthesis method which did not change the logical pattern of the notes, but rather better fitted the piece with the intended mood of the listening environment.

Some may wonder more about this piece, and so I will answer some frequent questions. One of the first questions asked of me was how long the piece lasts. I cannot answer this question definitely, however I have estimated that the piece may last as long as 38 years in duration. This poses an obvious challenge to me for live performance. However, I have conceived this idea in order to preserve its status as a musical piece, so it must be performed. I have decided that the best way to implement this piece, both conceptually and practically, would be to implement the piece in a permanent art installation at either a public space or a museum of some sort. I will be actively searching for implementation possibilities which suit the context of the piece. Secondly, I have been asked quite a bit whether or not this piece would change if other genome proteins were used instead of the human genome. The answer is yes: I have, for experimental reasons, attempted to implement this piece in the context of a number of other proteins, including the orangutan and the ecoli virus. The end result, as I expected, was that the piece still contained the same basic characteristics (the note duration, the legato, etc.) but the notational results were far different. The piece contained a very different mood and tone, understandably so; the human being, while similar to an orangutan, is still very different from any other organism on the planet. The ecoli virus was almost difficult to listen to, since the patterned notational results were rather shrill and uncomplimentary compared to the human protein's notational synthesis.

Future plans with this concept are numerable. One of the more immediate ideas I have for this piece would be to see how different protein strands from other organisms (such as viruses) may affect the human genome. I hope to one day be able to compose a piece which may compare and contrast the various different patterned notational differences between the human genome and a virus's genome. I highly welcome any suggestions via email from those interested in seeing more complex results.