The infrared frequencies of DNA bases: science and art (original) (raw)

A Physiological Approach to DNA Music

2001

As a consequence of the Human Genome Project, there has been an explosion of primary DNA sequencing data available on the internet. Five years ago, we envisioned a type of computer-generated music that would take cues for its musical parameters directly from the physiological ones present in DNA. The first paper, Musical Synthesis of DNA Sequences, was presented and published at the Sixth International Symposium on Electronic Art, 1995 in Montreal; and XI Colloquio di Informatica Musicale, 1995 in Bologna. This updates our recent work.

Scalar Frequency - The Language of our DNA.pdf

According to researchers Grazyna Fosar and Franz Bludorf, DNA is influenced by words and frequencies. According to their research, the key lies with the other 90% of the non-coding for protein DNA, often misrepresented as “junk DNA”, that serves as data storage and communication. The research of Russian biophysicist and molecular biologist Dr. Pjotr Garajajev suggests that living chromosomes function just like solitonic/holographic computers using endogenous DNA laser radiation. In simpler terms, words and sentences of our human language can recode our DNA. However, here are vital questions that are not addressed in ALL of the Russian research: 1) What is the actual language of the introns or potential DNA, 2) How does language turn on or off the DNA, and 3) How does this apply to consciousness and healing the bio-energetic body? This paper will answer the above questions and propose a more sophisticated and advanced perspective on how language affects the introns.

Genetic Music: When Genes Code for Melodies Instead of Proteins

2020

In the present work we present a methodology for teaching the basis of the genetic code through music composition, with the aim to combine science and arts learning. The project was carried out by 155 students, the so-called MARGA Consortium, with ages comprised between 10 and 17 years from different public schools located in the Principality of Asturias, Spain. The different groups generated 8 different music works using a short genetic sequence obtained from the human notch1 gene, receptor of mutations leading to chronic lymphocytic leukemia.

Artist as Scientist: The Sonification of DNA

Increased online accessibility to information in mathematics, genetics, acoustics and myriad other scientific fields has resulted in the blurring of lines between art and science. An example of this evolution can be seen in artists and composers creating music utilizing quantified DNA and protein information through the process of data sonification.

Genetic Music System with Synthetic Biology

Artificial Life, 2020

This article introduces GeMS, a system for music composition informed by synthetic biology. GeMS generates music with simulations of genetic processes, such as transcription, translation, and protein folding, with which biological systems render chains of amino acids from DNA strands. The system comprises the following components: the Miranda machine, the rhythmator, and the pitch processor. The Miranda machine is an abstract Turing-machine-like processor, which manipulates a sequence of DNA symbols according to a set of programming instructions. This process generates a pool of new DNA strands, which are subsequently translated into rhythms. GeMS represents the musical equivalent of amino acids in terms of rhythms, referred to as rhythmic codons. This enables the rhythmator to convert DNA sequences into rhythmic sequences. The pitch processor generates pitches for such rhythmic sequences. It is inspired by the phenomenon of protein folding. The pitch processor considers orientation...

Life Music: The Sonification of Proteins

Leonardo, 1999

An artist and a biologist have collaborated on the sonification of protein data to produce the audio compact disc Life Music. Here they describe the process by which this collaboration merges scientific knowledge and artistic expression to produce soundscapes from the basic building blocks of life. The soundscapes may be encountered as aesthetic experiences, as scientific inquiries or as both. The authors describe the rationale both for the artistic use of science and for the scientific use of art from the separate viewpoints of artist and scientist.

Biophysical Music Sound and Video Anthology: Program Notes

It is with great delight that I intro- duce the reader to Computer Music Journal’s 2015 Sound and Video An- thology. I have curated a series of diverse, yet interrelated, works on the theme of biophysical music.With this term, I refer to live music pieces based on a combination of physi- ological technology and markedly physical, gestural performance. In these works, the physical and physi- ological properties of the performers’ bodies are interlaced with the mate- rial and computational qualities of the electronic instruments, with varying degrees of mutual influence. Musical expression thus arises from an inti- mate and, often, not fully predictable negotiation of human bodies, instru- ments, and programmatic musical ideas