Para el set de datos sobre niñez y adolescencia "Infancia Cuenta en México 2022", se intentó representar un patio escolar donde juegan los niños y las niñas, los cuales se separaron por canales y se utilizaron instrumentos con tonalidades más altas para representar sus edades, patrones rítmicos para indicar las tendencias de los datos y cambios de tonalidad y modulaciones para indicar las tendencias positivas o negativas en el desarrollo y bienestar de las infancias.

Matatena

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electromagnetic data from a plant is processed and translated into sound: 
melody and rhythm.

human mediation consists of interfacing Digital Musical Instruments and mixing the plant's single data track into an intriguing piano concerto titled 
"When Harvard fired Leary" listen https://youtu.be/BnoCHlybAnU?t=1196 
NOTE: @ +/- 07:00 the plant receives a cup of well water.



file:  Parajuito - Apr17 - 20min

next track https://soundcloud.com/moseph-421428065

When Harvard fired Leary

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Bcsa happy background music (FREE DOWNLOAD)

This piece is a data sonification composition based on a dataset evaluating the recurrence of elements in every painting on every episode of "The Joy of Painting" by Bob Ross.

Data: 26 elements of Bob Ross paintings from all 403 episodes (31 seasons) of  “The Joy of Painting” https://github.com/fivethirtyeight/data/blob/master/bob-ross/elements-by-episode.csv  
Scale: B Major (for a happy Bob 🙂)
BPM: 147
Instruments: Analog Lab V and Ableton Drum Kits

Process Notes:
•Focused on my concept, algorithm, and evaluating the data first and my aesthetic second
•Imported dataset into TwoTone to extract each line of data as MIDI
•Data was listed as “0” or “1” (present or not present)
•Avoided “frame” data, portraits, and repetitive data such as “winter” and “snow”
•Negated any data lines with 2 or fewer instances
•Elements were grouped and aligned in order of their location on the vertical plane in real space, i.e. water (lowest) to sun/moon (highest). Instruments decided on for each group were dependent on their frequency ranges to proportionally represent the elements in the vertical plane, i.e. water (double bass) to sun/moon (hi hat and cymbal)
•Elements within each group were aligned in the vertical plane as well, and frequency was decided by this as well as by the rate of occurrence (to avoid a lot of dissonance - avoided having 2 frequent elements at dissonant intervals such as seconds or sevenths)
•Each vertical line in the session (every quarter note - about 0.4 seconds) ends up being a representation of a Bob Ross painting in chronological order

Element/Track Layout and Frequency Relation
Group 1: Sun/Moon - Hi Drums (Hi Hat, Cymbal: 3kHz - 5kHz)
     • Sun - Hi Hat
     • Moon - Cymbal
Group 2: Weather - Hi Synth (28Hz - 4.1kHz)
     • Snow - D#4
     • Fog - C#4
Group 3: Clouds - Lo Synth
     • Cirrus - B3
     • Cumulus - A#3
Group 4: Terrain Type - Hi Guitar (82Hz - 1397Hz)
     • Cliff - G#3
     • Hills - F#3
     • Beach - E3
     • Mountains - D#3
Group 5: Trees by type - Lo Guitar
     • Palm Trees - B2
     • Confers - A#2
     • Deciduous - G#2
Group 6: Manmade - Lo Drums (Toms, snare, kick: 60Hz - 250Hz) 
     • Barn - Hi tom
     • Bridge - Lo tom
     • Fence - Snare 
     • Cabin - Kick
Group 7: Flora - Bass (41Hz to 262Hz)
     • Cactus - C#3
     • Bushes - B2
     • Flowers - A#2
     • Grass - G#2
Group 8: Water - Double Bass (41Hz - 247Hz)
     • Waterfall F#2
     • Waves - E2
     • River - D#2
     • Ocean - C#2
     • Lake - B1

The Joy of Frequencies: Bob Ross Paintings Sonified - Data Composition

Attempt to connect the behaviour of this Cellular Automata simulation with a generative soundscape :)

Cellular Automata

Another track where the MIDI was generated from the cover art using a Python script - you can access this at https://image2midi.key13.uk/ 

It's not AI (see the website for more details on how it works), and I only get the MIDI notes, so the instrumentation, arrangement and production is all done by me. 

This one is a bit chaotic in places - I used patches and presets with "movement" - i.e. sequences and arpeggios - but there is some underlying sense and structure as well.

Millie's reaction when I played her the track was pretty much the same as you see here in her picture!

Synaesthesia

Millie2Midi

Take 2 (Resonance from the Void)

"Take 2" is the surviving artifact of an experimental sound installation created for "Prix Ars Electronica 2001 (Cyberarts 2001)". At its core, the project sought to blend the vastness of space exploration with the immediacy of human creativity. Drawing on my background in computer engineering and music, I designed a sound installation that transformed raw data from NASA’s Cassini spacecraft into a deeply immersive audio experience.

The Cassini mission, then approaching Jupiter, recorded waves in the plasma of charged particles that fill the solar system's vast, interstellar seas. This open-source data, cutting-edge for 2001, inspired me to imagine how these cosmic impulses—so ephemeral and alien—could resonate within the Earth's atmosphere. My goal was to pull the cosmos closer, letting audiences "fly" with Cassini through the solar system. I wanted them to feel both the enormity of space and the intimate, frenetic dance of high-energy particles around them.

The Installation: Bridging Art and Technology

The installation used an array of speakers, ranging in size and function, outfitted with custom piezoelectric sensors. These sensors transformed the vibrations of speaker diaphragms into triggers for MIDI-controlled hardware synthesizers. The synthesizers produced atmospheric pads and evolving textures, creating a musical reinterpretation of the solar system's invisible energy flows.

Some speakers were suspended, allowing their movement to interact with air currents and their own diaphragm oscillations. Others rested on the ground, with piezos "dancing" on their surfaces, introducing an element of randomness to the system. This interplay of motion and sound ensured that every performance—lasting about 45 minutes—was unique. The audio from Cassini, influenced by ambient conditions and the sensors' random activity, drove the synthesizers in unpredictable ways, creating a dynamic, ever-evolving soundscape.

Technical and Artistic Challenges

Every element of the project had to be designed, from custom piezoelectric sensors and MIDI interfaces to the sculptural arrangement of the speakers. Cost and material constraints pushed me to invent new ways to achieve my artistic vision, including building many components by hand. The synthesis process required equal care.

The installation also reflected the fragility of data—how gaps, drops, and imperfections in Cassini's transmission could translate into sound. These silences, rather than being avoided, became moments of creative opportunity as sensors retriggered and the composition evolved organically.

Broader Themes: A Dialogue Between Cosmos and Earth

"Take 2" is not merely an experiment in sound design or data sonification; it is a meditation on the act of translation. At its heart, the project asks: How do we, as humans, comprehend the incomprehensible? How do we make the unknowable vastness of the solar system tangible and personal?

The interplay of randomness and control mirrors the dual nature of existence—order within chaos, creation within limits.

Legacy and Reflection

The title "Take 2" reflects the only surviving recording from this ephemeral project. Despite its age, I still find myself drawn to its gentle evolution, where ambient layers and sudden points of energy coexist in a way that feels both alien and deeply human. It captures a fleeting moment in time—a performance that, like Cassini itself, was unrepeatable.

This work serves as a reminder of the beauty in data, the potential of technology as an artistic tool, and the universal curiosity that drives us to explore, create, and connect.

Take 2 (Resonance from the Void)

This project associates with the "Cosmic Microwave Background" and the way I turned its radiation into an audio track . This refers to the electromagnetic radiation that has remained in the universe since the Big Bang and serves as evidence of its phenomenon. In the early universe, this radiation had a higher temperature and was placed in the visible spectrum. Today though, as the universe continuously expands, the CMB "cooled down" and shifted to longer wavelengths, ultimately reaching the microwave range.

I began my research by collecting information about the CMB to define the parameters of my acoustic composition. I used two diagrams from NASA:
The first showed temperature as a function of angular scale—meaning each temperature value indicated the proportion of the sky it occupied.
The second diagram related to the frequency spectrum of emission.
For the audio track, I mapped the first diagram to the duration of the audio, while the second one remained unchanged, as its structure was already suited for an acoustic piece. By analyzing it, I understood that the sound in the track should be as high as the temperature in the diagram. Additionally, from the intensity column, it became clear that the loudest point in the composition would correspond to the value 185.031, with note F# dominating. Moreover, I chose to convert the GHz emitted by the CMB into Hz of musical notes, thus creating a chromatic scale.

The composition was made in Reaper (DAW), and with the use of mathematical equations, I achieved an accurate conversion of the data into appropriate values, ensuring clarity and precision in the track.

With "Beneath The Breeding Night Sky," we "listen" to the birth of the universe. The composition gradually guides the listener to focus on specific areas of the sky, highlighting the details of cosmic history through an auditory experience.

Special thanks to my dear friend Alex Spyrou, who helped me through the whole process!

~George Valeskas

Beneath The Breeding Night Sky

Signal (2025) is a sound walk designed to be listened to through headphones on public transit. The piece is composed of manipulated field recordings taken on R62 and R68 subway train models in New York City. The trains were built between 1983-1989 and are being decommissioned in 2025. The field recordings are arranged alongside abstracted sonification of trans geospatial data from the five boroughs. Signal explores a situated listening practice on these trains during their removal from the system. 

Signal (Sound Walk)

I Apologise to the Birds examines the contradictions inherent in how we engage with extinction. While we document, archive, and preserve lost species, we also bear responsibility for their disappearance. This work is both an apology and an interrogation of that process, an attempt to translate absence into a sensory experience while acknowledging the limitations and ethical complexities of such an act. By sonifying archival data from the Muséum national d’Histoire Naturelle, the work questions whether this process constitutes remembrance or yet another form of control. Can sound facilitate an encounter with what no longer exists, or does it merely reinforce the distance between presence and loss?

I Aplolgise to the Birds

This track was inspired by a deep dive into the UK's online casino data architecture. I was trying to capture the feeling of navigating a complex digital system, separating the calming 'signal' of a legitimate, UKGC-licensed operator from the chaotic 'noise' of high-wagering bonus traps.

The steady, underlying drone represents the reliability of a fast payout system, while the occasional discordant notes and glitches symbolize the red flags one might encounter in less transparent platforms.

This piece is essentially a soundtrack to the research I've been involved with. For those interested in the actual data and the full analytical framework behind this sonic inspiration, the entire study is published on the research portal here:

➡️ https://casimo.org/uk/

Stay safe in the data stream.

UKGC Licence (Data Stream Mix) (online casino uk: https://casimo.org/uk)

Jasper Project is an experimental/indie folk band from Piraeus, Greece that was formed near the end of 2020. They keen on shoegaze, punk, post-punk, drone, blackgaze, alternative rock and love DIY productions.
At the moment Jasper Project are active in Greece, performing in local live venues ,working on new tunes and future album ideas .

Un proyecto de sonificación de datos implica convertir información abstracta en sonidos para proporcionar una experiencia auditiva y una comprensión más intuitiva de los datos.

Data sonification artist & soundscape designer. I create ambient soundtracks for complex digital systems. Each track is an attempt to translate raw data—from market trends to regulatory frameworks—into an auditory experience.
This gallery serves as an experimental portfolio for my research affiliation with the Casimo.org intelligence unit, where we analyze the architecture of the UK's digital landscape.

Cine Pobre assiduously curates The World's Best Self Funded Films  and shares them with impecunious audiences.  www.cinepobre.com

The Future Belomngs to Those Who 
Enjoy The Data @steinguey  
#plantmusic by J. Michael Seyfert

New tracks tagged #datasonification