Last updated: December 5, 2025 (content will be updated over time)
SUMMARY
- An experimental session series that steps away from “human-centered” music to listen to more-than-human worlds.
- Vibrations underwater, plant bioelectric signals, planetary electromagnetic waves, and more are translated into “sound,” and musicians respond.
- We are currently seeking research institutions, aquariums, botanical gardens, and sound artists.
The “music” we usually listen to is almost without exception designed around the human body and human culture. BIO-ACOUSTIC SESSION is a series that temporarily sets that standard aside and begins by re-translating patterns of vibration that exist in nature—patterns that humans ordinarily cannot hear.
Marine life, plants, insects, and even distant planets and stars. We move between two approaches: borrowing their “ears,” and listening for their “voices.” Through this oscillation, we explore experiences in which humans are not the “main character,” but instead immerse in sound as part of an environment and among other beings.
Fields of Experimentation
| 1.Underwater Session — Borrowing the “ears” of fish | In front of a large tank with the lights dimmed, we listen closely to “sounds inside the water” captured by hydrophones (underwater microphones): the hum of pumps, currents, subtle signs of life. Musicians process these sounds in real time and layer performances on top. The audience experiences an immersion akin to “entrusting their hearing to the underwater world.” |
| 2.Plant Biofeedback — Listening to plants’ subtle “voices” | In a greenhouse, we capture data from bioelectric potential sensors attached to plant leaves or stems. These tiny responses are translated into pitch and rhythm (sonification). Treating the plant as “another player,” the musician performs an improvised session with the plant. |
| 3.Cosmos Session — Listening to the “resonance” of planets and stars | We work with “sounds of the cosmos”: electromagnetic waves and plasma fluctuations observed around planets, translated into the human audible range. Under a planetarium dome, a curator’s commentary and a musician’s performance intersect—an ambient live experience on a cosmic scale. |
| 4.Ultrasonic Domain — Hearing the world through bats and insects | A world of high frequencies (ultrasound) that humans cannot hear. By downshifting these signals into the audible range and monitoring them, we attempt to connect “sounds that should be inaudible” with human music. |
How We Handle Sound
In this project, we place the highest priority on animal welfare and respect for the facility environment. More than asking “Is this interesting for humans?”, our primary criterion is “Is this safe for non-humans?”
- Careful design with specialists
We consult in advance with veterinarians, animal care staff, and researchers at each facility to design safe sound pressure levels, frequency ranges, and operating hours that will not cause stress to the organisms involved. - The option of “silence”
When needed, we adopt a silent format: no amplified sound through speakers, and audio is monitored only via headphones on the human side. This method avoids introducing physical vibration into animals or exhibition environments, while allowing humans to connect their hearing to the field. - Minimizing environmental impact
In facilities with delicate equipment—such as planetariums—we account for vibration loads on systems and noise risks to nearby areas, operating at levels equivalent to or lower than existing programs.
Scale / Structure (Example)
This is one possible structure:
| 1.Intro & Talk (10 min) | shared context |
| 2.SESSION Part 1 (20 min) | immersion in translated sound and performance |
| 3.Mini Talk (10 min) | what happened / how it worked |
| 4.SESSION Part 2 (20 min) | deeper listening experience |
| 5.After Talk (10 min) | conversation between curator and musician, plus participant reflections (sharing a line or moment that stayed with them) |
For the video archive, we will primarily edit around the performance sections and publish an archive on YouTube, etc.
Co-creation Process (from planning to the day)
This SESSION is built as a collaboration among three parties: the field (facility), the researcher (translator), and the musician (expressive responder).
| 1.Hearing & Theme Setting | We learn from facility staff and researchers about the characteristics of the field (species, environment, acoustic conditions) and relevant research themes. From there, we form a working hypothesis: “Which more-than-human ‘world / ear’ will we imagine this time?” |
| 2.Site Visit & Technical Selection | The musician and technical team visit the site. ・Environmental check: lighting, flow lines, power points. ・Data capture: test recordings and sensors (hydrophones, bioelectric sensors, ultrasonic mics, etc.), and sample the “inaudible sounds” already present in the field. |
| 3.Composition & Safety Design | We design how the captured data will be translated into sound (sonification). At the same time, we confirm with the facility that the plan places no burden on living beings or the environment, and finalize timing and volume levels. |
| 4.Live Session (performance & filming) | We perform the session based on the agreed structure. If possible, we also record interviews with researchers or caretakers to archive the scientific story behind the field. |
This is a starting draft; we will reconfigure it flexibly depending on the location and participants.
Collaborators We’re Seeking
- Facilities that can provide the field
・Aquariums, zoos, botanical gardens, museums, science centers, planetariums, university research facilities, etc.
・Those interested in communicating their research themes or exhibitions from new angles through art and sound.
・Those interested in after-hours use or special educational programs (STEAM education). - Researchers / technical partners
・Specialists in marine biology, plant physiology, soundscape ecology, astronomy, and related fields.
・Engineers with expertise in sensor technology and data sonification.
・Those who want to share research data with society in forms beyond academic papers. - Musicians / sound artists
・Those skilled at working musically with environmental sound, data, and noise.
・Those who enjoy improvisational exchange with more-than-human entities (plants, data, etc.). - Videographers / filmmakers
・Experience filming live music and documentary work in small crews.
・Skilled at capturing the atmosphere of a site using natural or existing light.
・Able to balance long takes that reveal “the flow of time” with detailed shots.
・Ideally able to handle editing as well (shoot-only is also negotiable).
LOG
Dec 5, 2025: Concept draft published
Support / Partner
HASSHIKI welcomes partnerships (collaboration / sponsorship) with companies, organizations, and individuals interested in this SESSION / project. Venue support, equipment cooperation, co-planning for productions, and brand/product collaborations are all welcome. Please reach out via the form below.
