What Is Sonification? Toward a Philosophy of Sonification

The project described in this paper explores the informative sonification of data received in real time from a supercomputer. These data capture the current activities in all the nodes of the computer, therefore, their sonification functions as a form of continuous monitoring of the nodes' behavior and, by extension, of the system as a whole. Because such monitoring is theoretically unending, the resulting sonification must be musically capable of conveying information through sound in a way that remains both intelligible and engaging over long durations. Rather than imposing a predefined musical style onto the data, we sought to identify one which the data themselves could plausibly support. From a small set of candidates, we selected EDM because it is a family of genres whose structural and temporal characteristics align well with continuous, data-driven processes and long-term listening. Through this style-based approach, this research builds on the long tradition of computer data sonification while uniquely combining three elements rarely addressed together: monitoring (rather than debugging) as the primary goal, real-time (rather than post-mortem) data interpretation, and generation of virtually infinite and stylistically coherent (rather than incongruous) music.

Architecture and music have been linked through proportion and temporal structure, yet architectural geometry is rarely viewed as a source of generative music. Revisiting Xenakis' one-directional transformation from string glissandi in Metastaseis to the ruled surfaces of the Philips Pavilion, we invert this workflow and sonify the completed Pavilion as a temporal composition. We reconstruct the Pavilion as nine ruled surfaces, extract their governing ruling lines, and subdivide each surface into structural lines and spatial sampling points. Four evenly spaced ruling lines per surface generate continuous string glissandi, while 3357 sampled points develop five density-based energy blocks and a sparse brass and woodwind subsequence. Implemented in Python, the system produces MIDI rendered in Ableton Live, accompanied by a real-time 3D visualization that reveals architectural motion, stasis, and structural contrast through sound and image. In general, this work paves the way for the transfer of architectural geometry as a performable musical structure, extending Xenakis's architectural and musical thinking to sonification and interactive music practice.

Augmenting instruments with sensors and neural network mappings is a well-explored digital musical instrument design approach. While augmentations can create new expressive opportunities, they also exert aesthetic influence and can constrain musicians' gestural language, which, if left unchecked, can lead to technological capture. To examine this, we conducted a study with a professional percussionist, co-developing a gesture mapping toolkit and recording a ten-track album. Drawing on the concept of productive dissonance, our study aimed to hold the musician's aesthetic in tension with technological constraints. This, along with a practice-based reflective approach, supported the development of a continuous gesture recognition method for percussive mapping and surfaced insights into the design process. We identify knowing-when as a form of tacit knowledge that supported productive dissonance, and raise an open question: absent a musician's broader social context, how do we know whether a technology's influence is genuinely supporting their practice?