The influence of nature on composition can take many forms, and biomimicry is a design methodology that seeks to emulate and abstract solutions from natural systems and structures. In electroacoustic composition, biomimicry can provide a novel approach to composing music by translating scientific concepts into musical materials and structural elements. The biomimicry design process involves examining the problem’s context, reframing it within a biological context, and abstracting biological strategies into design-centered approaches.
Biomimicry differs from sonification, which directly maps extrinsic data to sound, and soundscape composition, which focuses on the communicative potential of sound. Biomimicry prioritizes metaphorical biologisation and the emulation of natural processes, allowing for greater freedom in processing and transforming sound objects. The composition “cdot” by Daniel Blinkhorn is an example of biomimicry in electroacoustic music, using biomimetic techniques to translate scientific concepts into musical materials and structural elements.
Biomimicry offers a new modality to engage with and represent nature in electroacoustic composition, and its application has the potential to overcome the reliance on personal reflections and pre-existing material. The use of biomimicry in music can lead to innovative and flexible forms of environmentally attuned sonic practice, opening new avenues within established fields of music that commune and engage with nature.