Music for Worms and Compost by Paul Dickinson is a sound artist’s interpretation of the elemental pulses of a simple life cycle. Inspired by Mary Appelhof (1937-2005)—also known as “Worm Woman” and the undisputed queen of vermicomposting—Dickinson (shown below) has adapted this homely, somewhat messy process to the pristine environment of the contemporary art gallery. His purpose: further experimentation with ambient sound and the creation of a connection between technology and the visceral processes of nature.
The installation employs crates of compost and red worms fitted with infrared cameras and microphones, which are fed into video monitors and speakers set up in the gallery. The tiny “performers” are fed regularly by gallery staff as they go about their business of transforming shredded paper (Dickinson likes to use confidential documents) and kitchen waste into nutritious compost.
I saw the installation during its January 13 opening at Hallwalls Contemporary Arts Center in Buffalo. To be honest, you couldn’t hear any of the music; the people were way too loud—typical art opening. But I had lots of fun checking out the worms and the in-progress compost. In fact, I’ve volunteered to be a worm feeder for as long as the exhibition lasts (only until Feb. 17). I’m looking forward to being in the gallery when it’s quiet enough to hear the worms.
So, are they art? Sure, I think so. I’m very interested in experimental music and am a longtime fan of such composers as John Cage, Terry Riley, Gavin Bryars, Steve Reich, and others. These artists often used random or unconventional sources for music, put together in innovative ways. Using the process of composting to create an environment of sound is an interesting strategy.
Below is a very brief clip showing me and Paul with a couple of the worms. Silly is what we were aiming for.