The sound is subtle—a shimmering synth chord triggered by the slight variation in a leaf’s electrical conductivity, followed by a cascading melody that feels less like a composition and more like a conversation. To the uninitiated, it looks like a science experiment gone rogue. To the artist, it is a bridge between the human sensory experience and the silent, complex biological rhythms of the natural world.
This intersection of botany and bio-sonification is the central provocation of a recent exploration in the series “C’est de l’art ça ?”. Airing on Tipik, the program serves as a curated window into the avant-garde scene of the Fédération Wallonie-Bruxelles, challenging viewers to redefine their understanding of creativity. By asking whether making music with plants constitutes “art,” the show isn’t just seeking a yes-or-no answer. it is questioning who—or what—is allowed to be the creator in the 21st century.
As a critic who has tracked the evolution of generative music from the early experiments of Brian Eno to the modern algorithmic compositions dominating cinema, I find the shift toward organic data-driven art particularly poignant. We are moving away from the artist as a sole “auteur” and toward the artist as a facilitator. In the case of plant-based music, the human provides the instrument and the parameters, but the plant provides the performance.
The Mechanics of Bio-sonification
To understand if plant music is art, one must first understand that the plants are not “singing” in the traditional sense. They do not have vocal cords or a conscious intent to compose a symphony. Instead, the process relies on bio-sonification. This involves attaching electrodes to the leaves and stems of a plant to measure minute fluctuations in electrical resistance and conductivity.
These biological fluctuations are then translated into MIDI (Musical Instrument Digital Interface) data. A computer takes these erratic voltage changes and assigns them to specific notes, scales, or rhythms. The result is a generative soundscape that reacts in real-time to the plant’s environment—changes in light, temperature, or even the touch of a human hand can shift the melody.
This process transforms the plant into a living conductor. While the human artist chooses the “palette”—perhaps a melancholic cello sound or a bright electronic pad—the timing and the sequence are dictated by the plant’s internal state. This creates a feedback loop where the biological becomes the digital, and the digital becomes an emotional experience for the listener.
Redefining the Artist’s Role
The central tension in “C’est de l’art ça ?” is the debate over agency. Traditionally, art is viewed as the result of human intention. We value a painting because of the brushstroke and a song because of the lyric. When a plant “composes,” the human intention shifts from the output to the system.
This evolution mirrors trends I’ve observed in global contemporary art, where the “readymade” philosophy of Marcel Duchamp has evolved into “systemic art.” The artistry lies in the curation of the experience. The artist is no longer the painter, but the architect of the environment that allows the art to happen. In the Fédération Wallonie-Bruxelles, this spirit of provocation is a hallmark of the regional scene, where artists frequently blend sculpture, mode, and technology to question the utility and sensitivity of plastic arts.
By framing this biological experiment as art, the series suggests that the act of listening—deep, attentive listening to a non-human entity—is itself a creative act. It forces the audience to acknowledge a form of intelligence and existence that operates on a different timescale than our own.
Comparing Traditional and Bio-Generative Art
| Feature | Traditional Art | Bio-Generative Art |
|---|---|---|
| Primary Agent | Human Artist | Biological System + Human Curator |
| Control | Direct and intentional | Indirect and systemic |
| Output | Fixed (e.g., a canvas) | Fluid and real-time |
| Goal | Expression of human emotion | Translation of organic data |
The Cultural Impact in Wallonia and Brussels
The focus on artists from the Fédération Wallonie-Bruxelles is not incidental. The region has a storied history of blending intellectual depth with a certain surrealist humor—a legacy that permeates the current experimental scene. By showcasing these “provocative” approaches on a public platform like Tipik, the program democratizes the avant-garde.
Art that is “useful, reflected, and sensitive,” as the series describes it, often serves a social or ecological purpose. In the case of plant music, the impact is twofold: it fosters an empathetic connection to the environment and challenges the anthropocentric view that humans are the only beings capable of producing aesthetic value. When we hear a plant “react” to our presence through sound, the plant ceases to be a piece of furniture and becomes a protagonist.
This movement is part of a larger global trend toward “Eco-Art,” where the goal is to collapse the distance between the gallery and the garden. Whether it is through photography, painting, or bio-sonification, the objective is to move the viewer from a state of observation to a state of interconnection.
The Verdict on the “Art” Question
So, is making music with plants actually art? If we define art as the intentional creation of an experience that evokes emotion or prompts reflection, then the answer is a resounding yes. The “art” is not in the electrical current of the leaf, nor is it solely in the software used to translate it. The art exists in the space between the two—in the decision to listen to the silent world and the courage to let a plant lead the melody.
“C’est de l’art ça ?” concludes that the answer is clear: “Oui, c’est de l’art!” This affirmation is a victory for the experimentalists and a reminder that art is most potent when it is questioning its own boundaries.
Viewers can continue to explore these artistic boundaries every Monday evening at 20:20 on Tipik, with episodes available for streaming via the RTBF Auvio platform.
The series will continue its exploration of the Fédération Wallonie-Bruxelles’ creative landscape throughout its current season, with new episodes scheduled to air every Monday. Stay tuned for upcoming segments focusing on the intersection of sustainable fashion and sculptural installation.
Do you believe biological data can be considered a creative force, or is the human curator the only true artist here? Share your thoughts in the comments below.
