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Artist Experience Last year I was awarded a residency in Palanga, Lithuania where I <br />completed a series of paintings along with an immersive soundscape made <br />from audio recordings collected by bioacoustic scientists in Klaipeda <br />(Donatas Bagocius) and throughout the US (NOAA W ebsite), to exemplify <br />the experience of sea creatures living in an increasingly overwhelming <br />underwater environment and aim to raise awareness about the detrimental <br />effects of human-generated noise pollution on marine life. <br />W ith recordings provided by local experts in marine bioacoustics, I <br />recreated the underwater acoustic environment that whales, harbor <br />porpoises, seals, and other echolocation-using marine life are forced to <br />navigate daily in order to survive. The installation includes a live audio <br />visualizer of the soundscape, and a painting of a sonogram depicting a <br />humpback whale’s call and subsequent response when exposed to low <br />frequency military sonar pings. The harsh sonogram aims to translate the <br />auditory sensory overload that marine life must survive in to the visually- <br />focused human nervous system. By juxtaposing this striking image with <br />tranquil landscapes of Palanga’s sunsets, I emphasized the dissonance in <br />human and marine animals’ experience of our oceans, highlighting <br />humanity’s lack of awareness of the intensity of noise pollution under these <br />seemingly peaceful waters. These visual components in combination with <br />the soundscapes allow visitors to experience firsthand the challenges <br />marine life face in a world dominated by human-generated noise. <br />This installation is currently exhibited at The Lithuanian Sea Museum in <br />Klaipeda and aims to raise public awareness of our impact on noise levels <br />in local marine ecosystems throughout the Baltic Coastline of Lithuania, <br />highlighting ways local communities and enterprises can reduce noise <br />pollution and shipping traffic. A larger-scale goal of this project will be to <br />engage corporations that contribute large amounts of noise pollution in <br />these locations in a conversation about how they can begin to reduce the <br />level of their sonic disruption on the environments they rely on for profit. <br />How do you plan to <br />market your project? <br />The exhibition will be publicized on the social media platforms of the <br />participating Galleries/Museums, as well as that of the Conservation Labs I <br />collaborate with. I plan to attend bioacoustic conservation conferences and <br />symposiums discussing ways to protect marine ecosystems to spread this <br />initiative throughout the US, with hopes of facilitating site-specific iterations <br />of the project as interest and engagement grow beyond specialists and <br />emerge into public discourse. <br />PROJECT/PROGRAM <br />BUDGET <br />Please fill out the charts below with your project's expenses and income. <br />Use the "Explanation" box to offer details for each category. NOTE: The <br />Total Cash Expense must equal the Total Cash Income. View an example <br />budget here. <br />Budgeted Expense <br />Expenses-english-rev ised.xlsx <br />Budgeted Income <br />Income-english-rev ised.xlsx <br />Resumes of artists/administrators <br />Madeleine_Popkin_Artist_CV_2025.pdf <br />Docusign Envelope ID: 763694D9-0796-4D3B-8A28-EAD28937153E