This paper describes the conceptual origins and development of the author's ongoing environmental sound-art project Fragments of Extinction, which explores the eco-acoustic complexity of the remaining intact equatorial forests. Crossing boundaries between bioacoustics, acoustic ecology, electroacoustic technology and music composition, the project aims to reveal the ordered structures of nature's sonic habitats, define a possible model of compositional integration and make the outcome accessible to audiences to foster awareness on the current “sixth mass extinction.”

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