This built landscape encompasses the viewer and calls into question the relationship between the work—a benevolent technological host—to viewer—an input-seeking biological organism. A pressure-sensitive platform allows Seedling’s soft white reeds to move in seemingly instinctual organic fashion in response to the viewers’ presence. From the tops of the reeds hang forty-four, five-inch CRT monitors. Animations of simulated electro/chemical processes and microbial life, made by scanning and animating consumer materials such as Play-Doh, shoe innersoles, and bubble gum, play over the CRTs. Each animation has its own distinct sound composition that takes its cue from sounds typically found near marshes and streams but is, in fact, made with samplers and tape loops.