Sounds of 17th-century natural life in Manhattan — chirps, caws, groans, croaks, screeches — are now available on the website Unsung.NYC, where they are stitched adjacent to our (mostly) human-made 21st-century clamor. The result, “Calling Thunder,” is an aural bridge across four centuries. It builds on Dr. Sanderson’s stunning work, with Markley Boyer, in creating visualizations of the rolling landscape of 1609 Manhattan — known by the Lenape people as Mannahatta, “the island of many hills” — that are twinned with photographs of the same points in the modern city. We see hills and streams at places now occupied by skyscrapers and subway tunnels; a red maple swamp where an H&M store stands in Times Square.

Drawing on an archive of wildlife audio in Cornell University’s Macaulay Library of Natural Sounds, “Calling Thunder” adds layers of immersive sound to images at four points in Manhattan: Collect Pond Park, near the courts in Lower Manhattan; the High Line, the park built on the stilts of a New York Central Railroad spur along the West Side; the American Museum of Natural History on the Upper West Side; and Inwood Hill Park, at the northern tip of Manhattan.

The Unsung website offers various ways to take in the weave of history, research and informed speculation in “Calling Thunder,” each with its own rewards: as a simple audio recording, 360-degree video, or, coming soon, virtual reality. It is a collaboration of Bill McQuay, a former sound engineer with NPR who is now an audio producer with the Cornell Lab of Ornithology, and David Al-Ibrahim, an interactive storyteller and graduate student at the School of Visual Arts.

At Collect Pond Park, once a five-acre spring-fed basin, 60 feet deep, forests were cleared, hills flattened, the pond drained and filled. What survives is a burrow of a public square tucked in a grove of court and government buildings. In “Calling Thunder,” the contemporary scene dissolves into line drawings suggesting what may have been in 1609. Mr. McQuay compares it to a coloring book. “The sound is the color that we are trying to get the listener to put within that outlined environment,” he said. “We don’t view the world in 360 degrees, but we hear the world in 360. We hear sound all around us. That’s the way we’re wired.”