Fathom is a sound installation by Jane Grant and John Matthias, which was commissioned by the River Tamar Project and was premiered at the Factory Cooperage Building in Royal William Yard, Plymouth, UK in September 2013. Visitors entering the installation were able to hear live and edited sound recorded underwater in Plymouth Sound, a large estuarine body of water from which the Plym, Tamar and Hamaoze Rivers flow into the sea. Six-step ladders in the centre of the installation space surrounded (...) by several additional speakers enabled visitors to climb out of the underwater sonic environment, above the fathom, and hear live acoustic sound relayed by microphones above the water. The artists worked with a team including production manager, Simon Honywill and Martin Audio to create a sonic ‘surface’ 6ft above the ground to enable this to happen. This article will describe how Fathom was created and, in particular, will focus on how the creation of the sonic surface affected the way in which the visiting public interacted with the work. (shrink)

This article will describe two forthcoming art/science projects, ‘Heliosphere’ (Grant, Kin, Matthias) and ‘The Sun Project’ (Grant, Kin, Matthias). Each project materializes data from solar flare activity by tracking the solar wind across the Earth. Using information streamed from satellites orbiting the Earth’s atmosphere and from terrestrial detectors, the Sun’s activity will be visualized and sonified at sites across the Earth. The article also describes the research context undertaken in developing the work including solar physics, anthropology the history of science.

This article will consider sound as a glue between internal and external experience, a link between sensing and cognition, memory and perception. In looking at research in neuroscience, specifically Eugene Izhikevich’s work with models of spiking neurons, parallels may be drawn with faulty source monitoring where a subject cannot differentiate between external and internal stimuli, and with a collapsing of present into the past. These ideas will be discussed through a number of sonic artworks that have neural plasticity, space and (...) location at their core. (shrink)

The behaviour of matter and the affect of gravity, whether real or hypothetical, have often acted as a source for imaginative speculation. In science fiction many of these ideas have been discussed in relation to human consciousness. This article considers the literary work of Stanislaw Lem and Italo Calvino, both of whom employ the metaphor of the mutability of matter to explore affect in other worlds. Extending the laws of physics by placing narratives in other, stranger worlds enables the writer (...) to experiment with the interface or threshold between substance and thought. Calvino moulds and structures the matter of the Universe to human form and thought, whereas in Solaris (Stanislaw Lem, 1970), Lem creates a cold and almost incomprehensible Universe outside of the limits of human intellect or consciousness. (shrink)

Have humans always had the desire to inhabit other worlds? From the microscopic scale to the vastness of outer space, it seems our capacity for occupying uninhabitable spaces with our intellect, our bodies, our sensorium, our desire, is fundamental to our being. What are these spaces and how do we come to ‘know’ them? Whether mythological, religious or scientific, these minute or vast worlds are spaces that we unfold, narrate and dwell in. In his short story ‘The Stone Sky’ the (...) novelist Italo Calvino writes of the inhabitants who live in a world that exists beneath the earth’s crust. These inhabitants who occupy the underworld exist in a mutable form that allows them to travel through the dense, dark inner landscape of the earth, through the crystal structures, the nickel sea to the earth’s core, an intricate viscous landscape quite other than the formation of matter on the earth’s surface. Calvino’s narration tells us of what is it to inhabit the interstices of the underworld, to be in a space with little intervening air, to live within the deep time scale of crystal formation. The neuroscientist Christof Koch states that ‘we live in a universe where organised bits of matter give rise to consciousness’ and that we need to extend our understanding of what consciousness really is. Could it be that these other worlds, whether planets only just glimpsed through early telescopes, or nano-landscapes at the scale of the atom are still integrated with our own fundamental make-up? Are they the product of a vastly developed pre-frontal cortex or are they a result of ideas, knowledge and experiences accumulated over billions of years? In this article I will look at the concepts of matter as a carrier of consciousness and of panpsychism as a tool with which to understand our habitation of other worlds. (shrink)