Outside the Safe Operating Space of a New Planetary Boundary
30.09.22 at 18.30

Friday 30 September 18:30–20:30
KELDER, 26A Chapel Market, London N1 9EN

This is by invite only, but if you would like to join please email

The first part of Ella Finer and Amy Cutler’s Experiments in Company titled, ‘Outside the Safe Operating Space of a New Planetary Boundary’, is named after a technological article published in August 2022, heralding the moment at which rainwater everywhere on Earth became irreversibly unsafe to drink. This title will be taken as a departure point for ways of registering new anniversaries in the social experience of climate, outside of the bureaucratic centre: ways manifesting in the artists’ work to date through letters exchanged during record breaking heat waves and the creation of new cinematic almanacs for a climate undone.

For this first event we invite you to bring an experiment you are working on or have been working on, of any form, content, mood, direction. This may be something you feel corresponds with thinking of ‘new planetary boundaries’, or it may be something you have considered an experiment in your practice or your thinking that you would like to share. You are also very welcome to bring just yourself.

Dr. Amy Cutler is a live cinema artist, composer, ecologist and designer. Her background as a geographer informs her AV interventions and speculative cinema designs, each aiming to unsettle the dominant formula of our environmental perspectives (including the sovereignty of ‘so-called Man’). Recent projects include The Live Earth Show on the Gas Tower spatial cinema stage at Glastonbury Festival 2022; Living Nature Cinema, a 2022–23 residency on bio-art and de-extinction practices with the Leverhulme Centre for Anthropocene Biodiversity; LULL (2021), an ambisonics soundscape at Iklectik using interactive ultra-sonar sensing and inspired by jellyfish blackouts and strike actions; the touring live cinema opera NATURE’S NICKELODEONS, which most recently took place at The Exploratorium, San Francisco; and bespoke moving-image observatories for locations including Lud’s Church ravine/landslip and Pendle Hill, with its history as an experimental site for atmospheric sensing. She is interested in pathetic fallacy, expanded media and the urgency of new designs for audience in the Anthropocene. She has also released five albums, ranging from experimental electronics to rage aria to live metallurgy.
Ella Finer’s work in sound and performance spans writing, composing and curating with a particular interest in how women’s voices take up space; how bodies acoustically disrupt, challenge or change occupations of space. Her research continuously queries the ownership of cultural expression through sound; often through collaborative projects centring listening as a practice of deep attention, affiliation and reciprocity. Recent work includes her collaboration with Vibeke Mascini, Silent Whale Letters, which will be published by Sternberg in 2023; continuing iterations of Burning House/Burning Horse (first commissioned by Almanac) and Wind Study, a tape of 8 elemental re-mixes produced with Flora Pitrolo. 

She is currently finishing her first book Acoustic Commons and the Wild Life of Sound, a work considering the inherent power in/of that which falls outside of administrative control – as a way of thinking through the sonic as critical agitator: how sound resists categorisation in the archive; how sound makes and disperses knowledge beyond the bounds of the institutional building.