Planetary Vertigo
28.10.22 at 18.30

Photography Ben Westoby

Friday 28 October 18:30–20:30
KELDER, 26A Chapel Market, London N1 9EN

“Projection (is) a territory of knowledge bound to atmosphere.”
Giuliana Bruno, 2022

Developing from our connections through Marsquakes, uranium mining, unsafe rain and fireflies, the second Experiments in Company gathering and redesign will consider ‘new planetary boundaries’ through the environmentality of projection. After all, there is no longer any charmed circle from which a seated, immune audience can simply sit and watch – and listen to – the spectacle of climate malfunction unfold.

We will be exploring the felt senses and atmospheres of audiovisual projection, including forms of horizon (and anti-horizon), observatory (and anti-observatory), and the ‘vertiginous’ global which Tiago de Luca has proposed as the hallmark of the Anthropocene’s planetary cinematic consciousness. 3D glasses will be supplied as part of an experiment into perceived dimensions.

As well as the launch of the new installation prototype, we will meet and talk over drinks, and again encourage the sharing of reflections or experiments in your own practice, design and thinking with forms of atmosphere, perspective, changed bearings and climate’s vanishing points of crisis.

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.