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Jamie Perera in King's Business School

Jamie Perera is an artist-in-residence at King’s College London. Working in collaboration with Catherine Tilley, Lecturer in Business Ethics & Sustainability and Chris Manais, Senior Lecturer in the History of Science & Technology, Jamie will use sonification to reflect on what we value and why, and whether we can find compromise between material and imagined worlds.

Sonifying LSX

Using sonification as both provocateur and reframing device, Jamie Perera, Catherine Tilley and Chris Manais aim to create a framework that sonifies the London Stock Exchange in real time, through mapping changes in an index such as the FTSE 100 to a chosen array of sounds. The sounds used will be voices, objects and settings that are extinct, or in danger of extinction, spanning the history of human and animal evolution. 

The aim of the artistic collaboration is to explore our relationship with intangible things, question structures that have evolved to perpetuate and destroy, reflect on what we value and why, and whether ultimately we are able to find some compromise between material and imagined worlds. The reclamation and repurposing of this monolith to intangible assets will both amplify endangered voices and challenge us to consider why we seemingly value this and not our tangible relationship with nature.

Project team

Dr Catherine Tilley is a researcher whose work examines two phenomena: first, the ways in which people in companies incorporate social and environmental sustainability into their decision-making; and second the ways in which complex socio-technical systems (such as transport networks) adapt to climate pressures.

Dr Chris Manias is a historian of the human, environmental and deep-time sciences, and is working on a range of projects around the history and broader cultural role of human evolution and palaeontology.

Jamie Perera uses sound to deconstruct objects, in ways that create provoking experiences for listeners. His work explores radical deconstruction, re-imagining and reclamation, whilst challenging the conventions between music, sound and data.

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