Claire Evans

Claire L. Evans is a writer and artist working in Los Angeles, California. Her “day job” is as the singer and co-author of the conceptual pop group YACHT. A science journalist and science-fiction critic, she was the editor-in-chief of the relaunched OMNI Magazine and is currently Futures Editor of Motherboard. Her writing has been anthologized in Best Science Writing Online 2012 (Scientific American Books/Farrar, Straus & Giroux), and she regularly participates in panels, conferences, and screenings on the subject of science and culture.

She has given earnestly cosmic presentations at the Kitchen, MoMA PS1, and the Hirshhorn Museum, and co-authored a book on interdisciplinarity in the arts, NA/SA: New Art Science Affinities. A collected book of her essays, High Frontiers, is now available from Publication Studio.

Session: Science Fiction & The Synthesized Sound

Turn on the radio in the year 3000, and what will you hear? When we make first contact with an alien race, will we—as in "Close Encounters of the Third Kind"—communicate through melody? If the future has a sound, what can it possibly be? If science fiction has so far failed to produce convincing future music, it won’t be for lack of trying. It’s just that the problem of future-proofing music is complex, likely impossible. The music of 1,000 years from now will not be composed by, or even for, human ears. It may be strident, seemingly random, mathematical; like the “Musica Universalis” of the ancients, it might not be audible at all. It might be the symphony of pure data. It used to take a needle, a laser, or a magnet to reproduce sound. Now all it takes is code. The age of posthuman art is near; music, like mathematics, may be a universal language—but if we’re too proud to learn its new dialects, we’ll find ourselves silent and friendless in a foreign future.