Composer, artist, sensory percussionist and creative technologist currently based in London. Commissions include the London Symphony Orchestra, IRCAM, Orchestre Philharmonique de Radio France, Brussels Philharmonic and Schallfeld Ensemble Graz. Recent work commissioned and premiered at the Guggenheim Museum, FACT Liverpool, BEK Bergen and ZhdK Zurich. Work and research unfold between concert and electronic music, intermedia, hybrid performance, interaction design and installation. Interested in history of sonic culture, entertainment, psychoacoustics, automation, affect and simulation. 

camerongraham1 (@) gmail.com
instagram.com/poet_mechanic/

About

Current/Recent

ContactWorklistMUSIC

Concert Music
Electronic Music
PERFORMANCEFake and Extinct
Admiror
J’ai Attrappé un Éclair
Abstracts, With LoveINSTALLATIONContact Results in Contagion
Your Body is a Colony
Zenith / Bernaskoni
Encounters
MOVING IMAGEMetamers
Rhadinace
Sound Design
RESEARCH/WORLDS Writing
Simulation

→ Metamers



 A Gary Zhexi Zhang project commissioned by EPFL Lausanne and Enter the Hyper Scientific (2024).

FIlm (15 mins)
Director: Gary Zhexi Zhang 
Sound, Music: Cameron Graham
DOP: Fergus Carmichael 

Text by Gary Zhexi-Zhang:
How real is a hallucination? Metamers are different states of physical reality which produce the same phenomenal experience. It is generally believed that what appears as mental representation corresponds, via the sensory apparatus of the body, to the reality of an external world. Upon waking from a dream, the ancient philosopher Zhuangzi wondered: had he been Zhuangzi dreaming he was a butterfly, or a butterfly dreaming it was Zhuangzi? The founder of psychophysics, Gustav Fechner, theorized mind and body—which he extended to the inanimate world—as a curve which is convex from one view and concave from another; he sought to scientifically measure their duality. Contemporary neurological evidence demonstrates that far more of our reality is made in the mind than we may like to believe: we live in a world that dreams of us, far more than we can dream of it.

Unfolding as a psychological and acoustic descent inside anonymous subterranean architectures, METAMERS is an extended hallucination, invoking exchanges between the history of perceptual knowledge and the development of industry, war, and primordial biological memory. Time flows, but without spatial constancy; like a dream, ambiences breathe through one another across icons, portals, and rhymes. A frog watches, but we do not know what its eyes are telling its brain.