A Ghost in Stone, Adrijana Gvozdenović, Advanced Music, Akihiro Higuchi, Alan Moore, Alchemy, Alchemy Festival, Alchemy Film & Arts, Amazon Video, Ammonite, Ammonite - Under Sun and Thyme, Ammonite Blu-ray, Ammonite Blu-ray release, Ammonite DVD, Ammonite DVD release, Ammonite Film, Ammonite official trailer, Ammonite trailer, Ammonites, André Maurois, Angelica Sule, Anna Abrahams, Anthropomorphic Trouble, Anti-Sense, Art & Illusion for Sound, Art and the Rural Imagination, Artist, Arts Catalyst, Atrocity Exhibition, Audio Rorschach, Back to Our Eyes, Barbican Centre, Basel, Bath Spa University, BBC Films, Ben Nicholson, Benoit Mandelbrot, Berwick Film & Media Arts Festival, BFI, BFI LFF, BFI LFF 2020, BFI London, BFI London Film Festival, BFI London Film Festival 2020, BFMAF, Blincdigital Festival, Boise State University, British Film Institute, Brooklyn Rail, C.W. Morris, Carolee Schneemann, Caroline Bergvall, CCA, CCA Streams, Centre for Contemporary Arts, Cephalopod, Cephalopods, Charles Darwin, Charlotte Murchison, China, China Mieville, Chris King, Church of Kraken, Church of Kraken Almighty, Clara Pais, Claudia Mareis, Close-Up Film Centre, Colin Perry, Collected Poems, Critical Media Lab, Daniel & Clara, Daniel Fawcett, Darwin, Darwinism, David Cronenberg, Deep Time, Devonian, Diego Gerard, Disinformation, Disinformation Art, Disinformation Art Project, Disinformation Artist, Disinformation Artist Project, Disinformation Artist's Project, Disonare, Doctor Who, Domo Baal, Domo Baal Gallery, Dr Who, Dronica Festival, Earthworks, Emile Sherman, Emma Philip, Etches Collection, Evolution, Experimental Design and Media Cultures, Extractable Matters, Extractable Matters on Film, Eye Film, Eye Film Museum, Fabrica, Fabrica Gallery, FACT Liverpool, Felix Carey, FHNW, FHNW Academy of Art and Design, FHNW Academy of Art and Design Basel, Film & Video Umbrella, Film as Landscape, Film as Landscapes, Film Panic, Film Panic Magazine, Focal Point Gallery, Fodhla Cronin O'Reilly, Found Footage Magazine, Fracto, Francis Lee, Future\Pace, FVU, Gareth Evans, Genetics, Geoffrey Grigson, Ghost, Ghost in Stone, Ghost Stone, Giant Squid, Giovanna Fossati, Goda Palekaitė, Goldsmiths, Goldsmiths CCA, Goldsmiths Centre for Contemporary Arts, Goldsmiths College, Goldsmiths MFA, Heinz-Otto Peitgen, Helium Neon Research Laser, Higukinski, Iain Canning, Iain Chambers, Images of Life, In Certain Places, Information, Information Exhibition, Intermission, International Lawns, IXDM, J.G. Ballard, James Holcombe, Jamie Allen, Jeff Keen, Jo Clarke, Jo Hyde, Joe Banks, Joel McKim, John Greening, Jon Clatworthy, Jonas Mekas, Jonathan Kemp, Joseph Gerhardt, Judith Robinson, Junji Ito, Jurassic Coast, Karel Doing, Kate Winslet, Kettle’s Yard Gallery, Kinetic Art, Kinetic Oscillator, Kraken, Kunsthalle Basel, Landscape Art, Landscape is You and Me, Landscape Video, Landscapes of the Mind, Langham Research Centre, Language as Meta-Tech, Language as Metatech, Language is Meta-Tech, Language is Meta-Technology, Language is MetaTech, Language is MetaTechnology, Language [as] Meta-Technology, Language [as] Metatechnology, Lapworth Museum, Lapworth Museum of Geology, Lars Henrik Gass, Laure Genillard, Laure Genillard Gallery, Lee Campbell, LFMC, Light | Sensitive | Material, Lightcone, Lionsgate, Living Rocks, London Film Makers Co-op, Lottie Clark, Lucia Hinojosa, Lux, Lux Scotland, Lyme Regis, Malgorzata Plysa, Mandelbrot Set, Marshall McLuhan, Martin Howse, Mary Anning, Mat Schulz, Meanings of Landscape, Merle Ibach, Mieville, Mineral Sciences Lab, Miriam De Rosa, Molecular Biology, More Than Ponies, Morphology, Muffled Ciphers, Murti, Murtis, Music and New Art Forms, n.o.w.here, Nadin Mai, National Grid, Nederlands Filmmuseum, Neon, New Art Forms, New Geographies, Nigel Hurst, Niharika Dinkar, Now-Here, Nowhere Labs, One+One Filmmakers Journal, Optical Oscillator, Optokinetic Art, Oscillation, Oscillator, Other Film, Pace, Pace Gallery, Paul Brookes, Peter Richter, Peter Taylor, Philip Tagney, Places of the Mind, Plymouth Art Gallery, Plymouth Museum, Plymouth Museum & Art Gallery, Portland Sculpture & Quarry Trust, Prisoner of the Coral Deep, Project Ourselves, Reflects Our Own Being, Reflects Our Own Being Back to Our Eyes, Research Laser, Retina of the Mind’s Eye, Robert Smithson, Robert Worby, Rorschach Audio, Royal Society of British Sculptors, Royal Society of Sculptors, Rural College of Art, Rural Imagination, Ruth Jarman, Sadie Coles, Sadie Coles HQ, Saint Hilda, Saint Hilda of Whitby, Saint Patrick, Sally Golding, Saoirse Ronan, SónarPLANTA, Schizma, SCHQ, SCHQ Electric, Science of Signs, See-Saw Films, Selected Poems, Semiconductor, Semiconductor Films, Semiotics, Sense, Shaligram, Shaligrams, Shift Register, Simona Monizza, Site Gallery, Site Gallery Sheffield, Slow Film Festival, Slow Reveal, Sluice HQ, Smithsonian National Museum of Natural History, Sonar Planta, Sound Artist, Spiral, Spiral Jetty, Squid, Stévan Célébonovic, Steve Etches, Stone, Sukhdev Sandhu, Sun and Thyme, Susan Hiller, Television Screen is the Retina, Television Screen is the Retina of the Mind’s Eye, Telluride Film Festival, Terah Walkup, The Atrocity Exhibition, The Beauty of Fractals, The Box, The Box Plymouth, The Living Rocks, The Science of Signs, The Spiral, The Television Screen is the Retina of the Mind’s Eye, Tone Foundation, Tone Foundation - Music and New Art Forms, Toronto International Film Festival, Transmission Films, Under (Visual) Arrest, Under Sun and Thyme, Unsound 2020, Unsound 2020: Intermission, Unsound Festival, Unsound Intermission, Unsound Lab, Unsound Lab 2020, Uzumaki, Vasari Research Centre, Vertigo, Vertigo Magazine, Video Art, Video as a Living Medium, Video Feedback, Video Installation, Video Landscape, Video Organism, Videodrome, Viktor Wynd, Viktor Wynd Fine Art, Vishnu, Visual Feedback, Visual Music, Visual Semiotics, Walking in Circles, Whitby, White Box Gallery, William Bateson, William Fowler, Wysing, Wysing Arts, Wysing Arts Centre