Sound use is pervasive in human culture across time and place. Each culture has directed technology towards a deeper understanding of sound, a closer touch with the sonic landscape. Instruments, carefully tuned and calibrated; special locations, either temple or stadium. This sonic landscape includes the sounds of living, working and playing; it measures the pulses of our life forms, and it registers the immensity of the divine as reflected in cosmology. Human sound use is a mediation of our connection to both extremes of perception and thought.
Space art, in the medium of sound, is part of a broader modern aesthetic based on digital representation of sound. In this context, music is not limited just to music inspired by the stars - by the cosmos as metaphor, but rather a craft that uses the structures and meaning inherent to scientific data.
But to view this as a solely modern phenomenon is to miss a body of work from medieval times that is as technologically evolved as a contemporary digital sampler, and rich with meaning for the modern aesthetic of space art. If the digital sampler allows us to interrogate the sonic event at a microscopic level, then the cathedral expands the sonic event against the measurement of time. The digital processor refines our perceptions and places our ears on the same level as transient, quasi-subliminal partials. The cathedral amplifies, echoes and expands those same sonic elements until the are on par with our unmodified ears. Both technologies place the sonic event outside of the unmodified perception of chronological time.