THE NAME
A later Facebook record says that while working on a dissertation about virtual reality as a tool for entering the worlds of psychotic people, the term “Silicon Psychosis” imprinted on Ian’s brain.

A timeline of the surviving records surrounding Lights Arise and Silicon Psychosis.
A later Facebook record says that while working on a dissertation about virtual reality as a tool for entering the worlds of psychotic people, the term “Silicon Psychosis” imprinted on Ian’s brain.
The artist links the early electronic-music period, Psychic TV, Exodus raves and LSD experiences with the later history of Mind Ship Man.
Two surviving tracks are remembered as important creative markers. Their exact creation dates remain approximate. Both tracks still exist, residing in Ark Hives ⇔ Earth, awaiting ‘decontamination’.
Later track notes connect Cat Stalking and Crabs, Sheep and Other Beautiful Things to experiences in the Emirates.
The surviving SoundCloud trail establishes when much of the material became public, but not necessarily the creation order.
April posts show the 23 tracks being rearranged, interpreted as a story, and discussed as possible transmissions or signals. More than one order survives.
The track becomes an experiment rather than only a composition: listening is given an intended function, and a UFO manifestation is attempted.
After synchronised listening to Unfold the Void, Ian reports a genuine UFO experience and says the event changes his beliefs about UFOs, Greys and human transcendence.
Popular-culture examples of the Sandman are compared with Grey phenomena as part of a theory about the transcendent other and the ego.
Lucy Palmer says she met Ian via Lynda Richardson on 19 May. On 6 June she publishes her account of the “Centre of Being” experience.
Synchronised experiments produce participant reports, including the 3 June account of visual imagery, bodily sensations, memories, religious imagery and sleep.
Jamie Gosling shared artwork that became an important visual influence on the later Substrata artwork.
The methodology expands into drawing, questions about geometric pattern perception and lucid dreaming.
A post asks whether government monitoring of electronic communication might amount to mapping an emerging collective consciousness.
Research into Swiss experiments using sound waves to manipulate floating objects enters the sound-experiment context.
The UFO/Grey/collective-consciousness framework is assembled into a longer theoretical background for the sound experiments. This records the 2013 theory, not a present-day conclusion.
A later listener describes an intense response to Physician Magician involving bodily sensation, power, love, peace and connection.
Track provenance, new equipment, circuit-bending plans and a studio turn the experiment toward physical tools and music production.
A later project explicitly draws on the earlier UFO-through-sound research while acknowledging the aim of avoiding another personal psychotic episode.
Childhood material is revisited through cultural and historical research, including the Sandman tradition.
A production note records the construction of the opening from later material slowed and repitched.
2018 posts place Unfold the Void alongside Terence McKenna and Patrick Harpur, returning to earlier questions of transcendence, UFOs, collective consciousness and the World-Soul.
An artwork image is posted as part of the later visual history of the project.
A later post records the UAE inspiration and the decision to synthesise rather than sample the animal-like sounds.
The naming history runs from Inq + Adj to State + Pending and later INQ£ADJ. The relationship between the rename and upload record remains under reconstruction.
The wider body is gathered into a 24-track release and becomes the current focus of the archive.
Dates are reconstructed from surviving records and recollection.
RETURN TO ARCHIVE