Pigment takes a choir recorded inside the caves at Creswell Crags and hands it to you as raw material. Your fingers move through the recording rather than over a timeline — one finger opens a voice, a second becomes a filter riding the whole space, and the speed of your hand decides whether the cave whispers or floods.

Nothing is pitched out of key: grains move in locked octaves, so the choir stays a choir. What changes is space — reverb, delay, and the slow descent that darkens the whole piece the longer you stay down there.

It loads once and then needs nothing. No signal, no connection, no wifi — built to be played standing inside the cave it came from.

Deep Time maps sixty-nine archaeological sites — painted caves, engraved plaquettes, carved figurines — against the Eurasian ice sheets as they grind toward the glacial maximum and retreat again. Drag the timeline and the ice moves; each site surfaces as it enters its dated range and goes dark as it leaves.

Every site carries a note. Pitch comes from latitude, so the north sings higher. Cave art is a struck bell, portable art a music-box pluck an octave up, and a site holding both is a bowed swell an octave down. Press RUN and the whole timeline plays as a melody — a crowded millennium arpeggiates rather than landing as one chord.

Forty-nine of the sixty-nine records have been checked against published sources; the rest say provisional on their own card, because being honest about what is not yet verified is part of the work. The ice comes from DATED-1, the portable art from SignBase — both published, both credited in the footer.