Notebook
Here's where we post periodic updates on what we've been up to at Fathom. Reflections on the interesting stories that emerge from our client work, side projects, after-hours rabbitholes, and other miscellaneous threads of inquiry.
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Over the past few years, we developed an interactive archive housing the discography of Ron Carter, one of the most prolific and influential bassists in jazz history. Carter has played a major role in shaping the genre, all the while transcending its bounds through collaboration with artists practicing in all sorts of scenes, formats, and traditions. We worked directly with Mr. Carter and his team (shoutout to Penny and Simone!) to create not only a tool, but an immersive experience that feels faithful to his unique position in a diverse universe of sound. In this series, I reflect on how the project came together, as we got to know Mr. Carter and the joy awaiting any music lover in an exploration of his life’s work.
Before we bid a fond farewell to our intern Livie Jacks, we took some time to sit down and chat about her experience working with us here in the studio this summer. A rising senior at Harvard University focusing her studies on statistics and data science, Livie has been a wonderful addition to the Fathom team over the last few months!
In December 2020, Colorado Mesa University was determined to find a way to hold their graduation ceremony in person. With only two weeks to build and design a solution, we teamed up with the university and our collaborators at the Broad Institute to help make an in person commencement possible for graduates and their families at a time when many colleges and universities were still operating remotely.
Recently, we had the pleasure of touring the National Braille Press (NBP), the premier braille publisher in the US specializing in producing original braille works written by blind authors expressly for blind people. I came across the NBP when I was looking for local opportunities to get involved with disability organizations, and a tour at the facility here was a perfect way for the whole team to spend some time together, learning and exploring outside of the office.
When presented with an overwhelming amount of information, how can we understand what’s actually important? Since the onset of the SARS-CoV-2 pandemic, researchers who have been examining the genome of the virus across its many variants have been both helped and hindered by the unprecedented amount of data that has been collected on the disease. As part of our ongoing effort to create a suite of tools for working with SARS-CoV-2 sequencing data, we saw the challenge of the ever-shifting nature of the virus as an opportunity to help our collaborators hone in on the most relevant mutations when presented with a new lineage.
What does a world look like in which pathogens are as trackable as rain or shine? How can we better understand our relationship to the diseases that circulate around us over the course of days, months, and seasons? Over the past few months at the office, we’ve been undertaking a speculative exercise around the concept of “pathogen weather” to look at exactly that.
In this speculative exercise, also known as “Pathogen Weather” around the office, we considered the kinds of information that would be useful for a speculative society proactive about disease prevention — imagine we were as attuned to the waves of RSV as we are with the changing seasons.
In early 2022, the team was talking about generating imaginary science-fiction book covers. Paul started some sketches of this generator, and after a few iterations of the titles and cover art for these books, he had a catalog. As the team reviewed the catalog, with books such as ‘Situation Under A Mausoleum’, ‘Courtyard 15’, and ‘New York Heliosphere’, we mused that we should generate the text of the books themselves.
This side project is an exploration of lo-fi generative art. My initial idea was to spin up titles for speculative novels — a serendipity engine for an imaginary bookshelf. Often, machine learning is used to mimic style and syntax when working generatively with text, but I was curious to see where a looser and less sophisticated process might lead.
After a decade-long run, we've decided to shut down the “3rd Floor” shop. Originally named after the room that had housed our printed material and shipping supplies at 214 Cambridge Street, we continued shipping everything from a portrait of the collaborations of Miles Davis to a visual inventory of Wikipedia.