Ten minutes and thirty-four seconds
Junction Dam is special. It is a human-built structure that embodies the ambient collisions and inter/intra-species patterning(s) of the Bogong area. Inside the dam wall, through the centre, forms a narrow and elongated passage, which is wrapped in a twenty-five-foot wave of frozen concrete. Outside of the wave grows a quilting of moss and gravity-defying Drop Tail Lizards.
Inside this concrete passage, I produced a series of recursive recording/playback experiments - a fundamental part of my practice-based research, based on Lucierian processes. Junction Re-Sonant is a sample of the outcomes of these sonic investigations, which exist as a frame within a frame (within a frame, etc).
The source recordings, used to compose the first frame, are electromagnetic recordings that are extracted from the electromagnetic conditions inside the Junction Dam and transduced into acoustic energy. The second frame is a sonic magnification of the internal architecture of the Junction Dam, along with the EM source recording. The third framing contains the resonance produced from the output of the aforementioned frames. And so, the process continues in this way; folding and unfolding ambience, each frame metabolising the next.
These frames are not only the fabrication of a sonic territory through which sensations emerge, but they are also an experimental deterritorialization and reterritorialization of the Junction Dam (as an existing territory). Further, through sensation, these frames enact this process of deterritorialization and reterritorialization upon the composition itself – each frame intensifies the sonorous textures from which the previous frames were drawn, consequently, enabling each of the frames ‘to revert to the chaos from which they were temporarily wrenched’(Grosz 17). These sonic extractions are ‘experiments in intensification’ (Grosz 9) and transformation, that draw from chaos to extract and bring into being sensation. Like the fluctuating waters of Lake Guy, these intensifications encourage a shifting frame of ecological awareness.
This is an excerpt from my artist in resident journal entry - to read the full entries please visit bogongsound.com.au/artists/amy-hanley
My work during this residency at Bogong Centre for Sound Culture was conducted on unceded lands and waters of the Dhudhuroa and Jaitmatang language. With gratitude, I pay my respects to Elders past, present and emerging, and recognise the Dhudhuroa and Jaitmatang peoples’ continuing connection to land, waters and community.
Grosz, E.A., 2008, Chaos, Territory, Art: Deleuze and the Framing of the Earth