TRAP (Topographic Radio Art Play). Installation for three radio transmitters camouflaged as bird houses on occasion of the Sound Art Exhibition “Phantasmagoria” in Bogong Village, Australia, 2017. Curated by Madelynne Cornish and Philipp Sarmartzis.
In November 2015 I started first interviews with former inhabitants of Bogong Village, among them Anita Martin who spent almost her entire childhood there. Further conversation partners were a former engineer as well as the current landscape gardener.
Old and new recordings are collaged on-site and combined into a story in three chapters. Each chapter is linked to a specific location . Total length of the story scape: 18-25 Minutes.
The bird boxes were installed near Junction Dam, next to the old tennis court and next to “the uncanny tree” on the other lake side. Analogue to the ancient concept of the Dreaming, the multiple identities of Bogong become only accessible by taking a walk that bridges past and present.
Residency at the Bogong Center for Sound Culture. On invitation of Madelynne Cornish and Philip Samartzis. The title “Frequency and Fragrance” is owed to an article about the Japanese philosopher Zeami I read in 2014.
I can see the communion of fog and clouds on top of the opposite mountain range. In between: the trees, rising and falling like waves in slow motion. This space, veiled in moisture, brings Henry Darger’s extensive weather descriptions in his phantasmagorical volumes of the Vivian Girls to my mind. Their function is what? A distraction to the on-going drama of those yellow dressed and red shoed protagonists being hunted down by vile soldiers in blue uniforms? A scheme to infuse the passions of atmosphere into a tale of fight, victory and loss? To provide a heavenly space emptied of human action? If it wasn’t for the hydroelectric dam and the company tending it, if it wasn’t for the occasional tide of cabin owners visiting the village, this place would be just that: a tree-sphere devoid of human activity.
16000 kilometers separate me from Berlin where I come from, 17000 lie between Iceland and Bogong, forming the trajectory of the “Hidden Places” project I am working on. When I sit down to communicate with my loved ones, their morning is my evening, and my evening catches them drinking their first cup of coffee. Before I came here, I was obsessed with the thought of entering a world upside down, a sky with hitherto unknown constellations of stars. Can you hide in the unknown? Or isn’t it rather that in order to know what could be called hidden one must be acquainted with the ways of seeing. Nouns are deceiving, I find, they are mostly not “known”. And with the sky in clouds, I spend my time walking among the trees. The other day I was trying to record bird song in one of the village streets. However, as soon I tried to get closer the birds changed location. So, what is this idea(l) of proximity and “clean” sounds about? Isn’t a recording as much about the distance and its space as it is about the desired subject? Doesn’t a veiled mountain tell you as much about the mountain as seen in clear sunshine? Maybe even more as there is something visible happening in between you and its body. In Bogong, one of the most prominent sounds is constant broadband stream of almost crystalline white noise mingling with the scent-filled air. Every evening I copy my recordings and photos from my devices to the computer and further to the external drives. Hundreds of documentation pictures, extensive sound files with or without human voices: It feels like copying mirrors into other mirrors without seeing their reflection… nor myself. It takes more to access the substance of this than just listening to the files or looking at the images. And it might only be accessed from the distance, when I find out what constitutes the in-between… the texture of the veil.
When in the 14th century the Japanese playwright Zeami Motokiyo likened the flower to the notion of “substance” and its fragrance to the one of “instance” he was speaking of the Noh drama. Quite so, a field recordist performs her little dance in the depths of the forest. A choreography of gestures linked to combinations of unpredictable action and non-action. No one can see me as I kneel on the soft ground, balance on river stones, stretch to reach the highest branches. One may follow the fragrance to find the flower. One may create a “flower”, a place, a sound and has the fragrance to go with it. I like to think of this strange, hidden-from-the-world dance as similar to one the lyre birds do. They they are nature’s most gifted recordists, and certainly more graceful dancers than myself. I am going to meet them this evening, by the deserted upside-down tennis court at the end of Bogong Village.