The photograph, when observed for the first time by the visitor, depicts an unearthed, processed and in turn fractured piece of land. The rock is exposed for the first time in it’s immensely long formation period. It is exposed by the machines of the man using explosives and large scale cutting tools, in turn leaving deep and complex set of marks behind embedded into the rock itself. On the other hand the natural formations such as cracks, gaps or color variances which were formed long before the external intervention are visible. Two different processes, one being the process of the nature itself and the other being the external intervention by the man, separated and differentiated by the scale of time, form and shape defines our relationship with the nature as a resource and defines our intervention to it. A closer inspection reveals a deeper layer of information regarding the processes and the nature of the formation-process relationship. When a visitor inspects the work up close, in a sense physically approaching it, the work reveals acoustic footprints of these processes by producing sounds of varying frequencies and timings, each specific spot on the panel produce its unique acoustic effect, coming directly from the given spot itself, in turn creating a representational map of the marks, spots, cracks and the processes and their formational origin. Though the sounds are simulated and representational to create this effect, they strongly resemble and suggest the high and low pitch noises of some kind of process, or more specifically a machine noise, being the actual machines of the man, or the nature machine itself. The sounds in some way act as a time machine, reproducing the acts of interference and processes that formed and shaped this piece of land, every time someone comes in close contact with the work, these processes reveal itself over and over again.
Video of the prototype version