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SUNKLAND

SUNKLAND

IPCT SUPPORT MATERIALS 
AMIAS HANLEY

SUNKLAND

Form: Spatial Sound Composition /FIELD RECORDING 
duration: 10.00 / Excerpt: 02:09

commissioned by liquid architecture (2021)

presented at Ars Electronica festival (2022), 20.4 channels

presented at mcclelland sculpture park and gallery (2021), 24.2 channels

acquired by mcclelland sculpture park and gallery (2022)

SUNKLAND imagines a speculative swampland wherein multiple species, forms and forces are transforming through a series of open-ended vocal exchanges. This work is a sonic fabulation that is informed by a pre-colonised Carrum Carrum Swamp, settler governance of watercourses and the drainage of wetlands in the area where McClelland Sculpture Park exists, Bunurong Country. The swampland is a slice of tangled time—it carries both remnants of the past and feelings of futurity, which coalesce in a kind of nonlinear discontinuous present. 

 

SUNKLAND draws on queer perspectives of non-biological kin and the sonic body as a site of becoming and ambiguity. Exploring the poetics of care and exchange through themes of hybridity and heritage, the work invites listeners to imagine the ways that kinship might be felt through embodying the expressions of another species or form—questioning, how might these events allow for listening to the worlds of others in ways that matter?

SUNKLAND
SUNKLAND

McClelland Sculpture Park and Gallery 2021 - Install

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SUNKLAND
SUNKLAND

McClelland Sculpture Park and Gallery 2021 - Install

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SUNKLAND
SUNKLAND

Artwork Acquisition (documentation) 2022

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SUNKLAND
SUNKLAND

McClelland Sculpture Park and Gallery 2021 - Install

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Sonic Entanglements Bodies of the Valley  

Form: ELECTROACOUSTIC / FIELDWORK  
duration 16.00 / excerpt 08:00

 

PRESENTED AT The Black Box Multimedia Theatre, Melbourne (2018), 4 CHANNELS 

 

This is my Honours RESEARCH project and was published, alongside excerpts from my Honours exegesis, iN Unlikely Journal for Creative Arts, vol. 06., 2020.
 

Sonic Entanglements: Bodies of the Valley is a practice-based creative research project that uses the theoretical framework of queer ecologies and an iterative audio recording/playback methodology to problematise the inside-outside distinction between listening-hearing and self-environment. 

​The research practice is inspired by Alvin Lucier’s I am Sitting in a Room (1981), though my research is conducted in the Brunswick Valley, known as Moonee Moonee (Woi Wurrung) or Moonee Ponds Creek, Victoria, Australia.

 

This work aims to enact an embodied listening experience that stimulates an awareness of the interdependence and multiple temporalities of bodies and environments.

Sonic Entanglements: Bodies of the Valley
Sonic Entanglements: Bodies of the Valley

Moonee Ponds Creek; Southern section, north facing 2018

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Sonic Entanglements: Bodies of the Valley
Sonic Entanglements: Bodies of the Valley

Moonee Ponds Creek; Southern section; Darken view inside concrete passage 2018

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Sonic Entanglements: Bodies of the Valley
Sonic Entanglements: Bodies of the Valley

Moonee Ponds Creek; Inside concrete passage 2018

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Sonic Entanglements: Bodies of the Valley
Sonic Entanglements: Bodies of the Valley

Moonee Ponds Creek; Southern section, north facing 2018

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Terra—Tending: 2179

Form: Spatial Sound Composition / FIELD RECORDING

duration: 20.00 / Excerpt 05:05

Commissioned by lATROBE REGIONAL GALLERY (2022)


performed at LATROBE REGIONAL GALLERY (2022), 4 channels

presented AT Eco_media Symposium IV: rip, rip, microchip (2022), 24.2 channels

 

TerraTending: 2179 features recordings of materials collected from the Morwell Industrial Metal Recyclers and is composed from field recordings that were made during my time spent in Morwell, on Gunaikurnai Country.

TerraTending: 2179 is a site-responsive sonic simulation that presents seven speculative encounters with the earth. These speculative encounters are set one hundred and fifty-seven years from now—after the earth’s rehabilitation is complete, the last hollowing tickets were relinquished, the handing back, underway. At the beginning of the 22nd century, the practice of TerraTending (1) was developed, popularised, and eventually ritualised. This approach to lignite listening facilitated the earthward reorientation of human ears, reaffirming humans as geo-subjects participating as a ‘living part of the geosocial matrix’ (2). 

1. The geonto-tech movement saw a shift in the invention of new technologies that supported earth ontologies, corporeal attending, and material recognition. The earthward orientation of human ears was a crucial contributor to what became known as the Third Geological Turn. Geonto-tech eventually superseded 21st century communications that focused on external relations. 

 

2. Yusoff, Kathryn. “Queer Coal: Genealogies In/of the Blood.” Philosophia (Albany, N.Y.), vol. 5, no. 2, 2015, pp. 203–29.

TerraTending: 2179
TerraTending: 2179

La Trobe Regional Gallery 2022

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TerraTending: 2179
TerraTending: 2179

La Trobe Regional Gallery 2022

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TerraTending: 2179
TerraTending: 2179

Black Box Theatre, RMIT University 2022

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TerraTending: 2179
TerraTending: 2179

La Trobe Regional Gallery 2022

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New North PERFORMANCE

Form: LIVE Improvisation with electromagnetic sensors, GUITAR PEDALS
duration 20.00 / Excerpt 03:53

 

Comissioned by NEW NORTH (2022)

Performed at BRUNSWICK MECHANICS INSTITUTE (2022)

This is an experimental improvised performance exploring electronic atmospherics, gesture, presence, and machine voices.  

 

Here I am using two small electromagnetic senses (see figure.1), each has an induction coil that is picking up electromagnetic waves from the selected electronic devices (i.e. the computer mouse, laptop keyboard, hard drive , and MIDI controller) and translating them into acoustic frequencies.

*This work contains sudden and loud sounds

Figure 1.

Architectonics
for Ondes Musicales

Form: OCTOPHONIC / ELECTROACOUSTIC / SITE-RESPONSIVE  
duration 30
.00 / EXCERPT 02:28
 

Commissioned by Melbourne Electronic Sound Studio (2022)

 

Performed at The Substation, 8 channels

Using ultra sensitive contact microphones intended for measuring seismic vibrations, I recorded the acoustic energy that travels through and articulates The Substation’s architecture and surrounding infrastructure.

Through this performance the building’s sonic character and surroundings are brought into conversation with selected synthesisers and electronic instruments from MESS’ historic collection, notably the Ondes Martenot. 

Architectonics for Ondes Musicales
Architectonics for Ondes Musicales

Sonorous IV, The Substation 2022

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Architectonics for Ondes Musicales
Architectonics for Ondes Musicales

Sonorous IV, The Substation

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Architectonics for Ondes Musicales
Architectonics for Ondes Musicales

Sonorous IV, The Substation

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Architectonics for Ondes Musicales
Architectonics for Ondes Musicales

Sonorous IV, The Substation 2022

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