I recorded artefacts from this room for treatment and assimilation in the deathscape, thereby facilitating a frame of reality in its image through mediating annihilation and augmentation. In the realm of digital processing, ‘audio images transduced into signals by the recording equipment and stored in a physical medium are none other than simulacra of the reality which artists manipulate in composing their works’ (Bizzaro 2011: 3). In this sense, the creation of an imaginary landscape through sound mediation, and through articulation and assimilation, the deathscape composition becomes an assemblage of death.

Clock Interior

The linking of components in the context of the deathscape will facilitate a hyperrealism evoked by indistinguishable phenomena and further highlight the collusion between image and text, exploiting a fundamental duality that is weaved through this project, highlighting life and death, existence and perishing, attack and decay, and the literal and the metaphorical. The deployment of studio technology and recording mediation affords a replication of static copies that can be augmented to pervert memorial and emotional referents, as ‘the production of fiction requires an absence from worldly reality and a duplication of the teller in a site of potentiality positioned between life and death’ (Bronfen 1992: 358).