A recursive recording and playback technique, inspired by Lucierian processes, forms the basis of this composition. The source material, the original sound frame, is an audio recording of an electromagnetic field, recorded within the concrete walls of Junction Dam in Bogong, Australia. This recording is subsequently played back and re-recorded multiple times. Each iteration re-records the source material along with the surrounding ambience and the resonant responses of the architecture. With each pass, a new frame emerges, metabolising the next and intensifying the resonance from which the previous frame was drawn—allowing each recording "to revert to the chaos from which they were temporarily wrenched".

This process draws on Elizabeth Grosz’s concept of the frame, which posits that "the emergence of the frame is the condition of all the arts" and is what "establishes territory out of the chaos that is the earth." For Grosz, and for this project alike, "the constitution of territory is the fabrication of the space in which sensations may emerge, from which a rhythm, a tone, coloring, weight, texture may be extracted and moved elsewhere, may function for its own sake, may resonate for the sake of intensity alone".