AUSTIN — As I get older I cannot help but notice the vast amount of time, energy, and labor that have gone into things that I, for the most part, absolutely take for granted. The electrical grid that powers my smart phone, the series of traffic lights that help ensure my safe arrival to a variety of destinations, or even the paved roads I drive on. Whether you celebrate or bemoan technological and industrial development, it is practically impossible to imagine our lives without it. Spend a few days in a forest with no trails and you will immediately be aware of its absence.

These invisible forces that power our everyday lives are the sonic subject of artist Phil Peters’s The Permian Recordings, currently at Co-Lab Projects. Consisting of durational subterranean field recordings taken in the sprawling Permian Basin of West Texas, the installation is appropriately massive, effectively transforming the entire gallery into one big infra-sonic subwoofer. Named for the geologic period that produced much of the rock contained within the area and ended with the largest mass extinction in Earth’s history, the Permian Basin is home to a large network of oil- and gas-pumping systems. More than 33 billion barrels of oil and 118 trillion cubic feet of natural gas have been produced from the Permian Basin as of 2018.

Comprised of five concrete culverts donated by the nonprofit gallery’s neighbors, a concrete manufacturer named Forterra, Co-Lab’s unique architectural structure is particularly suited to Peters’s exhibition. Its unfinished concrete “floors” and “walls” speak directly to the type of industrial manufacturing the artist’s field recordings reference, and its tunnel-like shape can easily be converted into a gigantic speaker, which is exactly what Peters did with the space.

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