new maps of time, sound workshop

exploring subjectivity and territory through sound, bridging acoustic processes with social and digital communication…

New Maps of Time, Prague/Kladno Czech Republic (10.2009)

New Maps of Time, Istanbul Turkey (2.2010)

New Maps of Time, Calgary Canada (4.2010)

New Maps of Time, Malmö Sweden (5.2010)

New Maps of Time, Torun Poland (4.2011)

New Maps of Time, Vienna Austria (8.2011)


‘New Maps of Time’ is a project and workshop about mapping spaces (mental, architectural and natural) using sound as a means to express actions within a space. The project process works with the basic understanding that artistic creativity can be a ritual by which we live out and  share the subjectivity of our own experiences. This inherent subjectivity must be  understood not only as an intellectual notion but through means of participatory activity on  different levels of personal, collaborative (between artists) and contextual actions (interventions in a space). The emphasis here is on subjectivity as articulated through direct experience of social intervention over the mediated representational forms of listening we are used to (“music” and “entertainment” of mass media).

Sound, as perceived by one of our primary senses hearing, is one of the best ways in which to explore the subjectivity of personal and collective experience and to test our own creative abilities. By using sound we develop means to map both space and social relations with our own cognitive process. In order to refine these cognitive maps we introduce constraints such as activities, materials, durations and the physical dimensions of the surrounding build environment. These constraints are the boundaries by which we can reference our own activities for interpretation and discussion to help further refine the activities.

In addition, we employ more objective external references (commonly known as recorded media) to add to the mix. The plethora of digital media recording devices offer a set of tools from which to develop an array audio-visual narratives for sharing on the local level and throughout any network these devices may be connected. Both processes, the cognitive and the mediated aim to increase the level at which we find recursive modes of information exchange integrated with the artistic working method.

Process Plan

The project involves spending time in and around the city, mapping various spaces and locations through sound and listening (parks, public squares, roof tops, industrial buildings etc.). Using simple objects and tools (glass jars, plates, wires, found objects etc…) we are able to also activate the spaces we find. I would like to work with a small team of students or local artists to help play these objects as a sort of free-form ensemble who gets to develop their abilities through the activities of the project. These participants can be local artists from abroad. I will record these actions and keep a record of the times and places where they took place (and make short films from video recordings as well).

The actions will involve generating acoustic sounds and patterns from the objects we have and/or find in the space to activate each location. Working together we will explore the balance between our gestures and movements to create sounds and the intelligibility by which we communicate through sounds (this has been thoroughly explored in various workshops. See the documentation from the Sound as Space, Sound as Language workshop.

At the end of each action the working group would evaluate their experiences in a short discussion session as well as by listening to or watching the recordings. A selection of the recordings would be made and edited for the potentially use in the final performance lecture. The sound recordings would also be uploaded on the internet to Radio Aporee Maps which gives an overview from areal satellite maps of the different locations.


The final presentation phase would be a ‘New Maps of Time’ performance/lecture on the “sound mapping” process using the various materials collected and edited during the  visit including sounds, video, website, Radio Aporee, and even the objects used. This mix of material offers a representative experience of the workshop as compressed time, a nonlinear narrative with which to engage the public. As much as possible, the presentation space itself would be transformed into an instrument, a hollow body to enter and and be transported to the spaces and shared experiences of the working group from the previous weeks.

This workshop may also be used to give a basic overview on both technical and artistic processes of sound and video production.


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