Listening Topologies
Sound Installation
Interactive environment
Listening Topologies was a framework developed during a summer Residency in Hranice - in Czech Republic, at KRAVIN rural arts in Hranice - Vysočina. Researched through a process based series of site specific interventions and an interractive installation, developed on the site. The work was inspired by the local landscape and the concept of Sound-mapping.
The body of work examines how boundaries and borders can be reinterpreted through sonic representations and speculative mapping.
Sonic maps, which allow us to scroll through the sonority of specific places, sometimes out of our reach. They invite us to see the world from the perspective of a listener, instead of a viewer. I became interested in how similar kinds of projects, based in the digital spaces, can bring
us different perspectives on navigating our physical reality.
“When I am field recording, hunting for sounds, either alone or with someone, I get into a state when I am mainly trying to perceive
the landscape through sound. I let that sensation lead my walk. It is a state when sound leads my body and shapes a trajectory in space.
I give this form of navigation the same value as following a regular map.”
The idea was based on a MaxMSP patch that re-arranges the captured field recordings into a new sonic topology - an interractive sonic map of Hranice. This sound map becomes activated through visitors' interaction with a light source that can be moved in space. Depending
on the position of the light, different field recordings from the map are triggered, the visitor defines which part of the map will be listened to.
With every new placement of the light,the visitor gets a different listening experience from the local landscape.
Developed during summer Residency in Czech Republic, at KRA Vysočina, in 2025, suppported by Visegrad Fonts
The body of work examines how boundaries and borders can be reinterpreted through sonic representations and speculative mapping.
Sonic maps, which allow us to scroll through the sonority of specific places, sometimes out of our reach. They invite us to see the world from the perspective of a listener, instead of a viewer. I became interested in how similar kinds of projects, based in the digital spaces, can bring
us different perspectives on navigating our physical reality.
“When I am field recording, hunting for sounds, either alone or with someone, I get into a state when I am mainly trying to perceive
the landscape through sound. I let that sensation lead my walk. It is a state when sound leads my body and shapes a trajectory in space.
I give this form of navigation the same value as following a regular map.”
The idea was based on a MaxMSP patch that re-arranges the captured field recordings into a new sonic topology - an interractive sonic map of Hranice. This sound map becomes activated through visitors' interaction with a light source that can be moved in space. Depending
on the position of the light, different field recordings from the map are triggered, the visitor defines which part of the map will be listened to.
With every new placement of the light,the visitor gets a different listening experience from the local landscape.
Developed during summer Residency in Czech Republic, at KRA Vysočina, in 2025, suppported by Visegrad Fonts
