We already know that sound articulates space and articulate’s listener relationship to space and that it blurs or erases the distinction between spaces. And, in its very basic characteristic is able to contracting and expanding space. However, it’s also able to construct a new space within existing architectural space. Looking through depth of sound we can see how sound affects us in a variety of ways. We recognize four categories: physiological, psychological, cognitive, and behavioral. All of them impact a person its unique way. Based on its different divisions we can use acknowledgment of each for better designing of a new experiential soundscape. We could define soundscape as an inseparable combination of sound sources and spatial acoustics processed by a listener, where certain combinations of sounds become associated with certain locations: traffic occurs in an urban street, and children laughing and shouting occurs in a playground.


BERNHARD LEITNER – Ton-Röhre, sound space installation, 1973
His early resarch started from the assumption that sound could create an inner space that would be acoustically experiencable by the ears as well as by the entire body

Thinking of sound in terms of ‘information’ projects the acoustic terrain into a symbolic space of exchange. When we start to treat sound from this point of view, we are able to compose a very special environment of sensuous alertness, by which we theatricalize the location to the point where it is the viewer/listener who becomes the actor. And suddenly from position of participation it becomes an enactment, where the previous and initial idea of the space is gradually swiped off. So to speak you are invited to become a part of “new” constructed sound based space. Another element that helps us enhance this particular experience is sound’s development in time. In fact, the space on its own is basically static. It is the time introduced through changes in daylight, periods of different intensity of noise and, above all, through the movement of people that give the dynamic to it. In this regard sound-sculptured space is in its essence an event of temporal development. It means that it is developed gradually in time. Then it is rather a constant sequence of spaces not just a space anymore. This is the point when we can experience space as something fluid and we are touching ever-present change, here we perceive sound as invisible changing construction in time and space.

WALKING ON THE SNOW – sound space installation, 2016 Before the sound workshop with Gabriel Paiuk, I had recorded a sound during squeezing a package of powder pudding in order to get as closer as possible to sound of walking on the fresh snow. And this “walking on the snow” idea became a core idea for our installation on the workshop. Then, we were recording many various materials that could evoke a walk on the different type of snow. You could experience during your walk a simultaneous flow of different processed sounds that represented walk on snow, by using audio Low-Fi set up that was installed above the head and from sides along the walk path made of big blocks of sponge. (in cooperation with Yi Ling Hung, Dalia Kalife and Anja Podreka)