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From the settling tanks, the wastewater was transferred to the flooding plots using a system of feeders and appropriate inlets with penstocks. This system allows for the flooding of successive plots separately, following a set spatial and temporal schedule.[1]

I was first introduced to the Wrocław Drain Fields as a biologist. In 2014, while conducting research there, I observed how fast the drainage system and the watercourse network carried rainwater deep into the ground: so efficiently that no trace of it remained. I also measured the inexorable drop in groundwater levels. And I still remember the heat intensifying these factors. Everything above the water accumulated in the ground would dry up.

And how does time pass in the Fields? Does it flow rapidly through the watercourse network or does it run down the drainage system? How does it relate to the space? Does it penetrate it, getting deeper and deeper, inevitably lowering its level? Is time also running dry in the Fields?

Years later, I once again turn to the piles of notes taken down during my research and return to the Fields as a composer. How to capture the time there with the movement of a hand, how to make it slow down? How to contain the vast space of the Fields in a small gallery with the same hand? The morphology of gestures made while walking and touching the meadow might prove similar to the one I employ when making music with motion controllers. Time itself, however, may become unstable. The typology I have developed, will both stabilise and destabilise it. I will translate the flooding mechanism of the Wroclaw Drain Fields into composed music, transforming space-time into other dimensions in the spirit of gestalt. Time and space, sp_time, time_ace.

[1] Wojciech Łyczko, Pola irygacyjne Osobowice – historia i teraźniejszość 1

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from Canti Spazializzati #11, released November 18, 2022

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Sound Art Forum / Canti Spazializzati Wroclaw, Poland

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