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SWS25 2025

Traces

Traces (2025)
Boston Common, Tremont Street, Boston, MA, USA
25 minutes
Free

Boston

Collection · 9 items

place

Collection · 195 items

Walter Benjamin

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Boston

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What happens when we change the soundtrack of a place we think we know?

A soundwalk for Boston Common.

Let your route be arbitrary.
There is no particular place you need to be.
Feel free to sit down and rest whenever you’d like.
If you move through the Common in a non-goal oriented way, the score will shift based upon the path you choose.

Traces is a user-guided geolocated soundwalk through Boston Common that invites listeners to imagine the history of an iconic landscape through a radically altered composition of the park’s sounds. A musical composition of electronically processed field recordings, found sounds and archival recordings are woven into a lush soundscape designed to deepen perception of this historic place.

By shifting our attention from sight to sound, Traces offers a spherical experience of place, rather than a linear one: a layered sonic architecture where personal associations and echoes of history are omnidirectional.

Rather than telling a fixed story, Traces amplifies quiet voices and ephemeral impressions, making the participant both witness and storyteller. In the private seclusion of headphones, listeners move through the park, free to wander and imagine—remapping The Common on their own terms.

Traces offers us a chance to slow down, listen, and discover our own relationship to the unseen contours of a public space.

.. — .. … … -.– — ..-

to live is to leave traces

walter benjamin
.- -.. .- -.. -… .

for elizabeth

Credits

Created and Produced by Christina Campanella

Music composed and performed by Christina Campanella (field recording, sampling, keys, synth) with Mark Spencer (electric, baritone and bass guitars, pedal steel, kalimba, harmonica, percussion).

APA style reference

Campanella, C. (2025). Traces. walk · listen · create. https://walklistencreate.org/walkingpiece/traces/

pedestrian acts

By de Certeau: In “Walking in the City”, de Certeau conceives pedestrianism as a practice that is performed in the public space, whose architecture and behavioural habits substantially determine the way we walk. For de Certeau, the spatial order “organises an ensemble of possibilities (e.g. by a place in which one can move) and interdictions (e.g. by a wall that prevents one from going further)” and the walker “actualises some of these possibilities” by performing within its rules and limitations. “In that way,” says de Certeau, “he makes them exist as well as emerge.” Thus, pedestrians, as they walk conforming to the possibilities that are brought about by the spatial order of the city, constantly repeat and re-produce that spatial order, in a way ensuring its continuity. But, a pedestrian could also invent other possibilities. According to de Certeau, “the crossing, drifting away, or improvisation of walking privilege, transform or abandon spatial elements.” Hence, the pedestrians could, to a certain extent, elude the discipline of the spatial order of the city. Instead of repeating and re-producing the possibilities that are allowed, they can deviate, digress, drift away, depart, contravene, disrupt, subvert, or resist them. These acts, as he calls them, are pedestrian acts.

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