Dissolution Grip develops from the idea of recorded places and how the physical integration of spaces opens up possibilities for subtle movement, stillness, noise and silence. Integration here refers to the way in which places influence the listener’s engagement with the sounds — but also to the attention paid to the recorded places, their inhabitants, and the process of their making. Exploring a creative approach to field recordings, the reflected positions of spaces are reified through the use of waveforms as transient movements unfolding over time. Using waveforms as sites of field recording allows for attention to occurrences, thus deploying perceptual experiences that bring spaces to the foreground and become audibly alive — a deeper interaction with spaces and sound that is often denied, often neglected. Impulses and recording patterns are glued together with long, endless, still yet changing tones, which reinforce the orientation of the listeners’ space and time. A blanket effect that allows an embodied experience — where waveforms evoke an unfolding of new sounds through time and perceptual listening.