The first recordings took place around Columbus Circle, New York – Wyer mapped out a circumference that passed through the Time Warner building and around the periphery of Columbus Circle itself and, with the help of a team of volunteer staff from WNYC radio, made a series of simultaneous recordings that, when played back across multiple speakers, gave what he described as a ‘God’s ear view’ of the location – the experience of being at all points simultaneously; cars, subway trains and people moved from speaker to speaker, featuring the endless rotation of revolving doors that interfaced the very contrasting sonic landscape of the interior of the Time Warner Building with the bustling Manhattan streets outside.
Volunteers recorded dawn choruses (Australia), tolling bells (Australia), railway station announcements (New Zealand), clocks in a clock shop (San Francisco), ambient sound in Police Square (Manhattan), evening traffic (Berlin), the backstage at English National Opera (London) late night rains (Tunis) late night chatter (Mumbai), the sounds of the jungle (Laos), dogs barking (northern Alaska).
Resulting in a complex array of sounds that coalesced into a moment of intensity as the hour struck and then dissipated back to the disparate ambient environments.
In his search to incorporate the philosophy of Simultaneity within western musical systems, Wyer returned to a frequent inspiration; birdsong; struck by the endless combinations and re-combinations of the songs of the dawn chorus he began considering ways to create systems that would enable simultaneous solos that combined in musically intelligent, coherent ways - that necessarily moved away from the western convention of counting a beat for each bar.
In 2009, Time Structured Mapping was used for the creation of the one-hour Insomnia Poems for BBC Radio 3 (Jazz On 3) [2] which combined post-beat poet Steve Dalachinsky with a five-piece band consisting of soprano, Evelyne Beech, electronics and processing, Mike Cross, clarinets and saxes, Chris Cundy, bass, Robert Perry and Pete M Wyer on guitar, piano with found sounds and manipulations – each performing with a synchronized stopwatch.