The Pieces of Blueprints, Drawing Installation, 2020
The Pieces of Blueprints, Drawing Installation, 2020
The Pieces of Blueprints, Drawing Installation, 2020
The Pieces of Blueprints, Drawing Installation, 2020
The Pieces of Blueprints, Drawing Installation, 2020
The Pieces of Blueprints, Drawing Installation, 2020
The Pieces of Blueprints, Drawing Installation, 2020
The Pieces of Blueprints, Drawing Installation, 2020
The Pieces of Blueprints, Drawing Installation, 2020
Workshop, Here / There: Unfolding Space through Body and Spatial Sound
Section 1
Jeesoo Hong
1 hour 30 minutes
Inventing Emptiness
Each participant is encouraged to observe the spatiality of the room where we are gathered, and to find, document, and share corners, spots, and elements that appear empty.
Re-experiencing the Space with Gestures
With various objects and tools brought by Jeesoo, each participant can build a sensual relationship between their body and each “empty space” they discovered, and give their own spatial narrative to it.
Hide and Listen
Each person positions themselves at their favorite corner and repeatedly makes a sound that reveals their character. Without looking at each other, we spread into the space, remaining aware of one another only through listening, collectively composing a quiet soundscape in real time. By listening and deciding when to start one’s own sound, when to join others, and when to stop, the group forms a collective improvisation.
Pause and the End
Each participant repositions themselves in the room and decides on minimal gestures. As the ending of Section 1, Jeesoo walks through the entire space, carrying her self-built box equipped with a microphone and speaker. As she encounters each participant’s gesture, feedback sounds are generated, passing through each body and completing a full traversal of the room. The feedback sounds that emerge become brief encounters—or gestural dialogues—between the participant and the mobile “sound-responsive body.”
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Section 2
Jiyun Park
1 hour 30 minutes
Vibrating Body
The practice begins by attuning participants to their own bodies as resonant instruments through breath, micro-vibrations, weight shifts, and vocal exploration. By sensing how internal vibrations travel through the body, rebound from the floor, and subtly radiate into the surrounding space, participants experience movement and sound as an embodied sonic language. Through gentle vocal experimentation, each participant discovers a personal resonant tone : a bodily “frequency” that vibrates most fully within their body. It is establishing an internal sonic anchor and a heightened sensitivity to resonance.
Moving Composition
From this bodily attunement, the practice expands outward into a collective spatial awareness. Participants enter a shared soundscape in which their positions, distances, pauses, and trajectories continuously compose and recompose the acoustic environment. Space is perceived as a responsive medium rather than a container. A resonating field is shaped by, and in turn shapes, the participants’ movements, presence, and listening.
Weaving Resonance
The final phase activates this resonating space through mobile acoustic feedback. A microphone and transducers are introduced as moving listening bodies, attached to objects or carried by participants. As the microphone navigates the room, feedback tones emerge in direct response to bodies, surfaces, and spatial configurations. Participants weave through this unstable sonic ecology, allowing dance, sound, and architecture to co-compose a continuously shifting choreography of resonance.
