Creative Session

Human Field Recorder and Player / Workshop with Ryu Hankil

This workshop is presented in collaboration with Counterflows festival 2026. Ryu Hankil will also be performing as part of the festival programme, further info here.

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Participants will be invited to choose a space to listen in, and write down the most memorable or distinct sounds, exactly as heard. The writing can use onomatopoeia, phonetic symbols, or participant’s own developed method for varied notation.

The notes become not just a sound record but an equivalent representation of the designated space and time. Participants will be invited to estimate the direction and duration of each sound using their own method, and write this alongside the sound in the notepad.

The participant stands in the position where they heard the sound and reads it in their own voice according to the time they have written the sound. Participants will then listen again to the soundscape created by their reading.

The workshop is for 16–25* year olds. There are 10–15 places. The workshop will take place at Woodside Hall, a fully accessible venue.

No prior knowledge required, and equipment is provided (participants should bring their own notebook and pen).
Please email us via music.space.programme@gmail.com with any questions.

We reimburse all participants travel costs, we can discuss this with you once your place is confirmed.

Venue information (Woodside Hall)
There is step-free access and accessible toilets on site. Follow this link for information on how to get to the venue.

*Our activity is for people up to the age of 30 if they are:
> Disabled, including those with a long-term illness, neurodiverse people and anyone else who would identify with the social model of disability.
> Care experienced, and/or have been a young carer (including those with children or those who have cared for/are caring for someone with a long-term illness or disability).


Ryu Hankil is a computer musician, improviser, and writer based in Seoul.

Ryu Hankil has long explored the possibility of generating another kind of music through non- musical objects. His questions and practice regarding how an object’s inherent vibrations can constitute a musical context led him to realize that the speculative power of sonic thinking creates fiction in diverse ways.