SPEAKERS’ transforms the body into both infrastructure and a mobile acoustic ecosystem through a wearable feedback acoustic system. The body becomes a structure that generates, regulates, and distributes sound — a self-resonating instrument that simultaneously receives and emits. The work begins from an almost silent environment.
At the start, the wearable acoustic system itself produces no sound. The first sounds emerge instead from tiny noises within the audience and space: breathing, fabric friction, footsteps, movement. These sounds are captured by microphones and fed back into speaker units distributed across different bodies, forming the initial feedback loops. As sound circulates and amplifies through the system, the sonic environment gradually “grows” from within the space itself. The constantly shifting positions between participants and audience continuously alter feedback paths and resonance conditions. The distribution of multiple bodies throughout the architecture forms a dynamic structure in which sound moves, transfers, overlaps, and accumulates — constructing a continuously transforming “architecture of sound.”
During a 2026 live presentation at IKLECTIK in London with approximately 100 audience members, hundreds of voices and micro-sounds collectively generated an intense and constantly readjusting sonic environment. Within this system, the body is no longer treated as an object to be represented, but as the operational core of the work itself.
System
Artist-built wearable feedback acoustic system and live performance.
Device system includes:
– four-channel dual-transducer speaker units-
– integrated amplifier and Bluetooth circuitry-
– pre-amplifier mixer-
– wearable leather structure-
Live setup includes:
– 4–8 microphone channels-
– isolators-
– EQ units-
– real-time sound processing-
(variable scale / installation-performance system)
The generation, amplification, and distribution of sound depend entirely on bodily position, movement, proximity, fatigue, and spatial relation. Every turn, pause, shift of weight, or movement toward a wall alters the acoustic behaviour of the system. The work focuses on how bodies operate within instability and limitation. States such as fatigue, slowness, imbalance, support, and fragility are not corrected or hidden, but directly participate in the production of sound itself.
Difference therefore becomes part of the structure rather than something to overcome. Sound here is not simply an object of perception, but a distributed condition of existence within space. Which sounds become amplified, how they spread, and where acoustic centres emerge are determined by the relations and positioning between bodies. Amplification therefore becomes a process of regulating audibility, presence, and coexistence. As audiences enter the system, the structure opens further. Sound flows, transfers, and accumulates across different bodies until feedback no longer clearly distinguishes between self and other, generating a constantly shifting acoustic environment. Listening becomes both a participatory act and a dynamic negotiation between relation, movement, stillness, architecture, and ways of existing together.
More excitingly, the work continuously reshapes itself within each new architectural environment.Every space produces different feedback paths, resonances, movement conditions, and relationships between bodies. No two iterations sound the same.If the system is a constantly evolving acoustic organism, then each venue becomes part of its nervous system — altering how sound grows, circulates, collapses, and reforms.
What will the next architecture sound like?
Ten microphones are distributed across the room. Their signals are mixed and returnedto the speaker units mounted on the body, forming a self-oscillating feedback loop.
The signal passes through multiple processors—scattered, modulated, and layered into deep, fractal textures. The equalizer acts as a tactile organ, filtering frequencies to shape the living balance of the system.
The work relies on no external sound source; rather, sound emerges from within the system’s own threshold. Its presence depends on the fragile equilibrium between body movement, spatial structure, and amplification. Every turn, obstruction, or approach to awall reshapes the feedback field. The performer becomes a medium of vibration, sliding between breath, voice, and mechanical howl.
Within this feedback ecology, control and collapse coexist. The system reconsiders the stability of musical form—breathing, protesting, leaking. It feels at once like the selfreflection of a machine and the hallucination of a body. The work continues Zhuyang’s exploration of acoustic politics, public listening, and ollective memory—humorously exposing the porous boundary between amplification and control, fragility and exposure.When audiences are invited into close proximity, the feedback field no longer distinguishes between performer, object, or space; it becomes a continuously selfreorganizing membrane of sound—a living practice of listening, and an ongoing negotiation between power, intimacy, and resonance.