On the other side researches the mechanisms of passive and active listening. Having met the expositional "mistake" — empty "white wall" — the viewer is being invited to another type of interaction — not visual, but auditory. The same way as a cursory look is contrasted to a gaze, accidentally heard sound, which left the scope of the walls, is contrasted to a focused listening. Immediate auscultation (listening with an ear towards the wal) is focusing viewers attention at the sound beyond the wall, turning him/her into an active listener, participator, invading inwards.
Echoes, emerging in diverse parts of the wall, invite a participator to trace the motion, as well as the altering of the composition itself by placing stickers on the wall and creating a personal route by the tracks of fluctuating sound. What is left in the gallery's sound space are merely the glimmers of the acoustic composition's space hidden from the inconsiderate ears. Main focus here is given not the content of the composition, but to the moment of active listening, "situation" of "eavesdropping" on the very way of listening.
Echoes, emerging in diverse parts of the wall, invite a participator to trace the motion, as well as the altering of the composition itself by placing stickers on the wall and creating a personal route by the tracks of fluctuating sound. What is left in the gallery's sound space are merely the glimmers of the acoustic composition's space hidden from the inconsiderate ears. Main focus here is given not the content of the composition, but to the moment of active listening, "situation" of "eavesdropping" on the very way of listening.