Woojae Kim and Rahul Nair presented a sonic and ritual performance that brought handmade Korean percussion into conversation with post-Cagean improvisation. Kim's somatic practice and field-based research—attuned to the inaudible frequencies of land-human relationships—merged with Nair's strategies of controlled indeterminacy to create a durational sound environment rooted in the particular ecology of Bak Lim Sa's 180 acres. The performance engaged the temple gate as a site of interspecies listening, holding space for ecological grief, presence, and the vibrations of a landscape at dusk.