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Description

This project, yet unnamed, is a large-scale, immersive sound installation in which the movement of visitors through a shared space continuously shapes a generative, computer-driven musical composition. Rather than triggering discrete sounds, participants subtly influence the progression, density, and phasing of multiple musical voices as they move, cluster, and disperse.

The work draws conceptual inspiration from process-based music, particularly Steve Reich’s acclaimed Music for 18 Musicians, while using contemporary sensing technology to transform collective motion into a living, evolving score. For viewers, no prior instruction is required — simply being present and moving through the space becomes a form of participation.

The installation is non-interactive in the “game” sense; it is contemplative, spatial, and emergent, rewarding both active exploration and stillness.

Space Requirements

The installation is suitable for galleries, arts centers, black-box performance spaces, or repurposed industrial spaces.

Size

Ideally, half the size of a basketball court (12.5m x 15m) or larger
This size supports accurate overhead motion tracking and clear spatialization of sound
Smaller rooms risk collapsing movement into noise; though not unworkable, they significantly alter the project’s scope

Ceiling Height

A minimum of 3.5m is preferred
Higher ceilings are beneficial but not strictly required

Floor Plan

Open floor plan, minimal fixed obstructions
Permission and ability to mount or rig lightweight, overhead sensing equipment from ceiling or truss is essential

Technical Requirements

The installation does not require theatrical lighting, high-wattage amps, or specialty power. It is comparable to a medium gallery exhibition with a multi-speaker sound system.

Audio + Control System (provided by artist)

Mac Mini
Audio interface
Networking equipment

Sensors (provided by artist)

1-3 lightweight, ceiling-mounted sensors to track anonymous X/Y movement, not identity or imagery
No facial recognition, no recording, no stored video
System processes motion data in real time only
Participants are not individually identified

Speakers (provided by artist)

8–12 full-range speakers distributed around the perimeter and/or within the space
Optional subwoofer(s) depending on venue and volume tolerance

Power

Standard outlets are sufficient
Ideally 2–3 independent circuits, but not strictly required
Power draw is modest; again, this is not a lighting or amplifier-heavy installation

Exhibition

Timeline

1-2 weeks of access prior to opening for sensor calibration, speaker placement, acoustic tuning, and stability testing
Opening mid to late-February
On view for a minimum of 2 weeks, ideally 3-4

Viewing Hours

Flexible; ideal hours might be open daytime hours (e.g., noon–6 pm), with optional extended or evening hours for special events

Entry & Fees

Audience entry free or venue-standard
For space rental, open to paid or in-kind arrangements

Staffing

The system can run unattended once calibrated
No on-site staff required at all times
Venue staff only need to manage general access, as with any gallery exhibition

Safety & Accessibility

No trip hazards beyond standard speaker cables (which are taped or ramped)
Clear pathways maintained
Sound levels adjustable for accessibility needs
No strobes, flashing lights, or visual overload