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Description

Old and New Dreams 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. More simply, it can be understood as a kind of symphony in which the instruments — and the way they behave — are defined not by performers or a conductor, but by the motion of people in the room.

Crucially, there is a clear link between movement and musical output. Visitors can sense and explore their role in “playing” the piece, as their actions, proximity, and distribution influence the density, phasing, and progression of voices within the score.

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 piece. 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

Size

The minimum footprint is approximately half the size of a basketball court (12.5m x 15m). This size supports accurate overhead motion tracking and clear spatialization of sound
Smaller rooms are possible, but they compress the range of behaviors the system can express and meaningfully alter the project’s scope

Ceiling Height

A minimum of 5-7m is strongly preferred
Lower or higher ceilings may still be workable, but would need to be evaluated in relation to camera placement and calibration

Floor Plan

The floor plan should be open and largely empty
Aside from speakers placed on stands (unless mounting speakers is possible), the space should remain unobstructed
A small, visually discreet technical area is required to house the computer and audio interface
Permission and ability to mount or rig 1-3 lightweight overhead cameras from the ceiling or truss, and to run wired Ethernet connections to the installation’s computer, are essential

Lighting

Consistent, even lighting is important. The room should be well and stably lit, with minimal fluctuation over time
Dramatic daylight shifts or dark conditions are unideal, as they can interfere with motion tracking
In spaces subject to changing ambient light, supplemental lighting can likely be added to mitigate these issues

Sound

Sound levels are intended to be immersive and enveloping, but without approaching the level of a live band
For this reason, a reasonably acoustically buffered space is preferred, rather than relying on aggressive volume reduction to limit bleed

Floorplan showing minimum dimensions

With a small, dispersed audience, each voice remains distinct — a kind of sonic island. Listeners can perceive the larger composition while also hearing their own contribution clearly, and sensing how small movements reshape it

When a small group clusters together, individual voices begin to merge. What were previously separate parts collapse into a single, shared line, emphasizing collective motion over individual action

As more people enter the space and spread out, the number of active voices expands. The music becomes distributed and pointillistic — a field of discrete sounds articulated across the room rather than a single focal gesture

In contrast, large, tightly clustered groups produce dense, interlocking harmonies. Individual voices lose their autonomy, converging into thick, blended textures that privilege mass and resonance over detail

Technical Requirements

The installation does not require theatrical lighting, high-wattage amps, or specialty power.

Audio, Control, and Sensing System (provided by artist)

Mac Studio
Audio interface
Networking equipment

1-3 lightweight, ceiling-mounted cameras to track X/Y movement, connected directly to the computer via wired Ethernet
System processes motion data in real-time only
No facial recognition, recording, or stored video

Motion tracking system

Speakers (provided by artist or exhibition space, if available)

8–12 full-range speakers distributed around the perimeter
If the exhibition space has an AV inventory, access to speakers comparable to Yamaha HS5–type monitors (or equivalent) with podium-style stands would be ideal
If not, all audio equipment can be supplied by the artist

Networking

A stable WiFI connection is required

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

Installation & Exhibition

Installation

The physical installation is expected to take approximately 3-5 days
Calibration, testing, and refinement will require an additional 1-1.5 weeks. During this period, regular access to the space is needed, either during public hours or, if preferred, outside of them
Most elements — including speakers, stands, and the technical station — can be installed by the artist
Assistance will be needed for rigging 1-3 cameras overhead, as well as for safely routing power and Ethernet connections. This can be handled in coordination with exhibition staff, or through external technical support arranged by the artist
While testing and refining the system, most audio output can be routed to headphones, minimizing sound bleed. That said, continued public access to the gallery is preferrable, to simulate live conditions

Entry and Viewing Hours

Flexible viewing hours; ideal might be open daytime hours (e.g., noon–6 pm), with optional extended or evening hours for special events
Audience entry free or venue-standard
Although the equipment is not intended to be moved frequently, the installation itself can be easily paused if the space is temporarily needed for other events

Operation, Monitoring, and Staffing

Once calibrated, the system is designed to run largely unattended
No technical or troubleshooting knowledge is required on the part of exhibition staff; most issues can be resolved easily, and the installation can be paused or reset using a single on-screen control
Should more complicated issues arise, the artist will be local and able to address them promptly
Periodic monitoring by exhibition staff — ensuring the system is running as expected and that visitors are not interfering with speakers or equipment — is requested, as with any technical installation