Back

Old and New Dreams — Technical Rider

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, 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.

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 & Mounting Points

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
Specifically, the ability to mount or rig 4-6 lightweight overhead cameras at a height of approximately 4-5.5m, either from the ceiling or a truss, and to run wired Ethernet connections to the installation’s computer, is essential

Floor Plan

The floor plan should be open and largely empty
Aside from speakers placed on stands (or mounted), the space should remain unobstructed
A small, visually discreet technical area (ideally, outside the main space) is required to house the computer and audio interface

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 volume reduction to limit bleed

Technical Requirements

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

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

Computer
Audio interface
Networking equipment

4-6 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 HS7–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

Physical installation takes approximately 4-7 days
Calibration, testing, and refinement require an additional 1-2 weeks. During this period, regular access to the space is needed, ideally both during and outside public hours
Most elements, including speakers, stands, and the technical station, can be installed by the artist, in coordination with exhibition staff and external technical support
Assistance will be needed for rigging 3-6 cameras overhead, as well as for safely routing Ethernet connections. This can either be accomplished in coordination with exhibition staff, and/or external technical support, and is expected to take 1-4 days depending on mounting complexity and any required revisions

Exhibition

Open daytime hours, with optional extended or evening hours for special events
Audience entry free or venue-standard
Although the equipment is not intended to be moved, 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
Staff availability to turn the system on and off each day is requested; the process is simple and takes approximately 2-3 minutes
Periodic monitoring by exhibition staff — ensuring the system is running as expected and that visitors are not interfering with speakers or equipment — is also requested