Re-Collect is a responsive installation that uses sculptural objects, live recordings and playback, to draw attention to the visitors’ physical presence and movement within the installation space. The overall interactive experience is nuanced with light fluctuations and sound cues. Visitor triggers sounds recordings, ambient light fluctuations and an evolving sound composition that is played back through the sculptural elements when moving throughout the room. The playback consists of a mixture of live and past sound recordings that together reveal the recorded memory of past visitors and exhibition locations. The sonic and visual spatialization of sound and light amplify the viewing experience and direct attention to the viewer’s entanglement within the sculptural body and the fact that the space too carries with it a history.
The physical space of Re-Collect suggests the synaptic connections within the nervous system in particular the brain. When visitors enter the gallery space they will see a room filled with 30 semi-transparent objects hanging from the ceiling, which are interconnected by data and power wiring – some contain sensors, microphones, and speakers, and all of them contain three filaments of Fiber Optic cabling. In its entirety, Re-Collect forms a luminescent and sonic mass attentive to its environment, which uses sound as a metaphor for the electrical impulses moving through the brain and points to the moment that two entities meet – when memories form – entangle with the present – and shape experience.
There are three main modes of responsiveness, which use human experience as inspiration. When the viewer enters the space they awaken the installation from the dream state, which involves ambient light fluctuations and occasional sound events randomly generated by the physics engine that drives the spatialization software. Once awaken the installation enters the agitation state. In this state Re-Collect is actively responding to the viewer, whose movements push the sounds throughout the room thereby generating unique sound experiences. These sounds are “memories” or sound files from the past that have been processed by the system to various degrees. The lighting fluctuations during this period are connected to both the sound spatialization engine and movement of the viewer. The final stage is the listening stage, which emerges from and folds into the agitation stage. This is when the installation listens to its surroundings, gathers memories with which to form future sonic experiences. These memory files contain ambient sounds, the sounds of itself and also fragments of conversations from past visitors.