in-progress, 2026
Interdisciplinary collaboration. Distributed networked installation with AI-driven temporal lenses, live piano performance, spatial sound, and machine-generated visual and sonic residues
Memory is not known through one time alone. It becomes legible across several temporalities at once, approached through conditions that continue to shift rather than settle into a single account.
Memories written by Masayoshi Ishikawa, each tied to one of his musical compositions, form the work’s fixed anchors. These memories are not treated as biographical data to be reconstructed. They are entrusted fragments held in relation to sound, place, time, and movement. Each memory has already migrated once into composition. The installation stages another migration, carrying the memory-composition anchors through temporal lenses, machine perception, spatial sound, and live response.
A distributed ensemble of temporal lenses approaches each memory through different scales of time. The lenses do not learn the person. They attend to surrounding conditions: weather, geography, infrastructure, media environments, linguistic shifts, historical transitions, musical structures, and more-than-human signals. Each lens operates as an epistemic perceiver, valuing a different way memory is carried through signal, route, ritual, return, repetition, threshold, mediation, or nonhuman orientation.
The six temporal lenses are distributed across networked modules, each producing visual and sonic residues from a different mode of attention. These outputs do not visualize data or illustrate the memories. They register partial perception: what each lens can gather, what it cannot hold, and how the memory continues to move around the edges of its own account.
Ishikawa’s live piano improvisation enters this field as another form of temporal encounter. The sonic residues from the six modules gather into a machine-perceptual field that he listens to while improvising. The machine does not accompany the pianist. It returns a distributed perception of the memory back to the musician, who responds through live performance.
One of two related installations exploring memory as a field of conditions rather than a stable record.
Developed with Masayoshi Ishikawa (composition and piano) and Seungho Lee (spatial design).
