OVERVIEW

Memory Management is an immersive art installation that invites participants to investigate a memory breach inside the scattered inner world of a character named Christine. As "Memory Inspectors," users move through vintage technology stations, a television, a rotary phone, a transforming mirror, uncovering pieces of her memory and reflecting on their own along the way. At its core, Memory Management aims to hold space for empathy, allowing users to reflect on their own personal experiences while finding common ground with others.

DURATION

Aug 2024-May 2025

PROBLEM SETUP

Designing an installation meant balancing two competing needs: the piece had to hold a large, layered narrative across five interactive stations, while still guiding participants clearly enough that they didn't get lost in it. Early user tests confirmed this tension directly, some visitors were confused about the installation's narrative, and others weren't sure what their role as a "Memory Inspector" even was.

Participants need a clear enough throughline to feel guided through Christine's world, without losing the immersive, exploratory feeling that makes the piece worth stepping into in the first place.

BACKGROUND PROJECTION

Real-time generative visuals built for a liminal space

I designed the background projection to immerse participants in a liminal, dreamlike environment. Using TouchDesigner for real-time generative art, I built the visual backdrop, then adjusted colors and textures to lean into nostalgic themes. The final piece was blended across three projectors along a 360° scrim using Resolume Arena.

TRANSFORMING MIRROR

I designed the Transforming Mirror to create a moment of interaction and vulnerability, a portal that shifts a participant from a still, familiar office scene into glimpses of Christine's core memories. As someone approaches, their silhouette overlays onto the scene, triggering the transition alongside a shift in sound design.

Gabe and I curated the imagery for the memory backdrop, used a raised projector with MadMapper to cast footage onto a built frame by Dahn, and used NDI cameras to extract silhouettes for the overlay. Motion-sensed audio and visual switching was built in TouchDesigner and Max/MSP using OSC data.

ROTARY PHONE

The rotary phone symbolizes relationships through the form of audio memories. It rings based on randomized times; when a user picks up the phone voicemails from Christine’s past. See Gabe’s portfolio for more information about the process.

VHS AND TV

The vintage tv invites users to view with Christine’s childhood through home videos. See Gabe’s portfolio for more information about the process.

CHRISTINE’S DESK

This station was a starting and closing hub that introduced users to our story. It included notebooks, an orientation video, questionnaire forms, and cork board. This is where users learned about Christine’s current life.

USER FEEDBACK

Weekly user tests surfaced two recurring pain points: participants were confused about the installation's narrative, and unsure what their role was supposed to be. In response, the team added narrative props participants could sift through for context clues about Christine's life, and introduced "Memory Inspector Task" question forms to make the participant's role concrete and guided.

TAKEAWAYS

Working across five interactive stations taught me to move between narrow focus and the whole piece, art tends to land hardest when every part feels considered together, not just individually polished. Balancing my own stations against the installation's overall vision was a real learning curve.

Working with a larger, multidisciplinary team also sharpened how I collaborate: finding the best solution together, rather than defaulting to my own instinct, made the final piece stronger than any one station could've been alone.