This audio installation was shown in Bergen Kunsthall for my graduation exhibition for master's degree at the Bergen Academy of the arts. The work consists of 16 speakers, 1 mac mini, sound card and proprietary software, in addition to the usage of ViMiC and Jamoma. The composition was driven by different pseudo-randomized processes that manipulated sound in real time. The sound was then fed into a virtual room, where it was "listened" to by 16 virtual microphones. The reflections of the virtual sound source are calculated according to the properties of the virtual room ( metal, wood, glass etc.) and rendered over 16 fused speakers. The experience of depth is amazingly convincing and one can really use this as an element in the composition.

I have written the following about the piece:

I was quite fascinated about the idea of aural architecture, properties of space, as something one could articulate precisely through different spatialisation techniques. In the 40 Part Motet by Janet Cardiff, the aural architecture added layers of emotional, social and even political context to the piece. With adaptation/volume I was more concerned with the aspect of the virtual and the idea of space being contained within frequencies and how the trans-modal perception would direct and influence the listening experience.
Denis Smalley states that all listening involves a trans-modal operation, which is the interaction and interdependence of various sense modalities. This means that the audible perception of space in an acousmatic situation - for example a playback of a field recording - draws upon the experiences of the body and its prior encounter with space. If we think of the body as a hard-drive where spatial experiences are stored, then these experiences are being allocated in an acousmatic situation, the past is involved in the listening process.