(multiple-projection // recording - documentation
[Musashino Art University Museum Space set-up experiement - Gallery 6 Space]
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Garden of Echoes imagines a post-human world: an artificial landscape where remnants drift through a fluid, dreamlike consciousness. In this space, coded realities unfold beyond linear time. Figures made of smoke, serpents, and shadows wander, creating an uncanny environment that blurs the boundaries between the organic and the synthetic, the mythical and the technological.

Through immersive projection and spatial sound, the installation constructs a living environment where the viewer is both witness and participant. The space remembers, forgets, and mutates in response to human presence. By merging symbolic and algorithmic processes, Garden of Echoes meditates on transformation, memory, and loss; on how meaning persists beyond the human frame.

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Mythology references : Three mythic figures guide the work’s emotional architecture :

• Erinyes (Greek) – spirits of justice and remembrance, born when human law fails. They embody guilt and the persistence of moral reckoning.

• Gashadokuro (Japanese) – a giant skeleton formed from the resentment of the neglected dead, representing collective trauma and shared suffering.

• Onryō (Japanese) – a revenant of personal grief, often a woman returning from death, distorting time and fate through unresolved emotion.​

 

Within the installation, these presences converge as spectral forces within the digital garden. The Erinyes appear as whispers within the code, echoes of forgotten justice. The Gashadokuro manifests as a fragmented 3D skeleton, glitching and dissolving across projections, embodying collective memory in a post-human world. The Onryō surfaces through fleeting apparitions, flickering at the edge of perception.

Together, they form a cross-cultural dialogue: Western and Japanese traditions both suggest that neglected injustice never vanishes but transforms into haunting energies that demand recognition. The work invites reflection on memory, technology, and how the ghosts of human experience continue to inhabit digital space.

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Visual Environment :​ The visuals combine 3D computer graphics, animation, simulation, live-action footage, VFX, sound-reactive elements, and drawn/painted textures, merging into a single cohesive immersive landscape. 

Sound Design : The soundworld is built from “sonic memories”: fragments of lost sounds created out of field recordings, speech, melodies, and rhythmic motifs that resurface like echoes from a lost world. These sounds distort and dissolve into mechanical and electronic textures, blurring into dark dronescapes. Here, two parallel sonic narratives unfold: the lost sounds of the old reality, and the distortions of this new reality. As the listener moves through the installation and experiences this in-between space, they reconstruct this narrative of transformation between realities. 

​Visitors enter the “garden” and encounter entities that embody human instincts, desires, and emotions manifested as sound, movement, or projected form. The environment does not tell a fixed story; rather, it unfolds as a living system of fragments, memories, and transformations, inviting each visitor to interpret their own passage through it. 

The project contributes to the ongoing dialogue between art, technology, and philosophy by proposing an immersive framework where mythic imagination is regenerated through digital systems. Garden of Echoes positions itself as both a sensory experience and a conceptual inquiry, a meditation on how we coexist with the ghosts of human experience in a post-human age.