The installation consists of a sculpture made of piano components and metal bars, combined with light, shadow, 2 mirrors, a single-channel video, and stereo sound diffusion. Conceived as a mnemonic machine, the sculpture is envisioned as a circuit through which memory flows, reorganizes, and cyclically returns. Its form draws direct inspiration from the internal structure of a piano as well as the pyramidal shape of a mechanical metronome, forms that are also reflected in the digital spaces represented within the video.
These references are not merely formal but symbolic: the metronome, as a pendulum, represents a temporal ambiguity, oscillating between past and future. The piano, in turn, serves as both the entry point into memory and the engine that activates the metronome. It remains ambiguous whether these two instruments are containers or contents of each other, reinforcing the work’s recursive and speculative logic.
A meta-level of interpretation is introduced through a series of geometrical lines that emerge at key moments in the video, evoking Aristarchus’s studies on planetary alignment and suggesting the moment when memory begins to realign with itself. This concept is reflected in the sculpture’s structure, whose geometry echoes both these lines and the pyramidal shape of the metronome.
In the installation the projector is positioned so that its light directly illuminates the sculpture, projecting fragments of the video onto its aluminum bars and other components. As the video reflects and refracts, it creates shadows that intersect with video elements, such as piano keys and hammers, generating an additional narrative layer. Two large mirrors placed on either side of the sculpture reflect its image, producing a perception of symmetry that is subtly varied, echoing the installation’s multidimensionality.

Narratively, the video explores the memory of music, how it recalls and attempts to reconstruct itself through the lens of musical objects like the piano and metronomes. These objects are not presented as mere tools, but as mnemonic architectures, physical forms in which memory resides, reverberates, and transforms.
The video opens with an aerial view of a grand piano that gradually transforms into a floor plan mirroring its shape. This plan metaphorically represents the architecture of memory, divided into symbolic, music-inspired zones, each explored sequentially in the video:

The journey begins with an opening serving as a cognitive threshold, the passage between the external world and the mnemonic space, acting as the gateway to perception and cognitive processing. It then moves into a resonance chamber where mnemonic frequencies and sounds amplify and merge into a single sonic body. Next, it reaches a convergence hall, a theatrical space where musical memories converge and interact. This is followed by a process of recursive re-experiencing, in which memories cyclically return and reflect upon themselves. Subsequently, memories enter a phase of dream-driven mnemonic integration, where they are modulated and reprocessed. Finally, the journey arrives at the engrams, the deepest level, representing the ultimate neural traces that sustain the entire mnemonic system.

These symbolic spaces represent a journey inward. The first part of the video symbolizes a descent into the core of memory, toward the engrams, while the second part ascends back toward the surface, offering a mirrored perspective that reinitiates the cycle.

From a sonic perspective, the composition is constructed through the manipulation of both piano sounds and drum machine elements. The latter acts metaphorically as the “machine”, the electronic brain in which mnemonic reconfiguration takes place. This creates a sonic counterpoint, where electronic and acoustic layers intersect at times and sharply contrast at others, yet retain shared characteristics through harmonic and rhythmic similarities and imitations.

Technically and conceptually, the sound is structured into three distinct layers. The first layer consists of nearly pure piano sounds, minimally processed digitally except for the inclusion of its mechanical noises. The second layer features piano and electronic sounds convolved together, both in static forms and through morphing techniques. Finally, the third layer is entirely electronic, composed of percussive and harmonic elements that digitally reinterpret and reconstruct an electronic counterpart to the acoustic instrument.