The installation is based on an autonomous, self-standing, audio-visual setting. Consequently the core of the work focuses on programmed, generative, processes within sound creation and music composition as to visualize, notate, these processes in real-time. The installation title 'particle synthesis' names the two principles constituting the work, the sonic technique of granular synthesis and the visual one of particles rendered in 3D real-time. Here every particle is a grain evolving in space and time. This inter-relation between sonic and spatial characteristics constitutes the main characteristics of the real-time rendering in 360 degree and the surround sound. Further each grain is the carrier of a tiny program defining its behavior and evolution in space and time. Out of the multiplication and interaction of the sonic particles /spatial grains emerge the 'synthesis'.
The hexagonal shape of the installation translates these sonic and spatial specificities: six networked computers, each rendering 60 degrees of the 3d scene, are boxed in a transparent Plexiglas case also including a speaker. These boxes have the shape of a stage monitor and are placed next to each other on the ground to constitute the hexagonal ring. The speakers and screens are oriented towards the center of the installation offering the visitor inside the ring an immersive and 'spatialised' experience whereas the 'external' view rather gives a complete vision, an overview, of the setting.
The design of the installation thus gives shape to the inherent spatial and sonic parameters of the software and exposes its constituting hardware as its specific form offers two perceptions and manifests the spectator's act of entering and listening; between soft and hardware; between perception and action.