Immemoria proposes to explore virtual reality and sound spatialization technologies to question our individual relationship to memory and forgetting.

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By simultaneously immersing the spectator in a virtual generative structure and in the heart of a physical scenographic device, the work confronts him with his memory through one of the most intimate elements of his personality but also one of the most foreign: his voice.

Three interactive terminals - present in the real space and in the virtual universe - automatically record and store in real time the participant's vocal reactions. By pressing a button located on the top of the terminals, the latter has the possibility to reactivate the vocal samples and to hear their alterations according to the time elapsed after their pronunciation. The longer the time elapsed, the more distant and distorted the voice will be. Spatialized sound effects amplify the ambivalent feeling - both disturbing and fascinating - of hearing oneself again.

In a will of continuity between the actual reality and the virtual reality, the scenography was conceived so that the experience begins before the fitting of the VR helmet and continues after. The participant does not know the experience he will live in the helmet, but he can start to form an idea from the sounds he hears and the light variations he witnesses while waiting for his passage.

By juxtaposing in the mind of the spectator real matter and virtual matter, Immemoria blurs the border between the two worlds and thus tries to reveal to the consciousness both the strength and the fragility of the memory.