The Life Reel is an always-evolving portrait of lived experiences, formatted into a four-dimensional score of image, motion, and sound. At its core is a custom, audio-reactive engine that listens in real time—both to tracks that have shaped my personal history and to the ambient noises present in the room where the piece is shown. Waveforms become variables; frequencies drive geometry, memory, and cut-points. The software reaches into a ten-year archive of notebook fragments, phone videos, travel rushes, and studio sketches—thousands of clips tagged only by date, place, and mood—and assembles them on the fly. No sequence ever repeats: the work is literally written by the moment.

Visually, frames burst, overlap, and dissolve according to harmonic change. A rising chord might slow-pan across a drive in Scotland, while a sudden snare hit fractures the view into nested screens that tumble through more recent memories. Time itself is treated as sculptable matter: the algorithm stretches, compresses, and layers footage so that days from 2015 coexist with yesterday’s light, creating a shifting stack of temporal planes. The fourth dimension—the flow of lived time—becomes palpable, rendered as a responsive topology that folds back on itself whenever the soundtrack modulates.

Because the system harvests sounds from the present environment—footsteps in the gallery, a passing siren, a visitor’s whispered comment—the installation is never sealed. It remains permeable to the very life it reflects, allowing each audience to inscribe their own sonic fingerprints onto the reel. In this way, the piece is less a retrospective and more a breathing diary: a device that continually rewrites its own past in dialogue with the present.

The Life Reel gestures toward an “infinite video player” coursing beneath the surface of ordinary perception—an unbroken stream where every second is catalogued, scored, and awaiting re-animation. What the viewer witnesses is only a fleeting extract, a single permutation in a boundless set of possible lives. By converting personal archives into generative cinema, the project asks how memory, music, and environment can merge to reveal a self that is always both recorded and in the process of becoming.