Overload

OVERLOAD is a generative audiovisual installation developed as Final Master Project for MICME at LABA Valencia, presented at the MICME Festival in June 2026. Fifteen identical screens stand on black supports at varying heights, arranged in a deliberately unstable field facing the viewer. A translucent plastic veil stretches across the installation: images remain visible yet never fully accessible, materializing the limits of perception in an age of constant image flow.

Behind the veil unfolds a continuous stream of archival material: politics, religion, history, beauty, music, sport, artificial intelligence, interspersed with recurring fields of red, blue, and white. The installation cycles through states of relative calm into increasing density, acceleration, audiovisual interference, and fragmentation before returning to quiet. At any moment, a single screen may emerge as the dominant audiovisual source while the others continue generating competing visual information.

The system runs as a networked environment built in TouchDesigner: a central Master Brain coordinates fifteen autonomous client nodes over OSC, continuously generating and distributing content, visibility, wave propagation, audio routing, and glitch behaviors. Rather than a fixed sequence, the installation operates on behavioral rules (wave-based activation, thematic collisions, synthetic sound layers), producing a synchronized yet constantly changing field in which no moment is ever exactly repeated.

Presented at the MICME Festival, OVERLOAD realized its conceptual aim: not to describe information overload, but to make it felt. Visitors faced a fragmented landscape of fifteen screens at irregular heights, partially veiled, where archival streams, wave-driven activation, and competing audio continually reorganized the field. No single viewpoint could hold the whole. Focus appears, dissolves into noise, and returns again. The translucent veil became the work’s defining threshold: images stay visible yet never fully accessible, turning excess itself into a form of obscurity. As a rule-based generative system rather than a fixed sequence, the installation remained alive across the exhibition: synchronized, unstable, and never exactly repeated.