After a short waiting period in the waiting room, visitors are individually escorted to dressing rooms where they find a range of TGarden costumes. The clothing is designed with specific physical constraints in order to interfere with the visitors' habitual movements. The costumes are embedded with wearable, movement-sensing devices and wireless-transmission modules, which enable the visitors' gestures to be tracked and sent to a central computer for analysis and processing.
Subsequently, the visitors enter the Play Space. Each novice player goes through an initial period of rehearsal, for him/her to grasp the responsitivity of the environment to his/her movements. In this period, the immediate results of their gestures are easily perceivable: as if scratching the surface, the players leave their personal traces in the environment. Gradually, the Play Space begins to fill with transforming computer-generated imagery and atmospheric soundscapes, that appear to possess life-life properties (growing, breathing, moving, resting or dying) and to respond to player's actions. Through practice, the players can learn to spawn, feed or decompose the media entities, prolonging or shortening their cycles in the Play Space, making the TGarden grow and decay.
As visitors interact with each other, social relations begin to form. Locations and groupings are tracked and will radically change the visual and aural properties of the environment: player's individual marks are amplified and can cause an extreme disruption in the media environments. By increasingly distorting the environment, the group is 'extracting energy' from the Play Space. Once the individual player's efforts of feeding and spawning the media entities have been used up and all energy in the system is exhausted, the TGarden will move into a stasis (becoming dark and silent), and will prepare itself for a new cycle.
TGarden by Sponge and FoAM (2001) from V2_ on Vimeo.