The Da Capo Project immerses viewers in an endlessly looping 3D virtual space. The camera, representing the viewer, moves only forward or stays fixed, never retreating. White spheres continuously generate, overlap with the environment, and vanish.

The project acts as an auditory field study, capturing urban sound fragments—ferry whistles, subway tremors, street clamor—transforming them into dynamic 3D visuals. Titled Background Sounds: Public Transit Sequence, it reflects the irreversible, repetitive nature of public transit, mirroring life’s unyielding forward motion.

The visuals are not direct sound translations but reveal hidden emotional and experiential layers through algorithmic and intuitive interplay. Clashing mahjong tiles, campus static, demolition roars, and infant cries intertwine, questioning whether life’s traces, crushed by progress, can be reborn digitally. In an era of deconstructed certainties, life’s essence lies in unruly contingencies and vulnerabilities. These fleeting sound-image embryos float in algorithmic chaos, forming a memory ark carrying humanity’s warmth toward an unknown eternity.