As visitors enter the performance space, they find an array of sumptuous clothing from which they can choose to don. The clothing has specific exaggerated physical qualities of, for example, weight, size and material. This clothing is embedded with wearable sensing, computing and signal processing devices as well as small audio speakers. Individually, the visitors enter into several individual vestibules - rehearsal studios where they can play with streams of sounds and compositional effects being broadcast by wireless audio throughout the room. There the visitors can explore the aural and physical properties of their garment-instrument, and gradually learn how to modulate and change the sounds they are receiving.

After practicing, the players then enter a circular room, thick with sound and image. The curved walls and floor are covered with transforming, polymorphous video and computer-generated textures: archeologies of bodies, acquatic organic forms, elemental and microscopic liquid and solid state changes. These phantasmagoric textures appear to breathe and dance according to the sound patterns in the room. In this garden, as the visitors pass near each other, their clothes will appear to howl and squeal - patterns of sound and image "bleeding" from one body to another. As the visitors move about, their locations and groupings will strengthen and lighten the density of the visual environment while varying the melodic and rhythmic aspects of the sound space. Memory, population density and bodily proximity affect the dynamics of the room, causing growth, decay, infection and contamination in the visual environment. Embedded performersn also inhabit the room and will affect the basic sound structures of the environment, providing the cantus firmus in a dense and changing polyphony of rhythms and melodies generated by the visitors gestures and motions.