In “Vórtice-en-la-zona-silencio,”  the audience shall walk in diagonals through paths and coordinate verbally or non-verbally to build a dynamic that would result in activating the multiple states of the piece. The installation comprises four elements, videos, and two soundscapes. A 5.1 surround system showcases the natural soundscape of the vortex flight. One to three video channel projections act as open windows of the cave. Through a custom computer program, four microphones echolocate the audience and their presence, creating an interactive response from the video and sound, reacting to their movement and sound.
Installation at Headlands Center for the Arts at the Gym, at Echo Echoes, a two-person show with Joshua Moreno
Documentation of interactivity
Video excerpt
The piece illustrates the bats up close and focuses on the concept of their vortex; outside of a precise zootechnical and biological analysis, the artwork evokes the idea of community and imitation. The bat colony coordinates to exit the cave in a somewhat choreographed pattern. The first bats that go out of the cave scout the surroundings, assuring safety from the depredators for the entire colony.  Then, the most physical and healthy bats initiate the vortex, producing an upward strong wind current that aids bats at a physical disadvantage by utilizing the current of air created by the vortex as a propeller.
If the audience causes sufficient noise and their movement causes enough sonic disturbance, the video fades to a glowing red reminiscent of when we consciously see with our eyelids closed; simultaneously, the soundscape fades, and a sub-tone that overlaps the soundscape.
The recreation of echolocation is made with four microphones, allowing the piece to locate the audience's presence and surroundings with sound. I am interested in suggesting a moment of reflection, where the audience must coordinate silence or, better expressed, caution and awareness of their presence. 
Like the bat vortex, the audience needs human harmony to access the video and soundscape of the piece. The audience must be cautious of their presence, self-organizing to observe in human silence and understand the installation’s nature. Allowing new behaviors that mimic the harmony of nature, behaving like an audience, strolling carefully, and being mindful of their presence or vice versa, moving carelessly and, by doing so, fading the bats altogether.  The installation enables a sense to experiment with this new perspective. It also reminds us of the destructive power of our mere presence, triggering a communal organization with others.