YAEL RENOUS
Hello :) I am creative technologist, software developer, and new media artist.I personally design and develop all the technology behind my work, from microcontrollers and sensors to large-scale audiovisual installations. I’m driven by curiosity for emerging tech and love pushing tools into unexpected applications, always seeking new ways for digital and physical worlds to collide. For me, the magic lies in crafting tangible experiences that hide complex tech beneath the surface—turning invisible systems into moments of surprise and delight.
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Github OUTSIDE THE CLIPPING PLANESHANGHAI 2025
Tech Stack:- Unity
- HLSL Shaders
- TouchDesigner
- Audio Analysis
- Audio Design
- Audio Manipulation
- Projection Mapping
- 3D Modeling
Outside the Clipping Plane is an interactive installation that transforms voice into a way of seeing. Inspired by the natural phenomenon of echolocation, the piece invites visitors into a completely dark, seemingly empty space, revealed only when activated by sound.
As participants speak, their voices are captured and localized in three-dimensional space, mapping their physical position into a corresponding point in a virtual environment. From this virtual source, the system emits thousands of simulated rays, using real-time ray tracing to model how sound waves travel outward, reflect off surfaces, and return. Each ray intersection is calculated to determine precise distances and time delays, accounting for phenomena like reflection, occlusion, and reverberation.
Rather than simply generating reactive visuals, the installation performs true spatial simulations to model how waves interact with virtual geometry. These virtual echoes, data describing where and when rays strike objects, are translated into bursts of projected light and spatialized audio in the physical room. GPU shaders and projection mapping align these visuals precisely to the space’s architecture, ensuring that illuminated contours match the hidden virtual objects. When someone speaks, they effectively probe the environment, and echoes return in real time, mirroring the physics of actual sound reflections and revealing glimpses of a synthetic world hidden in darkness.
The title, Outside the Clipping Plane, refers to a technical concept in 3D graphics: the boundary beyond which objects are no longer visible in a rendered scene. Here, it serves both as system and metaphor, marking the threshold between perception and invisibility. The work loops between physical and virtual realms, projecting computer-generated simulations based on real-world wave behavior—back into the same physical space they’re designed to mimic. In doing so, it blurs the line between reality and simulation.
By merging natural sensory processes with real-time computational geometry and rendering, the piece transforms abstract concepts like reverberation and reflection into immediate, tangible experiences. Visitors are invited to discover this hidden world not by looking, but by speaking it into existence, becoming active participants in a live, algorithmic act of perception.