My influences developed naturally through exploring immersive art, full-dome experiences and works about memory and perception. I didn't start with a formal research plan.

Refik Anadol's data-driven installations had the most significant impact. His projects like Machine Hallucinations and Melting Memories reinterpret memory not as literal imagery but as flowing, generative visual material. His work showed me that memory can be fluid and expressive rather than simply reconstructed. This opened my mind to using abstraction, glowing forms, and subtle movements to portray internal processes.

teamLab's installations, especially their Borderless environments, also shaped my thinking. They use darkness and isolated lighting intentionally, creating atmospheres that feel dreamlike yet grounded. Their work taught me how minimal objects can create emotional impact. The idea of a single glowing brain in infinite darkness came from understanding how teamLab uses focal points in vast spaces. I wanted viewers to feel like they were floating in a psychological landscape, drawn toward a memory represented as a living object.

Immersive dome art from SAT Montreal shaped my understanding of pacing and movement inside curved projection spaces. Dome cinema relies on slower motion, gentle camera paths and atmospheric transitions. I studied multiple full-dome pieces to understand how imagery behaves on curved surfaces and how the eye tracks information when surrounded by visuals. These works taught me that the dome isn't just a screen, it's a space that demands its own visual language.

Beyond artistic influences, I researched theories of episodic memory. Psychologists describe episodic memory as reconstructed rather than replayed. This idea influenced the glitch-text sequences in my project. Instead of revealing the vlog instantly, I wanted the system like a mind to "load" or "access" the memory. This made the transitions feel more conceptually coherent.

On the technical side, I studied dome projection workflows, equirectangular formats, fisheye conversions, and spatial presence theory. These were the practical foundations I needed to turn standard footage into dome-ready content. I watched tutorials on Unreal Engine cinematics, After Effects immersive tools, and dome projection breakdowns from professional planetariums. All these influences layered together to create a project that blends emotional storytelling with immersive technology.