In Partial Space, Rebelo expands on some of the ideas explored in Alvin Lucier's I am sitting in a Room (1995), particularly the notion of a room as musical instrument. In Lucier's piece, the room acts as a "filter and modulator of an arbitrary sound source (speech)," whereas in Partial Space, Rebelo creates an inversion the room-as-sound-modulator, by turning the room into an instrument, complete with its own characteristic resonance. 27

There are some aspects of Rebelo's work that too have been explored by other sound artists since its creation. For example, David Cunningham's The Listening Room at the Tate Britain also explored the interaction of sound and space. Cunningham's piece aimed to capture the effect of "powerful sound waves activating the entire volume of air in a room,"28 by utilising a "feedback device and a gate, the sound grows in intensity as it feeds back on itself, changing in character according to the nature of each individual space and the behaviour of those entering the space. At a certain point the gate comes into force, shutting off the feedback and so starting the process back at the beginning."29 This piece can also be compared with Partial Space in terms of its relationship and interactivity with the viewer. In experiencing either installation, audiences do not simply look or listen, they are immersed in interacting with and becoming a part of it in real time.

Understanding Sonic Audio Work
Pedro Rebelo's work and writings are laden with technical expressions, theory, and philosophy; thereby, a surface reading of his work is difficult for those with limited knowledge of technology, sound and/or the physics. However, what might seem as an inevitable misunderstanding between Rebelo's concepts and the receiving audience is, in fact, in balance. Rebelo states, "I am not a great believer in explanatory/didactic art in which the artist makes sure the audience appreciates the process, I do try and make the process, or in some cases the constraints evident with view to how the work is presented."30 The audience can achieve a level of understanding of the work through interaction with the space which is evident in the delivery of Partial Space. In the latter, it can be argued, labels disappear and the audience is a direct collaborator with the artist, imparting meaning into the work by participating.

Collaboration and Inter-disciplinarity
Rebelo works with artists, musicians, even engineers and computer scientists. Each collaborative arrangement often introduces new agendas into his work that normally seen as part of the final work. Pedro believes such multiplicity of influences can only make the work more appealing as the work reflects different voices and experiences on many different levels.31 Pedro states, "The more we talk about collaborative work and inter-disciplinarity, the more I think interesting practice revolves around the differences and disruptions between disciplines, rather than in their merging."32 Partial Space is a good example of a work that revolve[s] around the differences and disruptions between disciplines. There are diverse influences originating in the fields of physics, computing technology, art theory, and even theatre. In this piece, for instance, the sound is analysed, and broken down into its simplest component form (sine waves) from physics. This component is then re-introduced into an interactive environment where audiences manipulate these forms directly. Where some other audience members may be interested in computing possibilities, others may pause to examine and consider Rebelo's interactive structures and/or architecture. Still others entering the installation may not understand any of the technology offered but appreciate its theatrical and performative nature and its plausible theoretical or historical foundations. In classifying this work a disruption is created between disciplines as Partial Space seems to be about all these things mentioned above and then maybe nothing at all.

Rebelo's use of collaboration moves beyond pre-production relationship is with artists and professionals in development. His works are contingent on the collaborative nature and explorative mind of his audience. Without audience participation, the work does not function. The audience can not simply view the piece, they must become a part of it. This element of interfacial interaction may not seem oblique to the participant at first, but as each moves through the room, and a new conscious awareness of instrumental control is learned, the audience completes Rebelo's goal of creating a "user-space;" a space that "defines the "inhabitant" as a full participant, a user, a performer of space."33

In Conclusion
Pedro Rebelo's interactive sound installations successfully utilise collaboration on multiple levels that reflect inter-disciplinarity as well as technological developments that can redefine "user space;" and how contemporary artworks should be considered.

Footnotes:
27 Rebelo, Pedro. (2003). Performing Space. Organized Sound, 8.2, 181-186.
28 The Art of Noise, April 12 2005, http://www.tate.org.uk/tateetc/issue3/theartofnoise.htm
29 ibid
30 Rebelo, Pedro. Email correspondence interview March 20 2005
31 ibid
32 ibid
33 Rebelo, Pedro. (2003). Performing Space. Organized Sound, 8.2, 181-186.