The background and the last version of Immémorial allow us to investigates the relationship between technology, science and humanities. Science and computer offer an emotional, aesthetical energy, a capacity to nourish poetry and imagination; the artist may intuitively propose free hypotheses, confronting his artistic project with scientific questioning, instead of giving meaning to his work. Doing so, he collaborates to the development of knowledge. Immémorial proposes a taxonomy of models of recollections which form our identity and deals with the dynamic functioning of our memory. Conversely, the structure of the computer language used for distributing the video image and sound spatialization guide the construction of the narrative and the return of the memorial experience in the device. Owing to the technical process of audio and visual spatialization, Immémorial projects the viewer into the heart of an environment, which is divided into 24 memorial moods based on poignant experiences, in order to awaken long-term memory.