(In)significâncias

How can touch be felt without being shown?

(In)significâncias is an immersive videomapping installation built from six monochrome videos, recorded sound and an original poem that I wrote and recited. Moving image and sound suggest small gestures and the sensation of contact through absence.

The work was my 2025 Bachelor’s final project in Fine Arts and Multimedia at the School of Education of Viseu, Polytechnic of Viseu, supervised by José Pereira and Vânia Ferreira.

Two cubes, six videos and one voice

The final physical work brought the two cubes, six monochrome video sequences and one audio composition together. Video was projected directly onto the cube faces while sound ran as its own layer.

The installation was exhibited at Quinta da Cruz, Contemporary Art Centre in Viseu. It received 17/20 as my Bachelor’s final project.

The film includes the original sound and spoken poem. Use the player controls to listen.

From making to attention

I developed the concept, planned and recorded the video and sound, edited the six face sequences, wrote and recited the poem, mapped the content in Resolume Arena and set up the physical installation.

Reducing the installation from several cubes to two changed how the work was presented. Fewer surfaces allowed greater focus on individual images, movement and sound. The same question guided capture, editing and mapping throughout: how can touch be suggested through absence?

Concept + planning

The starting question, recording plan, sound to face mapping and moodboard.

Image + voice

Original video capture, recorded sound and written and recited poem.

Editing + mapping

Monochrome treatment, timing, framing, levels, export and Resolume mapping.

Physical installation

Two cubes, projection and audio arranged into a spatial audiovisual work.

Six faces. One sensory environment

In Adobe Premiere, I edited six square sequences, FACE 1 to 6, and a combined sequence called TODAS AS FACES. Each projected face could remain independent while a separate version held the complete composition.

I adjusted framing, volume, duration and rhythm, then exported the six face sequences individually. All videos were edited in black and white so movement, expression and feeling could take precedence over colour.

FACE 1 to 6

Six square sequences at 800 × 800 px, exported for their individual surfaces.

TODAS AS FACES

One combined sequence at 800 × 1400 px, containing all six faces.

Six original moving image compositions, shown here as stills; each sequence begins in darkness before the image appears.

Reduce the structure to two cubes

The initial proposal used several cubes and circulation on all sides. I reduced the number of surfaces to give individual images, movement and sound more space.

A smaller structure. More room for each image

The first proposal used several cubes rising toward the ceiling, with 360° circulation around the structure. During development, the work became smaller and more focused.

The final installation used two cubes and concentrated projection on one or two visible faces at a time. Reducing the number of surfaces gave individual images, movement and sound more space.

Initial proposal

Several cubes, a larger structure and circulation on all sides.

Final direction

Two cubes, with attention concentrated on one or two lit faces.

Recording the image. Finding its sound

Before editing, I planned the videos, matched each recording with sound and a destination face, and built a moodboard for background and lighting. This became the working plan for the edit and mapping.

I filmed with a Nikon D7000 and recorded sound and voice with an iPhone 13 Pro. I also wrote and recited an original poem. Recorded sound, voice and poem were combined into one final audio track, then taken into Resolume as a separate layer.

• Nikon D7000, Moving image capture
• iPhone 13 Pro, Sound and voice recording
• 1, Original audio composition

From files to physical surfaces

In Resolume Arena, Layers 1 to 6 corresponded to the six videos exported from Premiere. Layer 7 held the final audio track, including the poem. I then mapped the videos onto the two cubes.