4. Creative Process

4.1 Concept Development

The concept for Corporate Unconscious evolved over approximately a year of research, driven by the intention to do a videowalk where the audience would be the central, unifying axis. My goal was to blur the lines between audience and performer, creating a space where individuals could not just experience the structure of the work themselves but also play an active role, bearing a sense of responsibility within the narrative. This, in my view, helps to bring a higher engagement with the artwork, as participants are not just passive observers but integral components of the experience.

The inception of this project was intertwined with my desire to explore and play with the idea of the meta-score, offering access to the concept of an overarching orchestration, and intersecting this with my investigations into the artistic value of synchronicity. As I went through the hallways of the HfMT, themes naturally emerged, ripe for artistic exploration. The clinical, almost hospital-like aesthetic of the corridors, contrasted with certain areas that felt closer to hidden backrooms than academic passageways, sparked a wealth of narrative and visual potential.

This conceptual groundwork led to the creation of Simul Entertainment GmbH, a fictitious entity that would become the documentary focus of the piece. This wasn't just about fabricating a brand or identity; it was about breathing life into it. Simul -for Simultaneous and Simulation- became a vessel through which we could discuss the emergence of the collective unconscious and situate this within a corporate context and language, providing a narrative framework that leverages the unique characteristics of the space. This fusion of conceptual depth with environmental specificity aimed to transcend traditional artistic boundaries, inviting participants into a richly layered exploration of reality, perception, and collective psyche.

4.1.1 Synchronicity and simultaneity.

My introduction to the concept of synchronicity—distinct from synchrony—came during a lecture by Gastón Soublette in his course Poética del Acontecer [The Poetics of Happening] at the Pontificia Universidad Católica de Chile. At age 91, Soublette illuminated Carl Jung's term, devised to explain phenomena such as coincidences where the collective unconscious manifests in everyday life. Despite the criticism labeling Jung's studies as esoteric, the core idea of synchronicity as a meaningful coincidence provides a rich vein for artistic exploration.

In his homonim book, Soublette advocates for "discernment by analogy", a method of uncovering from the unconscious a neglected approach to reality. This concept draws heavily from Jung’s theory, which sees a constant analogical parallelism between psychic occurrences and objective events, termed as "Synchronicity". Here, the modern logical dichotomy of subject-object is challenged and reintegrated as participative consciousness, paving the way for a worldview of horizontal relations and resonances, moving beyond the dominion of exclusive truths.

Synchronicity is complemented by the concept of simultaneity, which refers to the occurrence of events at the same chronological moment but without the inherent meaningful connection implied by synchronicity. While synchronicity deals with the meaningful alignment of events, simultaneity addresses the parallel unfolding of actions or events, enhancing the narrative complexity and depth of Corporate Unconscious. The inclusion of simultaneity allows for a richer exploration of time and narrative, as participants navigate through simultaneous layers of reality and fiction, past and present.

Within the narrative of Corporate Unconscious, the intrigue surrounding Jung's synchronicity is reignited through the fictional research group Simul Entertainment GmbH. This group's obsession with providing a scientific grounding to Jung’s concepts translates into experimental endeavors aimed at validating the existence of a higher order. Through this narrative device, synchronicity becomes more than a thematic backdrop; it emerges as a tangible force influencing the characters and, by extension, the audience’s experience.

Synchronicity transcends the narrative to influence the structure and participant engagement in Corporate Unconscious. The artwork invites participants to engage individually, equipped with headphones, unknowingly weaving a network of actions that affect each other's experiences. This mechanism illustrates how a collective structure -collective unconscious- becomes apparent. An instance of this is when participants encounter one another, and through their iPads, realize they are part of a larger, preordained structure. Such moments are not just revelations of being part of a broader narrative but also open up the perception of synchronicity to the performance itself. The example serves as a microcosm of how synchronicity operates within the artwork, challenging participants to acknowledge their role within a collective narrative that extends beyond individual experience. This interaction mirrors the meta-score concept, where orchestrated events in life are perceived as part of a grand composition. In this context, synchronicity provides a framework for understanding the interconnectedness of individual actions within a larger collective narrative.

4.1.2 Corporate Language as a Narrative Tool
The approach to corporate language in Corporate Unconscious materialized from an in-depth exploration of the physical space where the narrative happens. My observations, rooted in nearly three years of studying within these confines, drew attention to the environment's stark, clinical nature, reminiscent more of a hospital than a music school. The white, sterile corridors and the heavy, silent doors painted a picture of an experimental, almost laboratory-like setting.

This backdrop became the canvas for the fictional narrative of Simul Entertainment, conceived alongside Robin Plenio. We immersed ourselves into the hypothetical: envisioning the space once inhabited by a company or organization, inspired by the real-life presence of Gyorgy Ligeti at HfMT Hamburg until 1989. We imagined the aftermath for Ligeti's disciples left leaderless, their endeavors in electroacoustic music studies morphing into a collective quest. Thus, Simul was envisioned as an entity formed from these disciples, striving to harness a product that could control "synchronicity" itself—a concept gradually unveiled throughout the narrative, reflecting the elusive nature of corporate objectives.

In constructing Simul's world, we adhered to the meticulous processes a real company would undergo: strategic planning, defining missions, visions, and even preparing marketing materials such as flyers and corporate jingles. This process aimed to encapsulate the operational ethos of a 1989 company, blending historical context with speculative fiction.

My fascination with corporate language—despite its not being inherently appealing—stems from its ubiquitous presence and the patterns it creates. Corporate language, particularly in the context of startups and corporations, aims to sell products or ideologies with a blend of grandiloquence, simplicity, and attractive visuals. This language creates identifiable patterns, an aspect we incorporated into the narrative fabric of Corporate Unconscious. The phenomenon of corporate language and visual bombardment is notably prevalent in Chile, one of the world's most neoliberal countries. Here, advertising permeates every corner of daily life, from airplane cabins to metro floors, leading to an overwhelming sensory and cognitive experience. This saturation raises critical questions about our ability to discern and trust the visual and textual information that floods our senses.

In Corporate Unconscious, corporate language becomes more than just a backdrop; it's a narrative tool that reflects and critiques the pervasive influence of corporate culture. Through the lens of Simul Entertainment, the project explores how corporate language shapes perceptions, behaviors, and even realities. It dissects the allure and manipulation inherent in corporate communications, questioning the authenticity and intentions behind the polished veneer of corporate discourse.

The 1990s were a distinct era in corporate advertising culture, marked by a fervent embrace of emerging technologies and a forward-looking optimism. This period saw companies leveraging bold visions of the future to sell products and lifestyles (and ideologies). Advertisements from this era, characterized by their vibrant enthusiasm and sometimes over-the-top promises, reflect a unique blend of optimism and commercial aggression. Companies like Microsoft and Apple were at the forefront, crafting narratives that positioned their technologies as gateways to a new and exciting world. These advertisements often featured sleek, futuristic visuals alongside compelling narratives that promised empowerment, efficiency, and connectivity. This corporate advertising culture provides a rich context for the piece; the fictional company's marketing materials and overall aesthetic draw heavily from this period's corporate ethos, emulating the techno-optimism and the sleek, persuasive language that defined the decade's corporate landscape.

The narrative of Corporate Unconscious uses corporate language both to construct its fictional world and to prompt reflection on how such language informs and distorts our understanding of reality. By embedding this language within the art piece, the project invites participants to navigate and decode the corporate lexicon, mirroring the broader challenge of navigating the corporate-influenced landscapes of our daily lives.

Cabin of a Sky Airlines airplane, with advertisement on the luggage storage.

Corporate commercial of Microsoft (1990).

4.2 Space Research

The initial reconnaissance of a space in site-specific work marks the most crucial phase in the entire development process. Over a period of three weeks, I dedicated myself to an exploratory immersion within the halls of the HfMT, seeking out areas that would bring material into the piece. This phase involved an almost voyeuristic journey through the institution, pushing open every accessible door and getting into spaces perhaps off-limits.

The clinical cleanliness and labyrinthine layout of the HfMT corridors particularly struck me. The facility splits into two distinct sections: the original building, Das Budge-Palais, a classical villa designed by architect Martin Haller, and the modern reconstruction housing the majority of the Hochschule’s classrooms.

In the lower levels of the old building, the dimly lit, poorly maintained corridors felt like a level from a dystopian video game, characterized by flickering neon lights and the smell of moist. This underused part of the building, filled with outdated signs -like "Komputerraum"- and a palpable sense of neglect, became an important inspiration for the visual identity of the piece. The concept of Non-place, as theorized by anthropologist Marc Augé, echoed through these empty, purposeless areas, turning them into fascinating subjects for the project.

An accidental discovery was a peculiar emergency hallway, markedly different from the rest of the building, resembling an incomplete construction zone with reflective brick walls, reminiscent of the magical alleyways in Harry Potter's world. This secluded, damp-smelling path, filled with unopenable doors leading only outwards, inspired the term "Backroom" for its secrecy and eeriness, drawing parallels to the internet myth of infinite, nondescript spaces. The transition area between "Backroom" and the Multimedia hallway, was named "Transferbüro," representing a liminal zone between the old and new, a space where time seemed to fold upon itself. The hard contrast between these sections provided the ground for narrative exploration that would involve something from the past that comes to life.

Moving deeper into the modern section, I identified an area labeled as "The Basement": a circular corridor lined with countless small practice rooms. This space, with its monotonous white walls and identical gray doors, seemed designed to disorient and confuse, embodying a real-life maze. Intriguingly, the corridor was marked with some dashed red-white "danger tape," like police crime scenes. It also had a centerline, like airport runways. The path was clearly offered and delimited. These two visual elements were crucial to later develop the visual aesthetic of both the found footage and the 3d-animated scenes. The particular shape of "The Basement", made me also think of how interesting it would be to intertwine 3D models and contemporary video, as well as spreading participants all around the area, meeting each other at random intersecting points.

The MFS room presented a unique challenge. Rather than concluding the experience within a traditional theater setting, which could undermine the nature of the videowalk, we chose to emphasize the space's technical features. Utilizing the room’s sophisticated Meyersound speakers and acoustic panels, I envisioned transforming this content-empty space into a high-tech control center, integrating it as a narrative element rather than a finale venue.

The journey concluded outside the HfMT, providing a reflective moment by the Alster lake, near a striking metal sculpture that inspired Simul's corporate identity (see section 4.6.4, Easter Eggs). This final outdoor scene offered a breath of fresh air after the more claustrophobic indoor experience, serving as a meditative closure to the immersive journey.

While exploring potential settings, several ideas were eventually discarded, such as utilizing the HfMT's Forum for the project's climax and incorporating different building levels, including elevator use. Precise timing with elevator movement implied logistical challenges, and to maintain participant safety, extensive stair use was minimized, especially when navigating with iPads presented a risk.

"Villa Hallway", Corridor at the underground of the Budge-Palais.
Still of video used for space recon.

"The Backroom", emergency exit hallway. Still of video used for space recon.

"The Basement". 3D generated image of the hallways, with their centerline texturized as shiny aluminum.

4.3 Development of visual, auditory and performative identity

The creation of Corporate Unconscious required the development of a distinct visual and auditory identity that would resonate with the piece's thematic core and narrative style. The aim was to immerse participants in a world that felt simultaneously familiar and bizarre, bridging the gap between reality and digital representation, while enveloping them in a narrative that feels both enigmatic and scientifically grounded.

The visual identity drew heavily on the imagery associated with early Silicon Valley promotional videos and corporate commercials. These sources provided a framework for creating an aesthetic that is distinctly '90s, tapping into the era's commercial optimism and the expanding tech industry's mystique. This time period, with its unique blend of ambition and nascent digital technology, offered a rich tapestry from which to draw the project's visual cues.

In constructing the visual and auditory identity of Corporate Unconscious, the goal was to create an immersive environment that questions participants' perceptions and encourages them to question the role of technology, corporate culture, and identity in their lives. The integration of these elements aimed to develop an experience that is as thought-provoking as it is unsettling, leaving participants with a lasting impression of the fine line between reality and constructed narrative.

Corporate Commercial of Simul Entertainment GmbH. Video material was taken from several sources, and layered with new content.

4.3.1 Corporate Identity
The journey to establishing the corporate identity of Simul Entertainment GmbH was a blend of design, storytelling, and branding. Our initial step was to draw the logo, which acted as the basis of Simul's visual identity. This design process was influenced by the sculptural work Dreiklang by Jan Meyer-Rogge, located outside the HfMT. After numerous iterations, the inverted "S" became a symbol, paving the way to conceptualize Simul as an entity seamlessly integrated into the spatial narrative of the piece.

Beyond the logo, we ventured into constructing the comprehensive corporate facade of Simul. This involved not just visual design but also the creation of an entire corporate ecosystem - how the employees dressed, their daily activities, the aesthetics of their experimental endeavors, and the overall vibe of the company. We aimed to encapsulate an atmosphere reminiscent of early Silicon Valley, drawing heavily on 90s commercial aesthetics, mysterious scientific undertones, and the corporate video culture of the time.

In addition to developing the visual components, we launched the Simul website, hosted at simulentertainment.de during the project. Emulating the simplicity of one of the internet's oldest functional sites, Vortex Technology, the website was mainly done for fun, but helped to imagine what Simul would have done at it’s time.

The entire process of corporate identity development for Simul was not just about building a believable company profile but also about making our own study focus, from where the whole narrative of the piece would be later constructed.

Logo of Simul Entertainment GmbH

Website of Simul Entertainment GmbH, based on vortex.com, one of the oldest websites online (since 1986).

Team photo of Simul Entertainment GmbH. This picture was framed and hidden in several places of the HfMT as an easter egg.

4.3.2 Art Direction and Stage Design

The main visual aesthetic for Simul focused on creating experimental settings reminiscent of sci-fi and pseudo-scientific environments, closely tied to cinematic imaginations of laboratories and corporate spaces. The design incorporated 90s era cameras, cinematic lighting, tripods, lots of cables, all presented openly to evoke a behind-the-scenes atmosphere.

Incorporating elements of crash test simulations and test dummies enhanced the project's exploration of the human relationship with technology and control. These components, traditionally used in automotive safety testing, were repurposed to evoke a sense of scientific inquiry and existential experimentation within the performance's setting. The presence of test dummies, with their uncanny human likenesses, served as a powerful visual metaphor for Simul's research on synchronicity and the human condition in a highly controlled, experimental framework.

My attraction to crash test settings and dummies lies in their interesting dichotomy. On one hand, they symbolize the peak of human effort to safeguard human life. On the other, they present a somewhat disconcerting aspect of human vulnerability and the impersonal nature of scientific experimentation.

In terms of materials, foil was utilized to create a futuristic yet grounded environment, reminiscent of earlier experiments conducted within the basement areas of the HfMT. This material choice, along with the experimental setup, contributed to the unsettling atmosphere we wanted to bring.

The usage of aluminum foil was already tested in The Vacuum Chamber, a preparatory piece we made together with Robin Plenio in 2022. On that piece, a room was completely foiled, including the ceiling and floor. In Corporate Unconscious, foil was used as a way to determine what can be defined as an experimental setting, a way of demarking the stage.

In the center of the MFS room, a large 6x3 meter video wall was installed, structured as a corridor in the shape of a "U". This design choice was made with the intention of presenting this as a significant technological object, not just a screen. Consequently, upon entering the MFS room, visitors were initially seeing the impressive rear view of the screen, revealing its standby lights, cables, and rigging.

It wasn't until the audience navigated around the room and approached the opening of the "U" that they could finally see the content displayed on the screen. I find it particularly interesting to present technology as an accessible object within the artwork, and move away from concealing it as if it were theatrical magic or secret tricks.

The design also played with notions of visibility and surveillance, utilizing motion tracking markers and trackers as both practical and decorative elements within the space. Even though during tryouts we figured a way to make camera tracking work without them, we thought that the Test Setting aesthetic would actually benefit from having them anyways.

The logo of Simul, was discreetly integrated into various parts of the environment. This subtle branding reinforced the omnipresence of the fictitious corporation. Throughout the tour, the audience encountered typical corporate paraphernalia staged in mundane yet deliberate arrangements. This included Water dispensers, bowls of candy, feedback forms, and plastic plants, placed to create an atmosphere of banal office life.

Stills from the found footage.

Still from "Dynamics Of A Crash" (1970s), a film from Chrysler Corporation about car crashes and passenger safety.

Diego Muhr and Robin Plenio, The Vacuum Chamber (2022). Installation.

3D Render of MFS room, with the video wall as a thin hallway. The screen projects to the inside.

MFS room with the video wall already installed. All cable and rigging objects were left exposed.

Corporate paraphernalia in Waiting Room I. The same exact distribution of objects repeated in three different places along the piece. © Öncü Gültekin

4.3.3 Performativity

The performative elements were designed to enhance the thematic exploration of the boundary between human and non-human, real and artificial. In the creation of this piece, we decided that the characters appearing both in the "found footage" and the 3D recreations would adhere to a single archetype: the "Simul Worker." This character embodies a liminal entity, situated between the mechanical and the organic, a blend that underlines the piece's exploration of identity and automation. The Simul Workers were represented in the performance by both human performers and mannequins, with no distinction between the living and the non-living. This choice was driven by a desire to engage with the concept of the uncanny valley, the psychological phenomenon where a figure that is strangely close to humans evokes feelings of discomfort.

As a way to intensify the inhumanity of the characters, we kept a hard hierarchical way of communicating the script. The performers had no clue of what they were supposed to do until the shooting and were given simple behavioral instructions. Their primary role was to embody stillness and the absence of movement, creating a stark contrast when some of them executed accentuated head turns.

The development of this minimalistic performativity was influenced by my previous work, Construction Site. This piece explored an integration of movement and stillness within a choreographic framework. In Construction Site, performers, conceptualized as abstract entities, navigated through the stage under a set of constraints: their movements were detached, their interactions with each other non-existent. The choreography was build following the structure of Johann Sebastian Bach's English Suite No. 5, creating a juxtaposition of visible movement against an invisible auditory backdrop. This disconnection developed a strong atmosphere of alienation, reflecting on the isolation and compartmentalization prevalent in modern societal structures.

In the scene called EXP. 044: Together / At the same time, performers — both human and mannequin — were tasked with enacting a sequence of simulated sexual interactions, an idea that was very hard to perform. The image of a performer having sex with an unanimated body felt wrong in many ways, but brought some interesting questions about boundaries and intimacy in an increasingly mechanized world. The juxtaposition of living performers with inanimate mannequins in this context served to heighten the uncanny sensation experienced by the audience, challenging them to discern the real from the artificial. This scene, while challenging, was done with a deep respect for the performers' boundaries and comfort levels, ensuring that the enactment remained within the frame of artistic expression.

One of the multiple commercials the USA Department of Transportation made during the 80's to raise awareness about seatbelt safety.

Behind the scenes picture of a mannequin and a performer while shooting "EXP. 044: Together / At the same time". © Marianne Harlé

4.3.4 Costumes

The creation of costumes was in the hands of Hannah Ruth Trusch, a talented costume designer based in Hamburg. The inspiration was drawn from various sources, including the static presence of mannequins, the precision of motion tracking equipment, the stark imagery of crash test dummies, and the controlled environment of experimental settings.

Our objective was to prepare some uniform that would not be easily distinguishable between humans and mannequins. This approach was intended to instigate small moments of pause within the audience, where they would need to understand the nature of the figures in front of them. To enhance this effect, glass pedestals, typically used for displaying mannequins, were incorporated, allowing performers to mimic the static posture of mannequins.

The choice of materials and designs was driven by a desire for ambiguity and uniformity. Fencing attire, known for its mesh masks that obscure the wearer's identity, served as a key reference. We sought a uniform that appeared institutional yet indefinable, setting a line between corporate and experimental. The final designs were a marriage of functionality and symbolic gesture, incorporating hand-sewn patterns and motifs suggestive of motion tracking markers into each garment.

Early sketches for the costume design.

VFX markers and police-line strips were references for the costume design.