SPACE AS A SCORE:
CORPORATE UNCONSCIOUS AND THE VIDEOWALK FORMAT

1. Introduction
1.1 Background and Context
1.2 Research Question
1.3 Objectives and Scope
1.4 Structure of the Thesis

2. Corporate Unconscious 2.1 Credits
2.2 Description
2.3 Video Documentation
2.4 Synopsis
2.5 Full Text

3. Theoretical framework 3.1 Videowalk: Exploring the Format
3.1.1. Walking as a type of art.3.1.2 Audiowalks
3.1.3 The emergence of Videowalk
3.1.4 Choosing the format3.2 Site-Specific Art and Spatial Narratives
3.3 Engaging Audiences in a Constructed Reality
3.3.1 Illusion and Engagement: The Rubber Hand Effect in Theater
3.3.2 We should invent reality before filming it
3.3.3 Simul Entertainment GmbH3.4 Meta-Score

4. Creative process 4.1 Concept Development
4.1.1 Synchronicity and simultaneity.
4.1.2 Corporate Language as a Narrative Tool4.2 Space research
4.3 Development of visual, auditory and performative identity
4.3.1 Corporate Identity
4.3.2 Art Direction and Stage Design
4.3.3 Performativity
4.3.4 Costumes
4.3.5 Music composition
4.3.6 Cinematography4.4 Dramaturgy and Script Development
4.4.1 Narrative Layers
4.4.2 Storytelling
4.4.3 Dramaturgical arc
4.4.4 Space Score and Timing4.5 Videowalk Production phases
4.5.1 Creation of Fake Historical Footage
4.5.2 Videowalk Filming
4.5.3 3D Modeling and Scanning of the Space
4.5.4 VFX Development and 3D Animated Scenes
4.5.5 Documentary Development4.6 Performance and Participation4.6.1 Installations & self-reflective moments
4.6.2 Leveled performances
4.6.3 Fake participants and recursive participation
4.6.4 Easter eggs4.7 Multimedia Techniques
4.7.1 LiDAR Scanning and As-build modeling
4.7.2 On-site shading and texturing
4.7.3 Character and animations
4.7.4 Camera tracking and VFX compositing
4.7.5 Virtual production and "inverse virtual production"
4.7.6 Video Game development
4.7.7 Spatial audio
4.7.8 AI text models
4.7.9 iOS playback app

6. Acknowledgments

SPACE AS A SCORE:
CORPORATE UNCONSCIOUS AND THE VIDEOWALK FORMAT

Since Janet Cardiff's experiments in 1999, the Videowalk format has been gradually emerging as a distinctive method of intertwining site-specific creation with audience participation. This thesis describes the creative process of the videowalk performance "Corporate Unconscious", proposing the notion of utilizing space itself as a score for multimedia performance. It examines how space can guide narrative, form, and audience engagement, challenging traditional notions of spectatorship and participation. Furthermore, it explores the videowalk's potential to build and navigate constructed realities, using mockumentary techniques and connecting to the research of artists like Pierre Huyghe. This study underscores the critical role of building and then documenting realities, proposing that such approaches enrich the audience's experiential journey, inviting them into a reflective dialogue on the nature of truth, fiction, and perception.

© Marianne Harlé