1.2 Research Question

SPACE AS A SCORE:
CORPORATE UNCONSCIOUS AND THE VIDEOWALK FORMAT

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

5. Conclusion

6. Acknowledgments

7. References

At the center of this exploration lies a central research question that has driven the creative process of Corporate Unconscious: How can space itself serve as a score for multimedia performance, guiding narrative, form and participant interaction? This question challenges traditional notions of space as merely a backdrop for action, proposing instead that it can actively shape and direct the narrative flow and audience engagement in profound ways.

Within this research question are sub-questions that analyze the process of integrating multimedia elements with physical space. These include considerations of how participants' movements through space can trigger or influence narrative elements, the role of technology in mediating the relationship between space and narrative, and the potential for space to embody and convey complex themes such as synchronicity and the collective unconscious.

This thesis suggests that by understanding and considering the unique characteristics of a given space, artists and creators can build immersive experiences that resonate on multiple levels, blurring the lines between viewer and participant, and empowering the engagement of the audience. It is an exploration of the potential for spaces to host narrative and become an integral part of the creative process itself, offering new possibilities for interpretation, and the creation of meaning.