CORPORATE UNCONSCIOUS AND THE VIDEOWALK FORMAT
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
5. Conclusion
6. Acknowledgments
7. References
3.2 Site-Specific Art and Spatial Narratives
My journey into the world of site-specific performance art began years ago, emerging from a profound fascination with how spaces can dictate and drive creative expression. This fascination is not merely academic; it's visceral. When I enter a new space, I come with no preconceived notions of what I will create. Instead, I immerse myself fully, spending hours walking through, touching, and interacting with every inch of the environment. This process is critical to my practice; I believe that a space should propose the artwork, providing not just visual elements but also a temporal structure and format for the piece.
My incursion into site-specific art has been marked by several key projects, each deeply influenced by their respective environments. The foundation of my "composed" theater company, Oído Medio, was a pivotal moment in this journey. We, a collective of composers, actors, and visual artists, were united by our desire to transcend the conventional paths laid out by our university disciplines. We intended to create performances that were not just set in but fundamentally born from their locations. Our debut project, ASEPSIS (2018) conducted at the Goethe Institut Santiago, served as a significant exploration into the interaction between space and narrative. The library's sterile, neo-brutalist architecture provided a stark canvas for our exploration of themes such as isolation and the boundaries between public and private knowledge. The performance leveraged the space's unique features — its openness, soundproofing, and even the materials within — to create a multi-sensory narrative experience that questioned institutional roles and personal freedom.
INSOMNIO (2019), our project in Galería Espora, Santiago, discussed the consequences of urban development and the disruption of intimacy in a space that has become uninhabitable. Set in a building overshadowed by the city's growth, this work emphasized the narrative potential of abandoned or transitional spaces, using light and repetitive movements to weave a story of sleeplessness and displacement.
In 2021, my exploration expanded with Mind Palace, a videowalk in Parks Bullerdeich, Hamburg. This project marked a significant evolution in my site-specific approach, combining physical movement through the space with digital narrative layers. Inspired by ancient mnemonic techniques, the work invited participants to engage with the space as a repository of personal and collective memories, challenging them to reconstruct narratives from the fragments presented to them. Mind Palace exemplified my belief in the power of site-specific art to transform our understanding and experience of everyday spaces.
My approach to site-specific art has been significantly informed and inspired by the works of established artists in the field. James Turrell’s manipulation of light and perception has always fascinated me; his installations transform architectural and natural spaces into immersive sensory experiences that question viewers' perceptions of reality and illusion. This manipulation of the physical environment to alter human perception resonates deeply with my own artistic objectives. Doris Salcedo’s installations, deeply rooted in her Colombian context, utilize spaces and objects to narrate stories of loss, memory, and trauma. Her ability to infuse spaces with profound narrative weight has been a critical reference point for me, demonstrating the power of site-specific art to confront and heal collective wounds. Furthermore, the collective projects led by SIGNA have showcased the collaborative potential in transforming public spaces into places for interaction, dialogue, and reflection. Their work, bridging the gap between science, art, and community, underscores the multifaceted interactions that can arise within well-considered environments.
My experience with site-specific performance art has been a constant discovery of the symbiotic relationship between environment and narrative. This journey, rooted in a deep connection with each space I encounter, has reshaped my artistic practice and my understanding of the role of space in storytelling. The projects with Oído Medio, and my personal research represent more than artistic endeavors; they are manifestations of a belief that spaces are not passive settings but active elements that shape and are shaped by the narrative.