4.1.1 Synchronicity and simultaneity — Space as score: Corporate Unconscious and the video walk format

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

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.