4.1 Concept Development

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

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.