4.3.4 Costumes

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 creation of costumes was in the hands of Hannah Ruth Trusch, a talented costume designer based in Hamburg. The inspiration was drawn from various sources, including the static presence of mannequins, the precision of motion tracking equipment, the stark imagery of crash test dummies, and the controlled environment of experimental settings.

Our objective was to prepare some uniform that would not be easily distinguishable between humans and mannequins. This approach was intended to instigate small moments of pause within the audience, where they would need to understand the nature of the figures in front of them. To enhance this effect, glass pedestals, typically used for displaying mannequins, were incorporated, allowing performers to mimic the static posture of mannequins.

The choice of materials and designs was driven by a desire for ambiguity and uniformity. Fencing attire, known for its mesh masks that obscure the wearer's identity, served as a key reference. We sought a uniform that appeared institutional yet indefinable, setting a line between corporate and experimental. The final designs were a marriage of functionality and symbolic gesture, incorporating hand-sewn patterns and motifs suggestive of motion tracking markers into each garment.

Early sketches for the costume design.

VFX markers and police-line strips were references for the costume design.