4.4.1 Narrative Layers

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

One way of enriching the experience of the participants, was to interplay between narrative layers, interweaving moments of discovery, reflection, and speculation. Navigating these layers, would invite participants to reflect on the intersections between individual experience and collective phenomena, the distinction of reality and fiction, and the ethical dimensions of experimental research.

Contemporary Videowalk:
This foundational layer of the experience invites participants to walk through the physical space of the HfMT, guiding them through a pre-recorded path that blends real-world exploration with narrative discovery. The videowalk serves as the backbone of the experience, linking various narrative elements and thematic explorations. It provides the spatial and temporal context in which the broader narrative develops, fixing the participant's journey in the present while layering historical and speculative elements on top.

Found Footage:
Serving as a historical anchor, the found footage scenes provide glimpses into the past operations and experiments of Simul Entertainment GmbH. These segments are presented as archival material, lending an air of authenticity and grounding the experience in a tangible backstory. By incorporating this "found footage," the narrative bridges the gap between past and present, inviting participants to ponder the continuity of research, the evolution of corporate ambitions, and the ethical considerations underlying scientific exploration.

3D Animated Scenes:
These segments introduce a digital layer to the physical experience, overlaying the participant's real-world exploration with imaginative reconstructions of Simul's experiments and theoretical explorations. The use of 3D animation allows for a visual representation of concepts and scenarios that may not be physically present or possible, thus expanding the narrative scope beyond the confines of reality. These scenes offer a speculative glance at the workings and theories behind Simul.