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
4.4.4 Space Score and Timing
When preparing the script, we found the need to write what can be defined as a "Space Score", a score that is structured by how long it takes to navigate through a specific space. I had some earlier experiences, where I sought to capture the essence of movement and time within specific spaces. With my company Oído Medio, we embarked on creating Asepsis (2018) a piece that happened within the intricate building of the Goethe Institut Santiago. Here, performers were tasked with navigating the building, moving swiftly between rooms in a choreographed manner that mirrored the narrative's progression. The challenge was to develop a notation system that could accurately capture this dynamic movement through architectural space. I conceptualized a score where the horizontal axis represented time, and the vertical delineated the physical spaces accessible at any given moment.
In my piece for 5 performers and light Construction Site (2022), I further explored this concept within a small square of 5x4m. The size of the space meant that performers' movements through the area didn't just contribute to the visual aesthetics but fundamentally defined the work's temporal structure. To manage this, I developed a scoring method that pinpointed performers' locations at any given time, transforming their movement into an event trigger that connected both movement, actions and lights.
In both Asepsis and Construction Site, the space score was more than a navigational solution; it was a narrative device and a compositional tool. It highlighted how the physical movement through a space could be subject to compositional thinking.
In Corporate Unconscious, one significant hurdle we faced was how the space itself shaped the narrative. Each segment of the journey provided a distinct timeframe for storytelling, tied to the participant's pace through the HfMT. This required us to carefully consider which parts of the story were essential and how to best allocate our limited temporal canvas to these moments. Essentially, the space itself set the pace, compelling us to make deliberate choices on where to focus and where to let the story breathe.
Writing this script under such constraints necessitated a comprehensive view of both the narrative's flow and the participants' physical movements. The space score became our narrative map, a guide for emotional and intellectual engagement that paralleled the physical journey through the building. Every step and turn was an opportunity to deepen the immersion, ensuring that the movement through space and the story enhanced each other seamlessly.