4.6.1 Installations & self-reflective moments — 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

4.6.1 Installations & self-reflective moments

The installations and moments designed for reflection play essential roles in shaping participants' experiences and perspectives. The piece begins in Waiting Room I, where participants face a seemingly routine but unsettling task: signing a detailed participation agreement. This initial interaction sets a thought-provoking tone, prompting participants to consider the implications of their consent and the boundaries of their personal privacy within the framework of the art piece.

An excerpt of the contract reads:

"I agree to respect the privacy and confidentiality of other tour participants, and to refrain from taking photographs or recordings of other individuals without their consent.

I acknowledge that Simul may modify or cancel the tour at any time due to unforeseen circumstances or events outside of its control, and that I will not hold Simul liable for any costs or damages incurred as a result of such modifications or cancellations."
The experience then progresses to Waiting Room II, where participants -after 20 minutes of tour- return to the same room but under different circumstances.

The narrator said on headphones:

"In the following room, all participants are there to contribute to an experiment by Simul and are waiting for their turn to be called by the experimenter.

Some individuals may be excited to take part, while others may be anxious or unsure.

The goal of this setting is unknown, but it is likely that it is related to observing and studying human behavior in a controlled environment."
This repetition aims to induce contemplation about the nature of observation and the feeling of being part of a collective experiment whose true objective is veiled in mystery. It's in this space that the line between observing and being observed begins to blur, enhancing the sense of involvement in the artwork's narrative.

The Full Score installation marks a pivotal moment in the participant's journey, offering a blend of reflection and interaction. This section transforms a fleeting second of activity at Hamburg Hauptbahnhof into a musical score, shifting participants' perceptions from the visual to the auditory and temporal.

As participants witness this conversion of actions into music, they receive a printed score, a tangible piece of the experience. This part of the experience underlines the work's exploration of perception, and the value found in ordinary moments, inviting participants to reflect on the unnoticed organization and rhythm in the world around them.

Another critical juncture is the Transferbüro, a space that strips away the digital interface participants have become accustomed to, leaving them in a bare, transitional space. This moment is designed to interrupt the flow of the experience, compelling participants to pause and reflect on their journey thus far without the guidance of technology. It's a deliberate break from the previous settings, pushing individuals to internalize their experiences and question their roles within the broader context of the piece.

Lastly, Waiting Room III serves as the final point for reflection and personal connection. In this space, participants are encouraged to reflect on their journey, the decisions that led them there, and their interactions with others.

Overall, These moments are structured to get a deeper understanding of one's self and the collective experience, highlighting the interconnectedness of individual actions within a shared narrative. They compel participants to confront and contemplate their perceptions, actions, and the space they occupy within the artwork.

Contract used at The Waiting Room I. Once participants signed it, they were given the iPads.