SPACE AS A SCORE:
CORPORATE UNCONSCIOUS AND THE VIDEOWALK FORMAT


1. Introduction
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 format
3.2 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 Tool
4.2 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 Cinematography
4.4 Dramaturgy and Script Development
4.4.1 Narrative Layers
4.4.2 Storytelling
4.4.3 Dramaturgical arc
4.4.4 Space Score and Timing
4.5 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 Development
4.6 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 eggs
4.7 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

5. Conclusion



Corporate Unconscious embodies an exploration of space not merely as a setting but as a dynamic and interactive score that orchestrates the participant's journey, blending a videowalk with, installations and live performance into a cohesive narrative fabric. This project tried to expand the narrative capabilities of space, pushing beyond traditional storytelling to produce immersive narrative engagement.


Throughout this journey, several strategies notably contributed to the project's success. Structuring the production process into distinct stages, mirroring the film industry's pre-production logic, proved instrumental in facilitating seamless collaboration across departments. The creation of a mystique around the project, raising a sense of belonging among participants, was crucial in engaging the audience deeply within the narrative world. The comprehensive construction of the Simul universe, served as a creative vessel, enhancing the narrative's depth and authenticity. Working directly from and within the space itself to build the narrative elements ensured that the storytelling was inherently grounded in the physicality and essence of the location.


However, the exploration also encountered its challenges. Some participants found it difficult to follow the video, despite its slow pacing, impacting the intended synchronization of encounters within the walk. This highlights the delicate balance required in determining the extent of the audience's role and the level of control maintained over the experience. Additionally, feedback from the graduation exam revealed that not all participants felt the level of engagement people would normally experiment at concerts or stage pieces. This underscores one of the format's inherent challenges: the necessity of allowing audiences time to acclimate to and embrace these new experiential formats and their active role within them. Addressing this challenge demands further exploration and thoughtful consideration in future projects.


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