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
I found the videowalk to be an incredibly appealing option. It bears a semblance to augmented reality (AR), yet it functions inversely. Instead of augmenting reality, we acknowledge what's already present within it. This aspect strikes me as a particularly intriguing tool for site-specific work, providing a straightforward method to involve the audience in the artwork, especially now that almost everyone has access to a smartphone.
In my earlier videowalk Mind Palace, each participant embarked on their journey independently from others, and the videowalk can still be experienced by going to PARKS and starting from the designated location. However, with Corporate Unconscious, I aspired to embed the videowalk within a more complex experience, one that also encompasses a significant performative component. Although the video can still be viewed and utilized by navigating the space, the experience without the performative elements would be incomplete. This change in my approach shows an intention to not just guide participants through physical space but to engage them in a layered narrative, making the space itself a part of the process and inviting the audience into a deeper, more interactive relationship with the work.