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
In the creation of Corporate Unconscious, the line between fiction and reality is deliberately confusing. This approach is rooted in a creative process that aims to construct a fictional universe so convincingly that it is perceived as an authentic historical narrative. The fictional entity at the heart of this exploration, Simul Entertainment GmbH, is introduced through the construction of "original" content, including TV commercials, and staged "experiments." These pieces are filmed and artificially aged to simulate documentation from the 1990s, then cleverly framed as "found footage", supposedly unearthed in a concealed container. As participants move through the videowalk, they encounter an interplay between themselves, other real participants, and individuals depicted in the videos on their devices. These encounters, designed to mimic spontaneous interactions, are actually carefully orchestrated elements of the narrative. Participants come to realize that their experience, while unique, is part of a broader plan.
Furthermore, the introduction of "false participants" — performers who follow scripted paths divergent from those of real participants — deepens the narrative complexity. This element plays a crucial role in reinforcing the sensation of being caught inside an orchestrated reality. It exemplifies the mockumentary's capacity to alter perceptions, inviting participants to question the authenticity of their surroundings and their role within the broader narrative context.
Corporate Unconscious stands from the mockumentary genre's inherent tension between reality and fiction to play with the audience experience. It invites participants to navigate a narrative landscape where fact and fabrication intertwine, empowering a reflective engagement with the themes of synchronicity and collective unconscious.