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
4.2 Space Research
The initial reconnaissance of a space in site-specific work marks the most crucial phase in the entire development process. Over a period of three weeks, I dedicated myself to an exploratory immersion within the halls of the HfMT, seeking out areas that would bring material into the piece. This phase involved an almost voyeuristic journey through the institution, pushing open every accessible door and getting into spaces perhaps off-limits.
The clinical cleanliness and labyrinthine layout of the HfMT corridors particularly struck me. The facility splits into two distinct sections: the original building, Das Budge-Palais, a classical villa designed by architect Martin Haller, and the modern reconstruction housing the majority of the Hochschule’s classrooms.
In the lower levels of the old building, the dimly lit, poorly maintained corridors felt like a level from a dystopian video game, characterized by flickering neon lights and the smell of moist. This underused part of the building, filled with outdated signs -like "Komputerraum"- and a palpable sense of neglect, became an important inspiration for the visual identity of the piece. The concept of Non-place, as theorized by anthropologist Marc Augé, echoed through these empty, purposeless areas, turning them into fascinating subjects for the project.
An accidental discovery was a peculiar emergency hallway, markedly different from the rest of the building, resembling an incomplete construction zone with reflective brick walls, reminiscent of the magical alleyways in Harry Potter's world. This secluded, damp-smelling path, filled with unopenable doors leading only outwards, inspired the term "Backroom" for its secrecy and eeriness, drawing parallels to the internet myth of infinite, nondescript spaces. The transition area between "Backroom" and the Multimedia hallway, was named "Transferbüro," representing a liminal zone between the old and new, a space where time seemed to fold upon itself. The hard contrast between these sections provided the ground for narrative exploration that would involve something from the past that comes to life.
Moving deeper into the modern section, I identified an area labeled as "The Basement": a circular corridor lined with countless small practice rooms. This space, with its monotonous white walls and identical gray doors, seemed designed to disorient and confuse, embodying a real-life maze. Intriguingly, the corridor was marked with some dashed red-white "danger tape," like police crime scenes. It also had a centerline, like airport runways. The path was clearly offered and delimited. These two visual elements were crucial to later develop the visual aesthetic of both the found footage and the 3d-animated scenes. The particular shape of "The Basement", made me also think of how interesting it would be to intertwine 3D models and contemporary video, as well as spreading participants all around the area, meeting each other at random intersecting points.
The MFS room presented a unique challenge. Rather than concluding the experience within a traditional theater setting, which could undermine the nature of the videowalk, we chose to emphasize the space's technical features. Utilizing the room’s sophisticated Meyersound speakers and acoustic panels, I envisioned transforming this content-empty space into a high-tech control center, integrating it as a narrative element rather than a finale venue.
The journey concluded outside the HfMT, providing a reflective moment by the Alster lake, near a striking metal sculpture that inspired Simul's corporate identity (see section 4.6.4, Easter Eggs). This final outdoor scene offered a breath of fresh air after the more claustrophobic indoor experience, serving as a meditative closure to the immersive journey.
While exploring potential settings, several ideas were eventually discarded, such as utilizing the HfMT's Forum for the project's climax and incorporating different building levels, including elevator use. Precise timing with elevator movement implied logistical challenges, and to maintain participant safety, extensive stair use was minimized, especially when navigating with iPads presented a risk.
Still of video used for space recon.