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
4.3.6 Cinematography
In order to merge three distinct types of video content—found footage, 3D animations, and the contemporary videowalk—into a cohesive visual narrative, each video type was assigned a specific film ratio to delineate its origin and purpose within the narrative framework. The modern videowalk and 3D renderings adopted a cinematic aspect ratio of 1.85:1, conforming to the 35mm American and British widescreen standard, providing a contemporary, expansive view. Conversely, the found footage retained its original 4:3 ratio, instantly signaling its historical context to the audience. This contrast helps in narrative differentiation and plays into the nostalgic, as the older 4:3 format is directly associated with an earlier, less digital era, thereby enhancing the work's temporal layering. The 4:3 format is also the screen ratio for iPads, which made the found footage to actually use more space in the screen than the rest. The project deliberately played with cinematic techniques to enhance the narrative and immersive qualities of the experience. Constant video noise and the insertion of subliminal images for just one frame were tactics used to create a seamless transition between the different types of footage, despite their distinct origins and visual qualities. This method also served to weave a sub-narrative that could subtly influence the participant's perception and interpretation of the story.
An essential part of the project's aesthetic involved the intentional aging of the video material using VHS cameras, which imbued the footage with a distinct 1990s look, complete with analog noise and digital glitches. This choice reflected the era when camcorders became accessible to the general public, leading to an influx of home videos of varying quality.
© Marianne Harlé