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
As a playful addition for ourselves and as a gift for participants, various easter eggs were strategically hidden throughout the piece. An Easter egg, in video game culture, is a hidden message, image, feature, or level inserted into the game by its creators. These hidden elements, often not part of the main game narrative, provide secret content for players to discover.
In the piece, these easter eggs are not just for amusement; they serve to blur the boundaries between fiction and reality, drawing inspiration from Angelo Solari’s Audición Nr 1. The goal was to make participants question the authenticity of their environment, suggesting that what appears real might have been carefully staged. Examples included repeated stage designs, like a corporate-like coffee table or company pictures found throughout the university, which were part of the artwork's environment. These subtle insertions were meant to plant seeds of doubt and expectation.
The narrative culmination occurred after the coda, where participants discovered a large, triangular sculpture „Dreiklang" by Jan Meyer-Rogge, placed in front of the HfMT. This sculpture, when viewed from a particular angle, perfectly matched the Simul logo seen throughout the artwork. This final easter egg served to bring up a good amount of doubt by the end of the piece, just before the participants were requested to give back the iPads.