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 Corporate Unconscious, Carmen Kleykens Vidal's expertise was important in integrating spatial audio, creating an enveloping soundscape that played a pivotal role in the project's immersive experience. Her responsibilities extended beyond post-production; she was pivotal in spatially mapping audio in particular rooms, ensuring that the sound enhanced the visual narrative. This approach to audio design was crucial for immersing participants in the layered world.
The project utilized binaural recordings for headphones, employing ambisonic to build a spatial sound environment that mirrored and interacted with the visual components, particularly in 3D-rendered spaces. This technique brought an added layer of depth and immersion, making the virtual aspects of the installation resonate more profoundly with the audience. The binaural experience was integral to blending the digital with the tangible, making the transition between these worlds seamless and intuitive for participants.
Spatial audio's role was magnified in environments like ELA1 and MFS through audio spatialization setups. ELA1 featured wave field synthesis to strategically place sounds within the space, creating a dynamic auditory landscape. Meanwhile, the MFS room leveraged an extensive Meyer Sound speaker setup to produce a surround sound experience.