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
6. Acknowledgments
I would like to thank all the people who have been with me along this Master process:
I want to thank my partner Gabriela Pérez for all your incredible support and patience, and for embarking with me to Europe so I could follow my dreams
To Robin Plenio for all your incredible commitment to the idea, and the cigarettes. And the bargeld.
Many thanks to Alexander Schubert, for all these years of un-oficial guidance, support and trust in my personal development.
To Georg Hajdu for building a unique study program that continues to be at the forefront of Multimedia art.
To Irini Aravidou, for your support and for punching me when some of the ideas were truly impossible to do, and the cigarettes.
to Nicolás Fuentes for believing in the project, and crossing the ocean to be part of it.
To Lucas Schlotfeld, for your fantastic music, and your patience when I was a bit too excited about commercial jingles.
To Carmen Kleykens Vidal, for your incredible energy, and for putting all of you -including your laptop- in the project.
To Leonhard Onken-Menke, for your dedicated help when I was freaking out with Unreal Engine.
Many thanks to Alicia Reyes, for taking part of all my pieces during the program, and for standing 3 hours on top of a container.
To Lucas Xerxes, for dealing with two million iPads. I’m sorry.
To Juan Jaramillo Lleras, for all those long days in ELA2 complaining about everything.
To Victor Guitérrez and Isidora Caroca, for your incredible support from the very beginning, and your friendship.
To João Carlos Pinto, Dorothea Koch, Nathaniel Ouzana and Fiona Xue Ju, for your fantastic performance.
To Tobias Pfeil, for your inspiration, and for all those hours in zoom chats. I really hope they were really private.
To Konstantina Orlandatou and Jacob Sello for all your guidance, and support.
To Goran Lazarevic and the HOOU Team, for kindly lending us their equipment.
To Oliver Kirschner and the Forum team.
To Webcast HfMT.
To Anne Pretzsch, Lisa Schmalz, Matthias Schulze-Kraft and all Lichthof Team.
To my parents and family, por todo el cariño y apoyo de siempre.