AUGMENTED REALITY ART from an emerging technology to a novel creative.

Description

Preface Contents Contributors Part I The Theoretical Aspects of Augmented Reality Art and Technology 1 ART for Art Revisited: Analysing Technology Adoption Through AR Taxonomy for Art and Cultural Heritage 1.1 Introduction 1.2 Activity-Based Taxonomy Method 1.3 AR Taxonomy for Art and Cultural Heritage 1.3.1 Activity Model 1.3.2 Taxonomy 1.4 Results of Classification 1.4.1 Context of Use and AR Technology 1.4.2 Activity Support 1.4.3 Analytical Activity 1.4.4 Sensitive Activity 1.4.5 Communication 1.4.6 Personalisation 1.5 Conclusions References 2 Making Sense of ARt: A Methodological Framework for the Study of Augmented Reality Art 2.1 Introduction 2.2 Nouveaux Instruments 2.3 Making Sense of the Senses 2.4 Sensory Ethnography 2.5 A Critical Supplement to Sensory Ethnography 2.6 A Critical Sensory Ethnographic Approach to the Study of ARt 2.6.1 Case Study: “George Floyd AR Memorial” by Steven Christian 2.7 Conclusion References 3 Why We Might Augment Reality: Art’s Role in the Development of Cognition 3.1 Introduction 3.2 Development 3.2.1 Machine Learning 3.2.2 A Grouping Impulse 3.3 Augmentation 3.3.1 Creativity 3.3.2 Utilizing Reality 3.4 Conclusions References 4 Shifting Perceptions—Shifting Realities—Shifting Spheres 4.1 Introduction 4.2 Shifting Perceptions 4.3 Shifting Realities 4.4 Subversive Confrontation 4.5 Shifting Spheres 4.6 Conclusion References 5 Augmented Reality, the Expansive Object, and the Vivification of the Memory Theatre: Field Notes 5.1 Introduction 5.2 What is Object? 5.3 What is Augmented Reality? 5.4 Patterned to Fit Work: ClownTown, and Synthetic Cells: Site and (Para)Site References Part II Augmented Reality Art and a Variety of Spaces 6 Critical Interventions into Canonical Spaces: Augmented Reality at the 2011 Venice and Istanbul Biennials 6.1 Introduction 6.2 Challenging and Exploiting the Primacy of Site 6.3 Site as Canvas and Context 6.4 Manifest.AR Venice Biennale Intervention Themes and Concerns 6.5 Manifest.AR Artworks in the Venice Biennale Intervention 6.6 Venice—Lewisburg—Istanbul 6.7 “Invisible Istanbul”: Istanbul Biennale 2011 AR Intervention 6.8 Conclusions References 7 Merging Spaces: Augmented Reality, Temporary Public Art, and the Reinvention of Site 7.1 Introduction 7.2 Temporary Public Art 7.3 Site-Specificity 7.4 Augmented Reality as Temporary, Site-Specific Public Art 7.5 Precursors 7.6 Virtually Installed Public Art 7.7 History and Context 7.8 Drones Over Broadway 7.9 Comics 7.10 Over and Over Again 7.11 The Peaceable Kingdom 7.12 Unknown 7.13 Public Response 7.14 Augmented Reality as a Reinvention of Site-Specific Art 7.15 Distributed Sites 7.16 Environmental Activism 7.17 Augmented Reality, Racial Justice, and the Commemorative Landscape 7.18 Deconstructed Monuments, Alternate Narratives and Storytelling 7.19 Conclusion References 8 Data Narratives: Aesthetic Activation of Urban Space Through Augmented Reality 8.1 Introduction 8.2 The Programmable City Artist in Residence 8.3 The Spatiality of Data Narratives 8.4 Working with Data 8.5 The Data Narratives App 8.6 AR Development 8.7 AR as Emerging Vapourware 8.8 The Aesthetics of Augmentation 8.9 Conclusion References 9 Beyond the Virtual Public Square: Ubiquitous Computing and the New Politics of Well-Being 9.1 Introduction 9.2 Ubimage 9.3 Apparatus 9.4 Theoria 9.5 The Malala Test 9.6 Obscenario 9.7 Ordinary Aura 9.8 Choragraphy 9.9 Aesthetic Attitude 9.10 Rationale 9.11 Quasi-object References 10 Augmenting Environmental Graphics in Healthcare Spaces 10.1 Introduction 10.2 Placemaking in Healthcare Environments 10.2.1 Environmental Enrichment 10.2.2 Environmental Graphic Design 10.2.3 Environmental Graphic Design Healthcare 10.3 Building Good Health Environments 10.3.1 Salutogenic Design 10.3.2 Positive Technology 10.3.3 AR in Health 10.4 A Case Study: The Use of EGD and AR in a Healthcare Environment 10.4.1 Research Design 10.4.2 Stage 1: Discovery 10.4.3 Stage 2: Concept Development 10.5 Conclusion References 11 Augmented Reality Interventions in Shared Space: Subversion and Social Impact 11.1 Introduction 11.2 The Interview References Part III Augmented Reality as a Novel Artistic Medium 12 The Aesthetics of Liminality: Augmentation as an Art Form 12.1 Introduction 12.2 The Gaze, the Overlay, and the Retinal 12.3 Queering Augmentation 12.4 The Semiotics of AR 12.5 The Structure of the Gesture in Augmented Reality Art: Fiducial, Planar, Locative/GPS, Environmental and Embodied/Wearable 12.5.1 Fiducial AR 12.5.2 Fiducial AR: The Emergence of Miku 12.5.3 Planar Recognition AR 12.5.4 Locative/GPS-Based 12.5.5 Environmental/Spatial Recognition 12.5.6 Between the Environmental and Embodied: The Return of Hatsune Miku 12.5.7 Body as Landing Site: Wearable AR 12.5.8 Next Steps: Mixing Metaphors/Mixed Realities 12.6 Conclusions References 13 Augmented Reality in Art: Aesthetics and Material for Expression 13.1 Introduction 13.2 Film 13.3 Video Art (Live) 13.4 Augmented Reality 13.5 Art References 14 Augmented Reality Painting and Sculpture: From Experimental Artworks to Art for Sale 14.1 Introduction 14.2 Augmented Reality Painting 14.3 Augmented Reality Sculpture 14.4 The Saleability of Augmented Reality Artworks 14.5 Conclusions References 15 Augmented Reality Graffiti and Street Art 15.1 Introduction 15.2 Definition and History of Graffiti 15.3 Philosophical Issues for Graffiti, Street Art and AR Graffiti 15.4 Augmenting What and Where: Markers and Clues, Techniques and Technologies 15.5 Case Studies 15.5.1 Case Study One: BC Biermann and the Heavy Projects 15.5.2 Case Study Two: Shannon Novak 15.5.3 More Recent Examples 15.6 Conclusions References 16 Face Filters as Augmented Reality Art on Social Media 16.1 Introduction 16.1.1 AR Face Filters as an Artform 16.1.2 Who Benefits from AR on Social Media? 16.2 Presenting the Self in AR 16.2.1 The Futuristic Self-Ines Alpha 16.2.2 Identity and Self-aevtarperform 16.2.3 The Cinematic Self-David OReilly 16.3 Conclusions and Future Directions References 17 Post-human Narrativity and Expressive Sites: Augmented and Extended Reality as Software Assemblage 17.1 Introduction 17.2 AR Beyond the Information Overlay 17.3 Biofeedback and Décollage 17.4 Software Assemblages as Swarms 17.5 Interventionist Portals 17.6 Through a Lens, Darkly 17.7 Touching Signals in the Grayscale Gloom 17.8 Closing Remarks References Part IV Historical, Cultural and Personal Engagement with Augmented Reality Art 18 User Engagement Continuum: From Art Exploration to Remixing Culture with Augmented Reality 18.1 Introduction 18.2 AR Use Cases for Engaging Users in Art Creation and Consumption 18.2.1 Taking the Artwork Home—User Curated AR Art Exhibitions 18.2.2 Playing with the Artworks 18.2.3 Time-wARp Xplorer: Creating Own Stories in Urban Environment 18.2.4 I Was Here: Digital Graffiti for Tourists 18.2.5 Virtual Tracing Tool 18.2.6 Novel Ideas, Technologies and AI 18.3 Discussion 18.3.1 User Engagement Continuum 18.3.2 Copyright Issues 18.3.3 Curation of User-Generated Content 18.3.4 Other Implications 18.4 Conclusion References 19 Rhythms in Stone: Revealing and Augmenting the Human Presence in Mesolithic Rock Art 19.1 Introduction 19.2 An Archaeology of Performance 19.3 Experience of the Prehistoric Ritual Art 19.4 Augmented Reality as a Solution for Explaining the Prehistoric Art 19.5 AR in Archaeology 19.6 The Educational and Creative Value of the AR Applications 19.7 Description of the AR Application 19.8 Results 19.9 Conclusions References 20 Augmenting Wilderness: Points of Interest in Pre-connected Worlds 20.1 Introduction 20.2 AR, OOO 20.3 POIs 20.4 Radio Babies 20.5 Anti-tradition 20.6 Usage 20.7 Anamnesis 20.8 Variety and Application References 21 Really Fake or Faking Reality? The Riot Grrrls Project 21.1 Foreword 21.2 Introduction 21.3 Claudia Hart on Re-making the Riot Grrrls 21.4 Forms of Feminism: Responses to Riot Grrrls by the SAIC Virtual Installation Students 21.4.1 Francesca Udeschini on the Augment of Molly Zuckerman-Hartung’s “Hedda Gabler” 21.4.2 Jonatan Martinez on the Augment of Tomma Abts’s ‘Dele’ 21.4.3 Alex Mendoza on the Augment of Judy Ledgerwood’s ‘Sailors See Green’ 21.4.4 Christina Chin on “Love Letter to a Violet” Augment by Ellen Burkenblit 21.4.5 Beier Zong on the Mary Heilmann’s ‘Metropolitan’ 21.5 Afterword: Reflecting on the Riot Grrrls App References Concluding Remarks: Today’s Vision of an Art Form of the Future