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  1. ACM SIGGRAPH 2014 Art Gallery (SIGGRAPH '14)
  2. The aesthetics of liminality: augmentation as artform
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The aesthetics of liminality: augmentation as artform

Content Provider ACM Digital Library
Author Lichty, Patrick
Abstract From ARToolkit's emergence in the 1990s to the emergence of augmented reality (AR) as an art medium in the 2010s, AR has developed as a number of evidential sites. As an extension of virtual media, it merges real-time pattern recognition with goggles (finally realizing William Gibson's sci-fi fantasy) or handheld devices. This creates a welding of real-time media and virtual reality, or an optically registered simulation overlaid upon an actual spatial environment. Commercial applications are numerous, including entertainment, sales, and navigation. Even though AR-based works can be traced back to the late 1990s, AR work requires some understanding of coding and tethered imaging equipment. It was not until marker-based AR, affording lower entries to usage, as well as geo-locational AR-based media, using handheld devices and tablets, that augmented reality as an art medium would propagate. While one can argue that AR-based art is a convergence of handheld device art and virtual reality, there are intrinsic gestures specific to augmented reality that make it unique. The author looks at some historical examples of AR as well as critical issues of AR-based gestures such as compounding the gaze, problematizing the retinal, and the representational issues of informatic overlays. This generates four gestural vectors, analogous to those defined in "The Translation of Art in Virtual Worlds," which is examined through case studies. From this, a visual theory of augmentation will be proposed.
Starting Page 325
Ending Page 336
Page Count 12
File Format PDF MP4
ISBN 9781450329057
DOI 10.1145/2601080.2677709
Language English
Publisher Association for Computing Machinery (ACM)
Publisher Date 2014-08-10
Publisher Place New York
Access Restriction Subscribed
Content Type Audio Text
Resource Type Article
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