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Springer Series on Cultural Computing

Vladimir Geroimenko Editor

Augmented
Reality Art
From an Emerging Technology to a
Novel Creative Medium
Second Edition
Springer Series on Cultural Computing

Editor-in-chief
Ernest Edmonds, University of Technology, Sydney, Australia

Series editors
Sam Ferguson, University of Technology, Sydney, Australia
Frieder Nake, University of Bremen, Bremen, Germany
Nick Bryan-Kinns, Queen Mary University of London, London, UK
Linda Candy, University of Technology, Ultimo, Australia
David England, Liverpool John Moores University, Liverpool, UK
Andrew Hugill, De Montfort University, Leicester, UK
Shigeki Amitani, Adobe Systems Inc., Shinagawa-ku, Tokyo, Japan
Doug Riecken, Columbia University, New York, USA
Jonas Lowgren, Linköping University, Malmö, Sweden
Ellen Yi-Luen Do, University of Colorado Boulder, Boulder, USA
Cultural Computing is an exciting, emerging field of Human Computer Interaction,
which covers the cultural impact of computing and the technological influences and
requirements for the support of cultural innovation. Using support technologies
such as location-based systems, augmented reality, cloud computing and ambient
interaction researchers can explore the differences across a variety of cultures and
provide the knowledge and skills necessary to overcome cultural issues and expand
human creativity. This series presents the current research and knowledge of a
broad range of topics including creativity support systems, digital communities, the
interactive arts, cultural heritage, digital museums and intercultural collaboration.

More information about this series at http://www.springer.com/series/10481

Vladimir Geroimenko
Editor

Augmented Reality Art

From an Emerging Technology to a Novel
Creative Medium

Second Edition

123
Editor
Vladimir Geroimenko
Faculty of Informatics and Computer
Science
The British University in Egypt (BUE)
Sherouk City, Cairo
Egypt

ISSN 2195-9056 ISSN 2195-9064 (electronic)

Springer Series on Cultural Computing
ISBN 978-3-319-69931-8 ISBN 978-3-319-69932-5 (eBook)
https://doi.org/10.1007/978-3-319-69932-5
Library of Congress Control Number: 2017963005

1st edition: © Springer International Publishing Switzerland 2014

2nd edition: © Springer International Publishing AG 2018
This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part
of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations,
recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission
or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar
methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are exempt from
the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this
book are believed to be true and accurate at the date of publication. Neither the publisher nor the
authors or the editors give a warranty, express or implied, with respect to the material contained herein or
for any errors or omissions that may have been made. The publisher remains neutral with regard to
jurisdictional claims in published maps and institutional affiliations.

Printed on acid-free paper

This Springer imprint is published by Springer Nature

The registered company is Springer International Publishing AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
This pioneering book is dedicated to the
future generations of augmented reality
artists.

Many thanks to the British University in

Egypt (BUE) for the support, without which
this new edition would not have been
possible.
Preface

The book you are holding in your hands in a paper, or more likely digital format, is
a unique one. This is the second edition of the first ever monograph on augmented
reality art. It is written by a team of world-leading artists and researchers, pioneers
in the use of augmented reality as a novel artistic medium, and is being dedicated to
the future generations of augmented reality artists.
The book explores a wide range of major aspects of augmented reality art and its
enabling technology. It is intended to be a starting point and essential reading not
only for artists, researchers, and technology developers, but also for students and
everyone who is interested in emerging augmented reality technology and its
current and future applications in art.
It was very difficult to make this book happen, because augmented reality art is
still in its infancy at present, and there are therefore relatively few research materials
available. We owe a debt to our contributors who have managed to produce this
monograph in the face of these difficulties. The team includes 30 researchers and
artists from 12 countries (Australia, Canada, Egypt, Germany, Ireland, Italy,
Netherlands, Romania, Slovenia, UAE, UK, and USA). Many of the authors are
members of the Manifest.AR group (www.manifestar.info).
Manifest.AR was the first artist collective that started using augmented reality
(AR) to create art and activist works. The group was formed when AR creation first
became possible on smartphones. Manifest.AR explores what makes AR unique as
a medium, separating it from other forms of new media, such as virtual reality, Web
art, video, and physical computing.
The collective found its roots in the groundbreaking 2010 We AR in MoMA
intervention. Mark Skwarek and Sander Veenhof realized they could challenge the
Museum of Modern Art’s extreme exclusivity by placing artworks inside and
around the museum and invited selected artists to participate. Finding talented and
accomplished AR artists for the show was very difficult—at the time of the MoMA
intervention, very few people even knew what AR was. The group of invited
participants included most of those who became core founders of Manifest.AR:
Sander Veenhof, Mark Skwarek, Tamiko Thiel, Will Pappenheimer, Christopher
Manzione, and John Craig Freeman. After the We AR in MoMA intervention, it

vii
viii Preface

was time to put down in words the thoughts, goals, and future visions of the first
artists working with this new technology. Tamiko Thiel proposed choosing a group
name to give an identity to future collaborations. Sander Veenhof suggested the
name Manifest.AR and that the group should write a manifesto to document this
historic moment, the birth of mobile AR as an art form. Mark Skwarek brought
together what became the original founder’s group (the above artists, plus Geoffrey
Alan Rhodes) and was the driving force behind getting the group to write and
publish the “AR Art Manifesto,” Manifest.AR’s debut as a group entity, on January
25, 2011.
Here is the manifesto in full:
“All that is Visible must grow beyond itself and extend into the Realm of the
Invisible” (Tron, 1982).
Augmented Reality (AR) creates Coexistent Spacial Realities, in which Anything
is possible—Anywhere!
The AR Future is without boundaries between the Real and the Virtual. In the
AR Future we become the Media. Freeing the Virtual from a Stagnant Screen we
transform Data into physical, Real-Time Space.
The Safety Glass of the Display is shattered and the Physical and Virtual are
united in a new In-Between Space. In this Space is where we choose to Create.
We are breaking down the mysterious Doors of the Impossible! Time and Space
died yesterday. We already live in the Absolute, because we have created eternal,
omnipresent Geolocative Presence.
In the 21st Century, Screens are no longer Borders. Cameras are no longer
Memories. With AR the Virtual augments and enhances the Real, setting the
Material World in a dialogue with Space and Time.
In the Age of the Instantaneous Virtual Collective, AR Activists aggravate and
relieve the Surface Tension and Osmotic Pressure between the so-called Networked
Virtual and the so-called Physical Real.
Now hordes of Networked AR Creatives deploy Viral Virtual Media to overlay,
then overwhelm closed Social Systems lodged in Physical Hierarchies. They create
subliminal, aesthetic and political AR Provocations, triggering Techno-
Disturbances in a substratosphere of Online and Offline Experience.
Standing firmly in the Real, we expand the influence of the Virtual, integrating
and mapping it onto the World around us. Objects, banal By-Products, Ghost
Imagery and Radical Events will co-exist in our Private Homes and in our Public
Spaces.
With AR we install, revise, permeate, simulate, expose, decorate, crack, infest
and unmask Public Institutions, Identities and Objects previously held by Elite
Purveyors of Public and Artistic Policy in the so-called Physical Real.
The mobile phone and future Visualization Devices are material witness to these
Ephemeral Dimensional Objects, Post-Sculptural Events and Inventive
Architectures. We invade Reality with our Viral Virtual Spirit.
AR is not an Avant-Garde Martial Plan of Displacement, it is an Additive Access
Movement that Layers and Relates and Merges. It embraces all Modalities. Against
the Spectacle, the Realized Augmented Culture introduces Total Participation.
Preface ix

Augmented Reality is a new Form of Art, but it is Anti-Art. It is Primitive, which

amplifies its Viral Potency. It is Bad Painting challenging the definition of Good
Painting. It shows up in the Wrong Places. It Takes the Stage without permission. It
is Relational Conceptual Art that Self-Actualizes.
AR Art is Anti-Gravity, it is Hidden and must be Found. It is Unstable and
Inconstant. It is Being and Becoming, Real and Immaterial. It is There and can be
Found —if you Seek It.
The first edition of this book captured a special moment in time, the birth of
augmented reality as a new medium. It showed the first efforts of the artist’s
pioneering in this once virgin medium. New mediums require a period of discovery.
Augmented Reality Art: From an Emerging Technology to a Novel Creative
Medium was a snapshot of that incredible moment of discovery. The progression
that took place in the first few years was truly impressive. During this time, the
leading artists took every opportunity to create work that they could. At times, some
of the artists were doing 3–4 shows in one week. This allowed them to experiment
at a rapid pace. In this period, they explored what makes the medium unique and
different from its predecessors. One area that had great promise was the ability to tie
an idea to a physical location or object.
It is worth to remember that the first works in cinema were basically mirror
copies of the theater stage. Actors would perform a narrative on a theatrical stage
while the film crew recorded it. It took 50 years to get from the invention of film to
Orson Welles’s Citizen Kane, which is considered to be the first masterpiece in the
black-and-white film’s golden age displaying mastery over the technology as well
as cinematic narrative technique. The team behind its creation had absolute mastery
of the medium on all levels for that time.
Augmented reality art has yet to have its Citizen Kane, a masterpiece truly
worthy of the technology. It is not to say that groundbreaking work has not been
done, but it will look primitive compared to what is coming in the near future. This
is largely due to the limitations of the current hardware and software. The early
years of augmented reality art development were trying times. Complex artworks
that worked perfectly during testing would be dead at the gallery opening. Certain
wireless providers would work at one event and not at others. Many times, you
would see the people crowded around the one guy who showed up with an AT&T
wireless plan because all the other carriers were dead. SDKs and other software for
AR art development would be in business one day and bought by Apple the next
(who would subsequently remove the software from the public market). Work
would exist one day and be gone the next. During this ongoing period, docu-
mentation was critical. Most of the early work exists only as documentation. Sadly,
this is still somewhat the case. But there is hope that comes in the form of AR Kit
by Apple and AR Core by Google. This development software is quite good, is easy
to work with, and makes AR a hundred times more accessible to the development
community than it ever has been. There is a real chance this software might bring
AR to the general public. If more people start using the technology, more exciting
tools for artists will be developed.
x Preface

For the ideal experience, the user’s view needs to move from the LCD of the
phone to something like a pair of lightweight AR glasses. The experience needs to
be directly in front of the user’s field of view. Rock solid tracking is needed to
orient the AR artwork in the physical space. And on top of this, the software needs
to be able to integrate the digital content into the physical space, including color
correction, depth of field, shadows, and moving objects. We still have a few years
before this, so artists will have to make due with the current smartphones.
In this updated and revised edition of the book, we see the second generation of
AR artworks and new talents joining the AR artist community. The projects have
progressed conceptually and technically. The smartphones have improved dra-
matically, especially their sensors, speed, and resolution. Next-generation AR
headsets like the HoloLens have also become available. These advances have
opened up an entirely new and improved set of tools artists to create with. It is never
been as exciting to create AR as today and the future looks bright!
The content of the book is arranged as follows. You can read chapters in
sequence or randomly.
Chapter 1 “Augmented Reality Activism” narrates the exciting story of the first
generation of activists that began working with augmented reality to further their
causes. These activists pioneered the development of mobile AR in search of what
made it unique from other mediums and what traits could be used to further activists
agendas. Many of these works are the first explorations of their type with this new
technology and act as a road map for future activists working with AR. What
dangers do those working with this technology face? Does AR have the ability to
empower the masses? Can it create real social change and can it unite society by
turning virtual experiences into physical ones? The activists in this chapter set out
to find these answers.
Chapter 2 “Critical Interventions into Canonical Spaces” describes augmented
reality interventions led by the author in 2011 with the artist group Manifest.AR at
the Venice Biennale, and in collaboration with the design office PATTU at the
Istanbul Biennal. The interventions used the emerging technology of mobile aug-
mented reality to geolocate virtual artworks inside the normally, curatorially closed
spaces of the exhibitions via GPS coordinates. Unlike physical art interventions, the
artworks cannot be removed or blocked by the curators or other authorities and will
remain at those locations as long as the artist desires. The artworks exploit the
site-specificity as an integral part of the artwork while simultaneously questioning
the value of location to canonize works of art, and the power of the curator as
gatekeeper to control access to the spaces that consecrate works of art as part of the
high art canon.
Chapter 3 “ART for Art: Augmented Reality Taxonomy for Art and Cultural
Heritage” proposes an activity-based taxonomy method that is designed to produce
technology adoption insights. The proposed method is evaluated on adoption of
augmented reality technology in the context of art and cultural heritage. In this
process, an AR Taxonomy for Art and Cultural Heritage has been built, which was
used to classify 86 AR applications in this domain. The results of classification
provided a meaningful insight into technology adoption, to name a few: general
Preface xi

lack of support for communication and personalization activities; the quality of

adoption did not reach satisfying quality level; despite limited immersion capacity,
handheld AR systems are the most commonly used systems; irrespective of difficult
and costly setups, many spatial AR systems were utilized (presumable due to high
immersion capability).
Chapter 4 “Beyond the Virtual Public Square: Ubiquitous Computing and the
New Politics of Well-Being” first explores augmented reality and ubiquitous
computing in general and then describes examples of place-based augmented reality
artworks within the framework of electracy (the digital apparatus). Apparatus
theory correlates technological innovations with the corresponding inventions in
institutional practices, including individual and collective identity behaviors. The
authors, working with an electrate consultancy (the EmerAgency), test an aug-
mented deliberative design rhetoric intended to overcome individual alienation
from collective agency. It is an electrate equivalent of the ancient Theoria. Theoria,
augmented by literacy, became journalism—the fourth estate of a democratic
society. The konsult practice described in this chapter updates Theoria for a fifth
estate with a new function supporting collective well-being, in the global experi-
ence of a potentially ubiquitous public square.
Chapter 5 “Augmented Interventions: Redefining Urban Interventions with AR
and Open Data” proposes that augmented reality art and open data offer the
potential for a redefinition of urban interventionist art practices. It examines the
possibilities for redefining the activist art practice of urban intervention with data
and augmented reality to introduce new hybrid techniques for critical spatial
practice. The combination of augmented reality and open data is seen to provide a
powerful tool-set for the artist/activist to augment specific sites with a critical,
context-specific data layer. Such situated interventions offer powerful new methods
for the political activation of sites which enhance and strengthen traditional
non-virtual approaches and should be thought of as complementary to physical
intervention. The chapter offers a case study of the author’s NAMAland project, a
mobile artwork which used open data and augmented reality to visualize and cri-
tique aspects of the Irish financial collapse.
Chapter 6 “The Aesthetics of Liminality: Augmentation as an Art Form” reveals
that while one can make arguments that much AR-based art is a convergence
between handheld device art and virtual reality, there are gestures that are specific
to augmented reality that allow for its specificity as a genre. The chapter explores
some historical examples of AR and critical issues of the AR-based gesture, such as
compounding of the gaze, problematizing of the “retinal,” and the representational
issues of informatic overlays. This also generates four gestural vectors analogous to
those defined in his chapter in the Oxford Handbook of Virtuality (2014), which is
being examined through case studies. Through these studies, it is hoped that a
deeper understanding of an augmented semiotics can be achieved.
Chapter 7 “Augmented Reality in Art: Aesthetics and Material for Expression”
starts with an analysis of Cinematic Apparatus theory of the 1970s that set the stage
for an investigation of cinematic expression in avant-garde film art through a
deconstruction of its materials. The material and production elements repressed in
xii Preface

the normal ideological apparatus became the arena for new expression. Cinema
accelerated the mechanization and sequence of its era to create the essential medium
of that era; augmented reality is a similar acceleration of the electric image that first
emerged with electric video installation. Using Jean-Louis Baudry’s diagram of the
cinematographic apparatus as reference, this chapter excavates and diagrams the
electric image apparatus to search out the repressed in viewers’ perception. For
augmented reality, the first medium which fully realizes the electric image, a new
way forward is proposed, toward an avant-garde AR(t).
Chapter 8 “Digital Borders and the Virtual Gallery” shows that augmented
reality art, as a new media subset, distinguishes itself through its peculiar mechanics
of exhibition and performative recontextualization. It allows the artist to translocate
the borders and constraints of the experience from physical to virtual, expressing
the piece onto spaces independent of physical or locative constraint, yet still teth-
ered to the real world. This practice of anchoring virtual assets to the physical world
allows artists to make use of virtual properties such as mutability and replication,
while engaging with issues of embodiment, performance, and presence. The ability
to customize work’s boundaries, to draw one’s own curatorial borders and
parameters, is in itself a freedom drawing from augmented reality’s strengths,
inviting a model of the world as not one in which art happens, but one which is
conditionally defined and experienced as an integrative work of art.
Chapter 9 “Immersive Art in Augmented Reality” studies how current AR
technology has taken a turn away from the attempt at a sensorial suspension of
disbelief in favor of a new social form of immersion. In this new model, space is
collapsed not between the real and the virtual, but instead between people in
distance and time. In the context of the new mobile form of augmented reality that
is based on social interactivity, artists are now beginning to examine the cultural
potential this new medium can offer. This chapter will explore several components
of this new artistic medium and some markers from art history and gaming culture
that help to explain the history of how we have arrived at this new social AR
medium. Specifically, it will look at socially immersive artworks and collaborative
locative media as outcomes of this new medium based on social immersion rather
than sensorial immersion.
Chapter 10 “Skin to Skin: Performing Augmented Reality” undertakes an
examination of the use of augmented reality in recent examples of digital perfor-
mance and installation investigation at the Deakin Motion.Lab. In particular, the
authors discuss the concept of “digital dualism” as a means of mapping some of the
conceptual shifts augmented reality makes possible for dance and performance
technology. Digital dualism sees the disjuncture between “real” and “virtual” in
digital performance, as in life, as an artifact of an earlier technological/cultural
moment in which the digital had not yet become embedded within and a conduit for
everyday life. The authors argue that digital performance within an augmented
reality framework provides a demonstration of the inability of digital dualism to
stand up even in relation to what might be considered the most unlikely candidate
for digital distribution—the embodied experience of the human body.
Preface xiii

Chapter 11 “Augmented Reality Painting and Sculpture: From Experimental

Artworks to Art for Sale” focuses on a use of augmented reality that is more closely
related to traditional painting and sculpture than to interactive game-like AR
installations. Based on an analysis of the author’s experimental paintings and
sculptures, presented in his solo exhibition Hidden Realities and the outdoor
installation The Enterprise Jigsaw, it deals with a particular type of augmented
reality paintings that integrate gallery-quality art prints of digital paintings with
augmentation by 2D and 3D objects. This type of painting can provide one easy and
reliable solution to the acute problem of the salability of augmented reality art.
Alongside theoretical considerations, the first ever augmented reality painting for
sale on Amazon is presented—the author’s artwork The Half Kiss. Similar possi-
bilities for AR sculptures are also analyzed.
Chapter 12 “Augmented Reality Graffiti and Street Art” looks at how the con-
cept of augmented reality graffiti enables us to experience an expanded view of the
urban environment. It examines how the intersection between graffiti, street art, and
AR provides us with a complex socially and technologically encoded interface,
which has the potential to combine the first-hand experience of public space with
digital media, and creative practices, in a hybrid composition. The chapter begins
by looking at the tradition of graffiti and street art; this is followed by a discussion
around the philosophical implications for digitally augmented graffiti. A number of
key techniques and technologies are then explored through the use of two
practice-based case studies.
Chapter 13 “Why We Might Augment Reality: Art’s Role in the Development of
Cognition” shows that an important aspect of Behavioral Art is “borrowing intel-
ligence” from a humanly organized source, such as a painting, and applies it to a
computer process. This process might easily be mistaken for an object de (com-
puter) art, but we must look further into the larger dynamic system, one that
includes the audience as well. Since the machine itself is incapable of any type of
organization, a human must supply the organizational paradigm to the input, and a
human must recognize one in the output. However, by sampling from the envi-
ronment via machine, a process we can now call augmented reality, we might
imbue whatever quality triggered an interpretation of “potentially meaningful” in
audience members regarding that painting, to our computed output. This chapter
addresses how and why humans tend to employ this particular form of nonverbal
expression.
Chapter 14 “Augmenting Wilderness: Points of Interest in Pre-connected
Worlds” looks at the way the aesthetics of object-oriented ontology performs in
association with augmented reality art made on the borders of Internet connection.
The focus of the research is on the notion of “wilderness onticology” by Levi
Bryant, and the ideas of “hyperobjectivity” by Timothy Morton, while examining
artworks by George Ahgupuk, Alvin Lucier, Mark Skwarek, Nathan Shafer, v1b3,
and John Craig Freeman. Most of the conclusions of the research point to the praxis
of the art historical anti-tradition as a tool for negotiating ontologies of the
wilderness, or the unknown, as well as the virtual objects which exist there, for
xiv Preface

creating socially useful forms of art. Other topics include the usage of the Earth art
binary of site/non-site, media ecology, and the flanuer.
Chapter 15 “An Emotional Compass: Emotions on Social Networks and a new
Experience of Cities” analyzes the methodology and technique used to design and
develop an Emotional Compass, a device for orientation in urban environments
which uses geolocated content harvested from major social networks to create novel
forms of urban navigation. This user-generated content is processed in real time to
capture emotional information as well as geolocation data and different types of
additional meta-data. This information is then rendered on mobile screens under the
form of a Compass interface, which can be used to understand the direction and
locations in which specific emotions have been expressed on social networks. This
gives rise to achieve novel ways for experiencing the city, including peculiar forms
of way-finding techniques which rely on emotions rather than street names and
buildings.
Chapter 16 “A Fractal Augmentation of the Archaeological Record: The Time
Maps Project” proposes a new method for evoking the complexity of the past from
the archaeological record, based on a transdisciplinary approach linking archaeo-
logical science, art, and IT technology. Inspired from the fractal theory, this method
employs different levels of augmentations from general context to detail and uses a
combination of augmented reality techniques and visual media, with a high artistic
quality, to create a mixed-reality user experience. The chapter presents an experi-
mental augmented reality application on mobile devices and discusses the efficacy
of the method for an educational strategy to help communities recover and transmit
their immaterial heritage to future generations. The research was based in Vădastra
Village, southern Romania, in an archaeological complex of a prehistoric
settlement.
Chapter 17 “Wearable Apocalypses: Enabling Technologies for Aspiring
Destroyers of Worlds” examines “Apocalypse” by William S. Burroughs (novelist,
essayist, painter 1914–1997), an essay on the possibilities of street art that he wrote
as a collaboration with Keith Haring (pop and graffiti artist, social activist 1958–
1990). While written in 1988, this essay can serve as a guide for current and future
artists who work in augmented reality interventions into public spaces by situating
their work within a 2000+ year old cycle of revolution and counterrevolution in art,
culture, and spirituality. The author’s contention is that looking backward to
pre-modern mythology in this way provides larger frame of reference that is even
more useful to contemporary augmented reality artists than it was to the graffiti
artists of the 1980s that this essay was originally discussing, as the technological
and artistic affordances of mobile devices have expanded the possibilities of street
art to begin to match Burroughs’ vision.
Chapter 18 “User Engagement Continuum: Art Engagement and Exploration
with Augmented Reality” analyzes augmented reality as one of the most promising
technology, which offers the possibility of mixing physical artworks with digitally
augmented users’ creations and/or curation of personalized exhibitions. In a similar
way that Web enabled users to become active participants in, for example, com-
menting, sharing views, rating, and deciding on the course of television shows in
Preface xv

real time, augmented reality could act as a medium to leave digital augmentation of
artworks in real physical spaces. In this chapter, several AR ideas and solutions are
presented with a common theme: Each allows users to engage with art or cultural
heritage in different ways. The chapter finishes with a presentation of user
engagement continuum based on how AR solutions support engagement with art-
work consumption and creation and concludes with implications such AR solution
would present.
Chapter 19 “Living and Acting in Augmented Words: How to Be Your Own
Robot?” presumes that the AR user experience is currently shifting from passive
viewing to active engagement and that augmented reality wearables are going to be
as common as smartphones are today. In a 24/7 augmented reality world, we risk to
become empowered and controlled by efficiency-focused algorithms only. How to
be your own robot is going to be the main challenge. In the near future, there is not
just an opportunity for art to manifest itself in new ways, there is also an urgency
for that to happen. The chapter describes this shift with references to some of
author’s own projects to illustrate the various ways in which AR art can manifest
itself.
Chapter 20 “Post-human Narrativity and Expressive Sites: Mobile ARt as
Software Assemblage” examines an influential selection of experimental mobile
augmented reality Art [ARt] in order to explore the progressive conceptual and
ethical threads that are emerging from this relatively new but powerful cultural
form. Using the concept of the “software assemblage,” the author traces the
movement of AR beyond its native root system in the industrial, entertainment, and
the engineering worlds, and toward the rhizome of radical practice that has come to
define mobile ARt. She posits the software assemblage concept as an alternative
and relational modality through which to converse with ARt.
Chapter 21 “Really Fake or Faking Reality? The Riot Grrrls Project” traces the
evolution of the Riot Grrls App, a proposition applying the inherent possibilities of
image-based augmented technology to an historical exhibition of paintings by the
Riot Grrrls, a 1990’s feminist punk movement, at the Museum of Contemporary
Art, Chicago. The intention was to exploit the structural necessities of augmented
reality, by conceptually and visually layering related references in real time, to both
poetic and pedagogical ends. To do this, a School of the Art Institute professor and
an art historian with expertise in user experience worked as a team to lead a School
of the Art Institute class of young students to create augmented artworks using the
historic paintings as both augmented triggers but also artistic material. They created
inventive formal solutions that engaged museumgoers intellectually and esthetically
and were intentionally open-ended.
Finally, we hope that the reader will not judge us too harshly. We have accepted
the challenge of being the first, and we have done our best to bring out this
pioneering work. Just go ahead and read the book. We hope sincerely that you will
enjoy it.

Cairo, Egypt Vladimir Geroimenko

New York, USA Mark Skwarek
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