The Visual Regime of Augmented Reality Art

The Visual Regime of Augmented Reality Art
By:Horea Avram
Published on 2016 by

|My research investigates the aesthetic and perceptual dimensions of Augmented Reality (AR), one of the most fertile fields of technological innovation and artistic exploration within post-desktop philosophy and practice. Although AR has seen rapid expansion and development, it remains largely undertheorized in the humanities. In this sense, my study contributes to the definition of AR, the identification of the most relevant artworks, and the systematization of a theoretical framework for the field. AR is defined as a set of visualization and interaction systems that permit the perceptual overlay of virtual information (including photos, videos, 3D graphics, texts, sounds) on top of our material reality, in real time, site-specifically, and in an interactive manner. AR's capacity to articulate a hybrid space that seamlessly merges real and virtual elements is what I call convergence. AR artworks such as Jan Torpus' Living-Room 2 (2007), Janet Cardiff and George Bures Miller's Conspiracy Theory (2003), Jeffrey Shaw's The Golden Calf (1994), Julian Oliver's Artvertiser (2008), John Craig Freeman and Will Pappenheimer's Hans Richt AR (2013), and recent AR mobile applications such as Layar and Wikitude are relevant examples of the way in which AR makes reality and virtuality not only adjacent but also perceptually convergent within the same space-image. Thus, the questions that arise and which are examined in this study are as follows: to what extent does reality-virtuality convergence particularly affect a user's experience of space? Can we see AR as a confirmation or challenge to the established models of visuality? Or does it amount to a perceptual and aesthetic paradigm change? I contend that AR proposes a different visual regime as evident from the fact that it extends the traditional definition of the image (proposing instead a processual space-image that integrates reality and virtuality), redefines the role of the interface (transforming it into a context-aware, user-centric device), and reconsiders viewer's experience of space (by embedding virtual data into the everyday environment). A key element of my argument is that regardless of the technical form and artistic solutions employed, AR should be seen as a concept rather than a technology (hence the mixed methodological approach that includes art history, media studies, and computer science). My study concludes that, while grounded on historically validated artistic endeavors that aim at merging real and fictional worlds (such as installation art and Virtual Reality art), AR proposes a different spatial and media experience and therefore a different regime of visuality.| --

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