Augmented reality is a recent technology that allows the user to see a computer-generated image, model, or video superimposed upon the real world. The augmented portion can be placed in context with the real world by “attaching” it to a specific location and elevation. The user would access this with a GPS enabled device. Another way of placing the augment is to attach it to a specific image. With this method, the device reads the image in the camera like a fingerprint, and then places the augment as specified. This method allows a designer to augment things like magazine pages, billboards, and other things that are geographically fluid.
A Manifesto from Manifest.AR
“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.
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.
Placing one image next to or over another will re-contextualize both, causing new meanings to emerge. Both together might evoke a response from the viewer that is 180 degrees different than the images might cause alone. Augmented reality has the added property of being “already there” waiting to be discovered.
In part 1 of this project, you will augmented a painting from the National Gallery of Art. The painting will be the trigger image and will be printed and placed on the wall, then a series of images, animated gifs, and videos will be overlaid above the original. The exact nature and meaning of the image sequence will be left to you. You sequence can describe a narrative, add small bits of images sequentially to the original, place images and videos contextually to build multiple meanings over time, or any other conceptual design.
Your goal in the assignment is to change the viewer’s relationship with the original image; to re-contextualize it or add to it with the augmented portion. You might achieve this by:
Adding something to the original.
Subtracting something from the original.
Changing some property of the original.
Overlaying a disparate object, one that contradicts the original.
Revealing something hidden.
You can generate a new work from an old one by finding an element in the old work to exploit. This element may be something conceptual, formal or related to subject matter. Examine the strategies the artists uses in his or her work and apply those to a new subject, or put them in a new context.
Think about the implications that the translation of media will have on the work. How does a static painting change when translated to a time-based medium?
Chosen image must be sufficiently complex for the software to “fingerprint” it. No simple, minimal images.
The overlays can be an image, video, or animated gif. The file size must be kept within the specifications of the software.
All images and overlays must be created by you, unless approved by the instructor.
You must download the software to your device, or borrow a device for testing purposes.
We will be using the HP Reveal platform and app. It is available on iOS and Android.
When Creating your auras naming is important- follow naming procedure:
Here is an article you might read to further your understanding of AR.
Some examples of augmentation and re-contextualization before the technology of augmented reality was available: