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The Visual Regime of Augmented Reali...

Avram, Horea.

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The Visual Regime of Augmented Reality Art: Space, Body, Technology, and the Real-Virtual Convergence.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Visual Regime of Augmented Reality Art: Space, Body, Technology, and the Real-Virtual Convergence./
Author:	Avram, Horea.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	266 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-10, Section: B.
Contained By:	Dissertations Abstracts International82-10B.
Subject:	Augmented reality. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28250726
ISBN:	9798582597995

The Visual Regime of Augmented Reality Art: Space, Body, Technology, and the Real-Virtual Convergence.
Avram, Horea.

The Visual Regime of Augmented Reality Art: Space, Body, Technology, and the Real-Virtual Convergence. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 266 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: B.

Thesis (Ph.D.)--McGill University (Canada), 2016.

This item must not be sold to any third party vendors.

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 RichtAR (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.

ISBN: 9798582597995Subjects--Topical Terms:

1620831
Augmented reality.
Subjects--Index Terms:

Visual regime

The Visual Regime of Augmented Reality Art: Space, Body, Technology, and the Real-Virtual Convergence.
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245 1 4 $a The Visual Regime of Augmented Reality Art: Space, Body, Technology, and the Real-Virtual Convergence.
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300 $a 266 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-10, Section: B.
500 $a Advisor: Ross, Christine.
502 $a Thesis (Ph.D.)--McGill University (Canada), 2016.
506 $a This item must not be sold to any third party vendors.
520 $a 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 RichtAR (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.
520 $a Ma recherche porte sur les dimensions esthetiques et perceptives de la realite augmentee (RA), l'un des champs les plus fertiles de l'innovation technologique et de l'exploration artistique a l'ere post-ordinateur personnel. Bien que la RA beneficie d'une expansion et d'un developpement rapides, la theorisation du phenomene reste encore precaire. En ce sens, mon etude est une contribution a la definition de la RA, a l'identification des oeuvres d'art les plus representatives du domaine et a la systematisation d'un cadre theorique pour le phenomene de la RA.La RA est definie comme un ensemble de systemes de visualisation et d'interactions qui permet la superposition perceptuelle de l'information virtuelle (incluant photographies, videos, animations 3D, textes, sons) sur l'image de la realite materielle en temps reel, et d'une facon interactive et localisee. La capacite de la RA a articuler un espace hybride dans lequel les elements reels et virtuels sont fusionnes de maniere homogene est ce que j'appelle la convergence. Des oeuvres de RA telles que Living-Room 2 de Jan Torpus (2007), Theorie du complot de Janet Cardiff et George Bures Miller (2003), Le Veau d'Or de Jeffrey Shaw (1994), Artvertiser de Julian Oliver (2008), Hans RichtAR de John Craig Freeman et Will Pappenheimer (2013), et les applications mobiles recentes comme Layar et Wikitude, sont des exemples pertinents de la maniere dont la RA place realite et virtualite non seulement a cote, mais « perceptuellement » de maniere convergente, dans le meme espace-image. Ainsi, les questions qui se posent, et qui sont examinees dans cette etude, sont les suivantes : dans quelle mesure la convergence entre la realite et la virtualite a un impact particulier sur l'experience de l'espace de l'utilisateur? Pouvons-nous voir la RA comme une confirmation ou un defi pour les modeles etablis de visualite? Ou represente-t-elle plutot un changement de paradigme perceptuel et esthetique?Je soutiens que la RA propose un regime visuel nouveau, evident dans le fait qu'elle etend la definition traditionnelle de l'image (proposant a la place un espace-image processuel qui integre realite et virtualite), redefinit le role de l'interface (la transformant en un instrument contextuel, centre sur l'utilisateur) et reconsidere l'experience spatiale du spectateur (par l'incorporation de donnees virtuelles dans l'environnement quotidien). Un argument essentiel dans ma recherche est que, quelles que soient la solution technique ou la forme artistique employees, les RA devraient etre considerees comme un concept plutot que comme une technologie (d'ou l'approche methodologique mixte qui comprend l'histoire de l'art, l'etude des medias et celle de l'informatique). La conclusion de mon etude est que, bien que fondee sur des efforts artistiques historiquement valides qui visent a la fusion des mondes reels et fictifs (tels que l'art de l'installation et de l'art de la realite virtuelle), la RA propose une experience spatiale differente et donc un regime different de visualite.
590 $a School code: 0781.
650 4 $a Augmented reality. $3 1620831
650 4 $a Contemporary art. $3 3559078
650 4 $a Visual culture. $3 3559079
650 4 $a Media art. $3 3559080
650 4 $a Installation art. $3 3559081
650 4 $a Virtual reality. $3 527460
653 $a Visual regime
653 $a Augmented reality art
653 $a Space
653 $a Body
653 $a Technology
653 $a Real-virtual convergence
690 $a 0489
690 $a 0357
710 2 $a McGill University (Canada). $3 1018122
773 0 $t Dissertations Abstracts International $g 82-10B.
790 $a 0781
791 $a Ph.D.
792 $a 2016
793 $a English
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28250726