The Aesthetics of Liminality: Augmentation as an Art Form - Augmented Reality Art - page 102

Fig. 5.6 The future of television (Image Courtesy Jeremy Bailey)

communicate while describing the piece through his stuttering, self-effacing banter
in The Future of Television (Quaintance 2013 ) , . There are awkward moments, as he
calls up a strobing stream and calls it “The Epilepsy Channel”, and then thinking
better, he tries to 'save' and switches to portraiture of his wife. Bailey then slides
into the Planar/Recognition modality with his Important Portraits (Smith 2013 ),
which was a Kickstarter project that became a gallery exhibition at Pari Nadimi
Gallery in Toronto. He invited “important” patrons to fund the project for a show in
which he would use dramatic portraits of the funders as planar markers for dynamic
geometric augments. Bailey provides a segue and is important in his manic usage of
AR modalities somewhere between a Japanese Mecha Epic and baroque portraiture
that has moved from usage of fiducial markers to facial/feature recognition that is
hard to categorize.

5.3.2 Planar Recognition AR

Although similar to the idea of the fiducial marker in that it exists on a surface of
some sort, the gesture of the planar/feature recognition augment exists as a superset
of the Fiducial modality. The Fiducial was specified for its historical significance,
but the planar/print/poster form of AR exhibits a broader scope than the digital
marker, and in popular media, often performs a more straightforward function.
In a TED talk presented in 2012 by the makers of the Aurasma AR technology
(Mills and Roukaerts 2012 ), Matt Mills and Tamara Roukaerts demonstrate the