The Aesthetics of Liminality: Augmentation as an Art Form - Augmented Reality Art - page 117

Fig. 5.24 EIO: Coin Chase (Image Courtesy Mat Rappoport 2012 )

media experiences, more notably using Google Earth and AR in Version 3 to reveal
reconstructed representations of historical sites of Raleigh-Durham in AR using
geolocative points of interest. This is similar to Archeoguide, except with the simpler
use of handheld devices. From a 2012 SLSA presentation, the project appeared
geolocative, and the documentation site remarks that the project is coming 2 years
ago, in 2012.

5.4 Conclusions

By looking at Augmented Reality as a delivery method for artistic content,
then investigating it as a frame for mediation, a discussion is opened up that
ties deeply into art-historical tradition and novel modes of “becoming”. From
Duchamp's notion of the “retinal” to Mulvey's masculinization of the gaze and
pervasive imaging's fracturing and possible “queering” of the mediated gaze, AR
and my proposed gestures/modalities of representation suggest ways in which
artists are using AR in service of cultural production. By beginning with historical
technologies like fiducial tracking, we can trace an epistemic arc as AR unfolds
into image recognition, spatial location, and embodied interaction. As additional
layers of interaction are embedded into AR in the handheld and wearable units,
more layers of signification are stacked into augments, as evidenced in the case of
the Mobile Medic application. However it is also important to note that AR as of
2014 is still a medium in its adolescence, as technologies in an “Alpha Revision”
state rely on design fictions and crowdsourced bootstrapping to will them into being.