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In-Depth Information
Fig. 6.2
Video art apparatus
as described by Krauss
Objective Reality/
Artist (Acconci)/
Subject (Campus)
frame/
mis-en-scen
camera
screen/
mediated reality
spectator (Acconci)
Stereo glasses
(optional)
Tracker
Monitor
Locations
Video cameras
Video of
real world
Scene
generator
Combiner
Graphic
images
Fig. 6.3
Monitor-based AR conceptual diagram (Azuma
1997
)
in the case of Campus' 'Dor'). In 'Dor', the viewer's perception should grasp
equally the presence of the screen and the camera and the wire between them; this
is the point. In Acconci's 'Centers', the viewer is to be aware of Acconci watching
both the camera and the screen attached to it and performing within that circuit. In
both works, the frame of the camera is the context of the conceptual statement—
the framed square of the gallery canvas for Acconci, the frame that separates the
narcissistic projection from reality for Campus. Augmented Reality uses cameras
streaming live to screens in a similar way, but, as in the cinematographic apparatus,
there are additions to the stream.
Ronald T. Azuma in an early 1997 survey of the Augmented Reality medium
drew the diagram I have redrawn in Fig.
6.3
. Missing in this diagram is the line of
perception—what the spectator expects and ignores—but the similarity to Baudry's
1970 diagram of the cinema apparatus is obvious. In place of the manipulation
of live objects through scripting, set design, dramatic direction, here there is a
direct live stream from the camera, the 'reality' that is being augmented. In place
