Information Technology Reference
In-Depth Information
used as templates to quickly recreate a predesigned image by spraying through the
holes on the stencil. From the artist's perspective this technique has an additional
advantage in that it enables the easy creation of multiple versions of the same image.
A variety of 2 and 3 dimensional materials, which can be stuck on or applied to
surfaces are now also being used to create work.
1
This includes the popular practice
of pasting up pre-printed, sprayed or drawn, paper-based posters, which again have
the advantage of being quickly repeatable so that large areas can be covered in a tile-
like effect should this be desired. A number of other types of painting techniques are
used in the creation of the more elaborate pieces, with bespoke processes such as the
use of cleaning cloths, water and solvents to create monochromatic images on grimy
urban surfaces being developed.
2
Lastly there are a number of new technology
graffiti pieces that are created through the use and control of lights, laser beams,
data projectors and other digitally facilitated interventions. AR graffiti continues this
tradition of expanding the visual language of graffiti and street art by incorporating
new techniques and technologies.
11.3
Philosophical Issues for Graffiti, Street Art
and AR Graffiti
Aside from the issue of legality, there are a number of other issues worth considering
in relation to the idea of AR enabled graffiti. As Wacławek points out, one of the
defining qualities of graffiti is that it both assimilates the city environment, as well
as recreating it (Wacławek
2011
, p. 9). There is a natural vernacular inherent in
graffiti and street art, which is played out between its physical location and the social
cultural expectations of that environment; and through a dialogue and interplay with
the other visual languages of the street, including formal signage, advertising posters
and even other pieces of graffiti (Poynor
2001
). Through this urban bricolage,
created by the juxtaposition of images and surfaces, it is often difficult to establish
a visual hierarchy of meaning, importance or legitimacy (Crow
2010
). Adding
further content to our experience of the urban environment through the use of AR
technologies needs then to be considered in the context of this multifaceted ecology
of image making and meaning. For example, will located access to extra digital
content help to explain the existing physical environment or add to its complexity?
Certainly the potential to add virtual layers of content and information to urban
spaces speaks to Mitchell's polemic about digitally enhanced cityscapes. In his
topic 'City of Bits' Mitchell espouses the potential for digital technologies and
1
See the work of Invader
(
http://www.space-invaders.com/
)
and the use of mosaic tiles to create
images of space invaders on buildings. In some cases a map of the sites enable people to follow the
images around a particular city.
2
See the work of Paul 'moose' Curtis who is credited with the idea of reverse graffiti (
www.
