Information Technology Reference
In-Depth Information
A number of early exponents of AR graffiti experimented with ways of recreating
the visual languages and techniques of traditional graffiti using the capacities of the
digital. One very popular idea was to create spray-painting applications that allowed
people to virtually tag and bomb buildings. This reimaging of the graffiti visual
language has also more recently included the creation of 3D versions of throw ups,
which can be navigated in virtual space, literally adding another dimension to the
work. These experiments demonstrate that the scope for creating AR graffiti is by
no means limited to a small number of artists, and the displaying of pre-authored
content. The phenomenon of social media and the potential to contribute, alter and
comment on pieces of work is another aspect of AR graffiti that is being explored.
Mobile apps are now available that facilitate user-generated content, which can be
created and shared in line with social media conventions. Moreover, AR graffiti
can also be generated remotely and realized at a specific location. In one example
a well-known street artist continued to create work after becoming physically
incapacitated, using specially developed eye tracking software to generate work that
was then digitally distributed and displayed.
3
It remains to be seen if and how the self imposed codes of practice which govern
the creation and 'overwriting' of physical graffiti and street art will transfer and
be adapted to these virtual creations. However, one advantage with these types of
technologically facilitated artworks is that they are virtual, temporary and do not
damage or permanently hide the underlying surface or material.
As discussed there are a number of different ways to create a piece of AR graffiti
or street art. The techniques for relating AR work to the physical urban environment
(and how we encounter it) can be divided into two main categories: First: by the
generation of AR content that adds to and responds to existing pieces of physical
graffiti or street art, and; second, by the generation of AR work that adds content
to or responds directly to physical urban infrastructure or a public space. In the
first category existing graffiti typologies such as tags, throw-ups, stencils, stickers,
murals and other interventions are added to through the use of AR technologies,
which are viewed through a digital device such as a mobile phone or hand-held
computer. In the second category the physical infrastructure or public space is
directly augmented with virtual content layered over, for example, the surface of
a building, pavement, piece of street furniture or existing signage. Alternately AR
content might be located and realized in 'empty' public spaces such as parks,
alleyways or underpasses where it can be discovered and revealed with the aid of a
digital device and the recognition of a particular location. In the following section
I will introduce two case studies, one that places AR content relative to existing
public artworks as outlined in the first category, and one that responds directly to
everyday street furniture and urban structures as defined in the second category.
3
See the work of the Graffiti Research Lab and the 'eyewriter' at
http://eyewriter.org/
.
