Information Technology Reference
In-Depth Information
Interestingly Novak makes the point that unlike conventional graffiti, which
can be physically removed or painted over, the evanescent nature of AR graffiti
means that it is in some ways harder to regulate. Moreover, the virtual nature
of AR means that it is relatively easy for the artist to change, adapt or update
the work. Novak's observation that AR graffiti can also hide physical spaces or
activities is an interesting proposition in relation to how graffiti and street art can
shift the communal perception of a public space. In the work “Manhattan Phrase”
Novak creates personal AR responses to the musical history of 12 different sites
on 14
th
Avenue, New York. Laden with cultural histories these sites are reimaged
and reimagined through Novak's AR interventions that blur the empiric moment
with augmented sound and image, and work as a sort of shorthand to the patina of
personal and social memories and experiences that can build up over time in the
same location.
In considering these two case studies it should be remembered that the conven-
tions and rules for this new media form (and how it might be experienced in the
public domain) are as yet, not fully developed or broadly understood by the general
public or indeed defined by the creators of the works. Informing people where AR
content might reside in the urban environment and how it should be accessed and
or responded too is still a work in progress. Novak is aware that audiences react
differently to his AR creations as they experience them in situ; from the response of
the techno-evangelist who is happy to embrace the concept of AR graffiti and willing
to initiate others into the experience, through to confused but interested first time
users, who find different ways of engaging with the work. This interest in how AR
within a public space might begin to accommodate a broad level of social inclusion
and meet the needs and the desires of the community is something that also resonates
with the designers of the Re
C
Public app. As technological access improves and the
public understanding of this type of work increases, more examples of work from
practitioners in the field will help facilitate and define the potential of AR graffiti
and its contribution to a shared urban visual language and culture.
11.6
Conclusions
Generally speaking all graffiti is a form of addition (welcome or not) to the visual
language of the public realm. Similarly the concept of AR graffiti allows us to
reimagine and contribute virtual content to public infrastructures and shared spaces.
Like traditional graffiti there is always a connection between where we encounter
the AR work and the physical environment. This relationship is made simply by the
fact that AR graffiti has a 'fixed' geo-location or a specific viewing point that the
viewer needs to occupy to activate the work. The 'located' nature of the AR graffiti,
both in terms of place and context means that it is possible to create a dialogue
between a physical location and the content and design of an AR work.
Within this chapter we have looked at how the concept of AR graffiti has the
potential to build on the visual languages of street art and graffiti, and the urban
