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infrastructures of a modern day city environment, as part of the ongoing fusion
between analogue and digital content. AR street art and graffiti contributes to the
confluence of when, where and how we experience these two paradigms in tandem.
The dialogic potential of AR graffiti marries urban social narratives and personal
experiences with the dynamic potential of the digital and the tacit authority of
material form. The difficulty for this type of located AR lies in ensuring that the
relationship between the digital virtual and physical real is a symbiotic one that
draws positively on the technical and cultural qualities and properties inherent in
both analogue and digital paradigms, to fully make use of the potentials of the hybrid
AR experience.
Advancements in the development of wearable head mounted displays such
as Google Glass are bound to have an impact on this fledgling practice. While,
immersive Virtual Reality (VR) has proved to be less popular than initially imagined
we are beginning to see some renewed interest in the use of VR outside of
the conventional gaming or multi-user environments. However, within the urban
environment the use of digital accessories, such as the headphones worn by cyclists
or joggers that disconnect the wearer from the here and now are still regarded with
some consternation by most people. Perhaps the key strength of the use of AR in the
public realm is realized through the capacity to rapidly switch between real-world
and augmented experiences as necessary and as desired, and the ability to move
between both a private and communal, shared experience of the urban environment.
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