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virtual (Virilio
2002
). This recognition of the transformative environment allows us
to reconsider representations in our everyday world and our own relationships to
them (Dolinsky et al.
2005
).
In order to achieve psychological immersion, action is key. Interactivity is critical
for optimized enjoyment. Action enhances the sense of immersion and the efficacy
of the graphics. Standing alongside the AR in the park and confronted by a man, I
remained immersed within an augmented environment. The resultant conversation
occurred with me in the virtual world and him in the park world. Our thoughts
were dove-tailing in a strange manner but we seem to understand one another
all the same. Our actions- our physical proximity and our dream like descant-
intensified the immersion of the space for both of us. Somehow, we stood our
ground and stood together while we enjoyed our conversation. We were listening
to one another, engaged in a discursive reaction and ultimately we established our
private interconnected network. We were immersed. Immersion can occur between
one person and the AR object as I experienced the magic of the initial discovery of
the artwork. Immersion can also occur between multiple persons who are acting in
relation to the existence of the AR artwork as in when the interlocutor began our
conversation.
This psychological connectedness of immersion occurs when there is an emo-
tional response to the AR system. This is gauged by the sense of presence. The
efficacy of presence can be formulated in different ways. Typically, presence
is defined by a sense of being in the virtual environment instead of being in
the space where the physical body actually resides (Draper et al.
1998
; Slater
and Wilbur
1997
). Another definition of presence occurs when the experience is
“
tantamount to successfully supported action in the environment” (Flach and
Holden
1998
; Zahorik and Jenison
1998
). AR can offer a multiplicity of types
of experiences. The former occurring in my initial situation with recognizing my
AR art. I became a part of a magical moment that fused me with the existence of
the object in a virtual space. My heart was racing in reaction to seeing it. I was
mesmerized by the movement of the balloon hovering in the air. I felt impressed
and immersed. The latter type of presence depends on action that locates one in the
virtual environment. This occurred with the AR art when it became a part of my
physicality in conversation with another person, even though they did not realize it
was there. I felt its presence.
By focusing attention, shifting perception, and directing consciousness, the AR
objects become a type of locative ink mark that combines with the environment to
lead to a type of virtual painting or aesthetic overlay integrated into the real world.
The objects can be realized as creating a virtual environment and establishing the
action of a theatrical moment. The visitor has the responsibility to inculcate their
degree of presence and assimilate the object accordingly. In effect, the creative
process situates consciousness and augments reality by incorporating AR art into
the active experience of locative awareness.
“The phenomenon of presence is based on the transportation of consciousness
into an alternate, virtual reality so that, in a sense, presence is consciousness within
that virtual reality” (Sanchez-Vives and Slater
2005
). So despite an object being
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