Anetka Mühlemann, La Une, Lundi 27 janvier 2014
Dans l’espace urbain, une Lausannoise a installé un métro pour Boston, d’éternels oiseaux migrateurs et une colonie d’arbres joueurs. Tout un monde insolite accessible au bout du smartphone.
M/C Journal, Vol. 16, No. 6 (2013) – ‘augment’
Within the larger context of the post-desktop technological philosophy and practice, an increasing number of efforts are directed towards finding solutions for integrating as close as possible virtual information into specific real environments; a short list of such endeavors include Wi-Fi connectivity, GPS-driven navigation, mobile phones, GIS (Geographic Information System), and various technological systems associated with what is loosely called locative, ubiquitous and pervasive computing. Read more.
The Civic Beat Reader
An Xiao Mina and Ben Valentine, with Dorothy Santos
A couple weeks ago, Ben Valentine and I (An Xiao Mina) had a chance to speak at the Yerba Buena Center’s Dissident Futures Art and Ideas Festival alongside arts/tech writer and researcher Dorothy Santos. Our topic was, simply, “The Honeymoon’s Over—Arts and Culture Criticism in the Age of Networked Power”, a look at utopian narratives about the internet and how to critically evaluate them. Read more.
During the presentation, one of the individuals I (Dorothy Santos) focused on was new media artist John Craig Freeman. He uses augmented reality in his artistic practice, which is heavily used by advertisers to overlay landscapes and buildings with branding for marketing purposes. But Freeman uses this technology to interrogate the politics of space. Essentially, anyone with a smartphone and the internet can find out about the objective and purpose of each of his interventionist projects.
Tafterjournal, N. 66 – December 2013
Arthur Clay and Monika Rut
Orators, Rostrums, and Propaganda Stands, by John Craig Freeman, augmented reality public art, Hong Kong, 2013.
Over the last few years, we have been witness to the emergence of the use of the virtual in public space. The manifestation of the virtual and the interplay of it with the real are changing the concept of public space and the perception of art that is now being presented in it. The integration process of the virtual into the real is also clearly affecting the way in which cultural institutions are now presenting and meditating art, as well as how this process is bringing the demand for new and innovate ways to link the virtual to the real.
By Meredith Drum Issue 4, November 2013
AR[t] Magazine is an initiative of AR Lab, Royal Academy of Art, The Hague
As new augmented reality software has made production more accessible, there has been a surge of mobile AR projects produced by artists interested in place and situation. A notable subset use the virtual to make critical statements about social, cultural and political phenomena tied to, or associated with, a physical location. As new forms of public art, the works engage aspects of a participant’s experience of place generally negated by mobile devices. Exploring the physical setting, the built and natural environment, as well as the events and functions centered there, is often a main goal. The virtual forms point back to the material. Participants are not only asked to actively attend to the spatial and the corporal, they are also invited to consider and enter critical discourse on the history and future of unique spaces — how they are used and might be used.
Hong Kong, November 20–22, 2013.
The Virtuale Exhibition stands for Virtual Biennale and is brought to you by Digital Art Weeks International via SIGGRAPH Asia. The Virtuale Exhibition is an exhibition of Augmented Reality (AR) artworks for public space using new digital tools not only to view the artworks and to interact with them, but also to design the experience of participation itself. The exhibition encompasses artworks using AR and focuses on the use of public space, mobile communication technologies, and explores the types of audiences found in public space, as well as inventing “playful” new strategies to bring the public into the exhibit as “real” visitors being offered a unique experience.
Including Flotsam & Jetsam, John Craig Freeman
Flotsam & Jetsam is a virtual meta-commentary on global warming, expected sea level rise and the spread of plastic debris field gyres. More.
and Orators, Rostrums, and Propaganda Stands, John Craig Freeman
Orators, Rostrums, and Propaganda Stands, is based on the work of Gustav Gustavovich Klucis, including his designs for Screen-radio Orators, Rostrums, and Propaganda Stands from 1922. More.
Kasa Galeri, Istanbul
In association with the Museum of Contemporary Cuts
November 15th – December 31st, 2013
With John Craig Freeman, Mark Skwarek, Will Pappenheimer and Tamiko Thiel, and Nicholas Mirzoeff
Lead Curator: Lanfranco Aceti, Senior Curators: Pat Badani, Nicholas Mirzoeff and Marquard Smith
I Occupy, the new exhibition of Kasa Gallery in collaboration with the Museum of Contemporary Cuts surveys, analyzes and questions, current trends in interventionist art and Augmented Reality Art which, by intervening within the urban and socio-political landscape, contribute to redefine the aesthetic and cultural understanding of the environments we operate in. More.