دانلود کتاب AUGMENTED REALITY ART from an emerging technology to a novel creative.

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Preface
Contents
Contributors
Part I The Theoretical Aspects of Augmented Reality Art and Technology
1 ART for Art Revisited: Analysing Technology Adoption Through AR Taxonomy for Art and Cultural Heritage
1.1 Introduction
1.2 Activity-Based Taxonomy Method
1.3 AR Taxonomy for Art and Cultural Heritage
1.3.1 Activity Model
1.3.2 Taxonomy
1.4 Results of Classification
1.4.1 Context of Use and AR Technology
1.4.2 Activity Support
1.4.3 Analytical Activity
1.4.4 Sensitive Activity
1.4.5 Communication
1.4.6 Personalisation
1.5 Conclusions
References
2 Making Sense of ARt: A Methodological Framework for the Study of Augmented Reality Art
2.1 Introduction
2.2 Nouveaux Instruments
2.3 Making Sense of the Senses
2.4 Sensory Ethnography
2.5 A Critical Supplement to Sensory Ethnography
2.6 A Critical Sensory Ethnographic Approach to the Study of ARt
2.6.1 Case Study: “George Floyd AR Memorial” by Steven Christian
2.7 Conclusion
References
3 Why We Might Augment Reality: Art’s Role in the Development of Cognition
3.1 Introduction
3.2 Development
3.2.1 Machine Learning
3.2.2 A Grouping Impulse
3.3 Augmentation
3.3.1 Creativity
3.3.2 Utilizing Reality
3.4 Conclusions
References
4 Shifting Perceptions—Shifting Realities—Shifting Spheres
4.1 Introduction
4.2 Shifting Perceptions
4.3 Shifting Realities
4.4 Subversive Confrontation
4.5 Shifting Spheres
4.6 Conclusion
References
5 Augmented Reality, the Expansive Object, and the Vivification of the Memory Theatre: Field Notes
5.1 Introduction
5.2 What is Object?
5.3 What is Augmented Reality?
5.4 Patterned to Fit Work: ClownTown, and Synthetic Cells: Site and (Para)Site
References
Part II Augmented Reality Art and a Variety of Spaces
6 Critical Interventions into Canonical Spaces: Augmented Reality at the 2011 Venice and Istanbul Biennials
6.1 Introduction
6.2 Challenging and Exploiting the Primacy of Site
6.3 Site as Canvas and Context
6.4 Manifest.AR Venice Biennale Intervention Themes and Concerns
6.5 Manifest.AR Artworks in the Venice Biennale Intervention
6.6 Venice—Lewisburg—Istanbul
6.7 “Invisible Istanbul”: Istanbul Biennale 2011 AR Intervention
6.8 Conclusions
References
7 Merging Spaces: Augmented Reality, Temporary Public Art, and the Reinvention of Site
7.1 Introduction
7.2 Temporary Public Art
7.3 Site-Specificity
7.4 Augmented Reality as Temporary, Site-Specific Public Art
7.5 Precursors
7.6 Virtually Installed Public Art
7.7 History and Context
7.8 Drones Over Broadway
7.9 Comics
7.10 Over and Over Again
7.11 The Peaceable Kingdom
7.12 Unknown
7.13 Public Response
7.14 Augmented Reality as a Reinvention of Site-Specific Art
7.15 Distributed Sites
7.16 Environmental Activism
7.17 Augmented Reality, Racial Justice, and the Commemorative Landscape
7.18 Deconstructed Monuments, Alternate Narratives and Storytelling
7.19 Conclusion
References
8 Data Narratives: Aesthetic Activation of Urban Space Through Augmented Reality
8.1 Introduction
8.2 The Programmable City Artist in Residence
8.3 The Spatiality of Data Narratives
8.4 Working with Data
8.5 The Data Narratives App
8.6 AR Development
8.7 AR as Emerging Vapourware
8.8 The Aesthetics of Augmentation
8.9 Conclusion
References
9 Beyond the Virtual Public Square: Ubiquitous Computing and the New Politics of Well-Being
9.1 Introduction
9.2 Ubimage
9.3 Apparatus
9.4 Theoria
9.5 The Malala Test
9.6 Obscenario
9.7 Ordinary Aura
9.8 Choragraphy
9.9 Aesthetic Attitude
9.10 Rationale
9.11 Quasi-object
References
10 Augmenting Environmental Graphics in Healthcare Spaces
10.1 Introduction
10.2 Placemaking in Healthcare Environments
10.2.1 Environmental Enrichment
10.2.2 Environmental Graphic Design
10.2.3 Environmental Graphic Design Healthcare
10.3 Building Good Health Environments
10.3.1 Salutogenic Design
10.3.2 Positive Technology
10.3.3 AR in Health
10.4 A Case Study: The Use of EGD and AR in a Healthcare Environment
10.4.1 Research Design
10.4.2 Stage 1: Discovery
10.4.3 Stage 2: Concept Development
10.5 Conclusion
References
11 Augmented Reality Interventions in Shared Space: Subversion and Social Impact
11.1 Introduction
11.2 The Interview
References
Part III Augmented Reality as a Novel Artistic Medium
12 The Aesthetics of Liminality: Augmentation as an Art Form
12.1 Introduction
12.2 The Gaze, the Overlay, and the Retinal
12.3 Queering Augmentation
12.4 The Semiotics of AR
12.5 The Structure of the Gesture in Augmented Reality Art: Fiducial, Planar, Locative/GPS, Environmental and Embodied/Wearable
12.5.1 Fiducial AR
12.5.2 Fiducial AR: The Emergence of Miku
12.5.3 Planar Recognition AR
12.5.4 Locative/GPS-Based
12.5.5 Environmental/Spatial Recognition
12.5.6 Between the Environmental and Embodied: The Return of Hatsune Miku
12.5.7 Body as Landing Site: Wearable AR
12.5.8 Next Steps: Mixing Metaphors/Mixed Realities
12.6 Conclusions
References
13 Augmented Reality in Art: Aesthetics and Material for Expression
13.1 Introduction
13.2 Film
13.3 Video Art (Live)
13.4 Augmented Reality
13.5 Art
References
14 Augmented Reality Painting and Sculpture: From Experimental Artworks to Art for Sale
14.1 Introduction
14.2 Augmented Reality Painting
14.3 Augmented Reality Sculpture
14.4 The Saleability of Augmented Reality Artworks
14.5 Conclusions
References
15 Augmented Reality Graffiti and Street Art
15.1 Introduction
15.2 Definition and History of Graffiti
15.3 Philosophical Issues for Graffiti, Street Art and AR Graffiti
15.4 Augmenting What and Where: Markers and Clues, Techniques and Technologies
15.5 Case Studies
15.5.1 Case Study One: BC Biermann and the Heavy Projects
15.5.2 Case Study Two: Shannon Novak
15.5.3 More Recent Examples
15.6 Conclusions
References
16 Face Filters as Augmented Reality Art on Social Media
16.1 Introduction
16.1.1 AR Face Filters as an Artform
16.1.2 Who Benefits from AR on Social Media?
16.2 Presenting the Self in AR
16.2.1 The Futuristic Self-Ines Alpha
16.2.2 Identity and Self-aevtarperform
16.2.3 The Cinematic Self-David OReilly
16.3 Conclusions and Future Directions
References
17 Post-human Narrativity and Expressive Sites: Augmented and Extended Reality as Software Assemblage
17.1 Introduction
17.2 AR Beyond the Information Overlay
17.3 Biofeedback and Décollage
17.4 Software Assemblages as Swarms
17.5 Interventionist Portals
17.6 Through a Lens, Darkly
17.7 Touching Signals in the Grayscale Gloom
17.8 Closing Remarks
References
Part IV Historical, Cultural and Personal Engagement with Augmented Reality Art
18 User Engagement Continuum: From Art Exploration to Remixing Culture with Augmented Reality
18.1 Introduction
18.2 AR Use Cases for Engaging Users in Art Creation and Consumption
18.2.1 Taking the Artwork Home—User Curated AR Art Exhibitions
18.2.2 Playing with the Artworks
18.2.3 Time-wARp Xplorer: Creating Own Stories in Urban Environment
18.2.4 I Was Here: Digital Graffiti for Tourists
18.2.5 Virtual Tracing Tool
18.2.6 Novel Ideas, Technologies and AI
18.3 Discussion
18.3.1 User Engagement Continuum
18.3.2 Copyright Issues
18.3.3 Curation of User-Generated Content
18.3.4 Other Implications
18.4 Conclusion
References
19 Rhythms in Stone: Revealing and Augmenting the Human Presence in Mesolithic Rock Art
19.1 Introduction
19.2 An Archaeology of Performance
19.3 Experience of the Prehistoric Ritual Art
19.4 Augmented Reality as a Solution for Explaining the Prehistoric Art
19.5 AR in Archaeology
19.6 The Educational and Creative Value of the AR Applications
19.7 Description of the AR Application
19.8 Results
19.9 Conclusions
References
20 Augmenting Wilderness: Points of Interest in Pre-connected Worlds
20.1 Introduction
20.2 AR, OOO
20.3 POIs
20.4 Radio Babies
20.5 Anti-tradition
20.6 Usage
20.7 Anamnesis
20.8 Variety and Application
References
21 Really Fake or Faking Reality? The Riot Grrrls Project
21.1 Foreword
21.2 Introduction
21.3 Claudia Hart on Re-making the Riot Grrrls
21.4 Forms of Feminism: Responses to Riot Grrrls by the SAIC Virtual Installation Students
21.4.1 Francesca Udeschini on the Augment of Molly Zuckerman-Hartung’s “Hedda Gabler”
21.4.2 Jonatan Martinez on the Augment of Tomma Abts’s ‘Dele’
21.4.3 Alex Mendoza on the Augment of Judy Ledgerwood’s ‘Sailors See Green’
21.4.4 Christina Chin on “Love Letter to a Violet” Augment by Ellen Burkenblit
21.4.5 Beier Zong on the Mary Heilmann’s ‘Metropolitan’
21.5 Afterword: Reflecting on the Riot Grrrls App
References
Concluding Remarks: Today’s Vision of an Art Form of the Future