Manifest.AR
Based out of Amsterdam, as best I can tell. Generated the AR Art Manifesto. Occupied MoMA, the White House and Pentagon (kind of), and plan on participating in the Venice Bienalle without permission.
AR Art Manifesto
“All that is Visible must grow beyond itself and extend into the Realm of the Invisible” (Tron, 1982)
Augmented Reality (AR) creates Coexistent Spacial Realities, in which Anything is possible – Anywhere! The AR Future is without boundaries between the Real and the Virtual. In the AR Future we become the Media. Freeing the Virtual from a Stagnant Screen we transform Data into physical, Real-Time Space.
The Safety Glass of the Display is shattered and the Physical and Virtual are united in a new In-Between Space. In this Space is where we choose to Create.
We are breaking down the mysterious Doors of the Impossible! Time and Space died yesterday. We already live in the Absolute, because we have created eternal, omnipresent Geolocative Presence.
In the 21st Century, Screens are no longer Borders. Cameras are no longer Memories. With AR the Virtual augments and enhances the Real, setting the Material World in a dialogue with Space and Time.
In the Age of the Instantaneous Virtual Collective, AR Activists aggravate and relieve the Surface Tension and Osmotic Pressure between the so-called Networked Virtual and the so-called Physical Real.
Now hordes of Networked AR Creatives deploy Viral Virtual Media to overlay, then overwhelm closed Social Systems lodged in Physical Hierarchies. They create subliminal, aesthetic and political AR Provocations, triggering Techno-Disturbances in a substratosphere of Online and Offline Experience.
Standing firmly in the Real, we expand the influence of the Virtual, integrating and mapping it onto the World around us. Objects, banal By-Products, Ghost Imagery and Radical Events will co-exist in our Private Homes and in our Public Spaces.
With AR we install, revise, permeate, simulate, expose, decorate, crack, infest and unmask Public Institutions, Identities and Objects previously held by Elite Purveyors of Public and Artistic Policy in the so-called Physical Real.
The mobile phone and future Visualization Devices are material witness to these Ephemeral Dimensional Objects, Post-Sculptural Events and Inventive Architectures. We invade Reality with our Viral Virtual Spirit.
AR is not an Avant-Garde Martial Plan of Displacement, it is an Additive Access Movement that Layers and Relates and Merges. It embraces all Modalities. Against the Spectacle, the Realized Augmented Culture introduces Total Participation.
Augmented Reality is a new Form of Art, but it is Anti-Art. It is Primitive, which amplifies its Viral Potency. It is Bad Painting challenging the definition of Good Painting. It shows up in the Wrong Places. It Takes the Stage without permission. It is Relational Conceptual Art that Self-Actualizes.
AR Art is Anti-Gravity, it is Hidden and must be Found. It is Unstable and Inconstant. It is Being and Becoming, Real and Immaterial. It is There and can be Found – if you Seek It.
Endorsed by the founding members of the cyberartist group Manifest.AR, on 25 January 2011.
We AR in MoMA
Easy-to-use AR tools such as the Layar AR viewer have led to an explosion of virtual creativity in our public physical space. Every major city square now hosts numerous virtual sculptures. Actually, augmented reality has changes the scope of ‘public space’. Any space has become public! Even physically walled private spaces are now open areas for anyone to use or re-shape.
Combining this development and the fact that creative tools are turning many people into creative artists, the scope of “what is art” is once again questioned. Because besides the difficult qualitative judgement, the former ‘helper’ criterium of whether something was placed within museum walls or not, is no longer valid. Virtual artworks by ‘non artists’ could mix with officially curated art within an official museum. The museum offers the white cube and walls, the visitor decides what to see, curators are bypassed.
Re-constructing the Berlin Wall – Tamiko Thiel & Teresa Reuters
Infiltr.AR
On Friday 25th 20:15 GMT+1 an infiltration of the White House and The Pentagon took place, orchestrated from a temporary command centre installed at Club Karlsson in Amsterdam.
Since then, two virtual (AR) Twitter balloons have been positioned inside the Oval Offica and inside the Pentagon press room.
The balloons can be seen ‘for real’ inside these two locations, but elsewhere in the world, an ‘artist impression’ can be viewed. To view the, download the (free) Layar app for iPhone or Android and open layar “INFILTRAR”.
The balloon displays the latest tweet containing either the hashtag ‘#pentagonchat’ or ‘#ovalofficechat’.
Venice Biennal AR Show
Getty Museum using AR as a new way to interact with art
Observatorio – Clara Boj & Diego Díaz
Observatorio builds upon Boj and DIaz’ 2004 project Red Libre Red Visible (Free Network, Visible Network) which was born in an optimistic time when it seemed possible to achieve an utopia made of wireless, open communication networks managed by social groups offering services to the local community. At that (not so distant) time, several city governments offered free access to the WiFi network, sometimes in the entire city. The CMT (Telecommunications Market Commission) denounced those city governments for unfair competition with telecom companies, the free wifi municipal projects were canceled, and grassroot groups started installing, maintaining and extending open WiFi networks throughout Spain.
Guess who — Nadav Assor! Tunneling I
Tunneling I
Video Projection Tools (currently 5.1) by HC Gilje is the software we reviewed in class – it’s a multi-layer, real time projection mapping program, fully made with Max, and fully controllable via OSC messages from any program you choose. You can also embed Max patches directly within in via it’s Fx Bus, and broadcast video to it from Jitter and other sources via Syphon.
