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render... for all AR a system
crash, rasterizing issues, registration errors are considered against the goal. The interface
should be “invisible,” and the computer should not reveal its inhuman character, displaying the
sharp edges of computation, fundamental errors of representation, or, most repressed of all, the
digital code that lies underneath (such as a ‘screen of death’ when not only a program, but the
underlying operating system kernel crashes). In fact many artists, such as Rokeby, emphasize
their desire to subvert the “digital” nature of the machine, and produce, instead, image that is
evocative of the human or organic. But within this wide generalization of suppression that is in
almost all of new media art, there is a diversity of how the perception of objective reality and
computation, mediation (or ‘virtuality’... a bad term) should co-exit. We can see a spectrum,
where at one end there is Virtual Reality, and at the other end, sheerly industrial applications.
In Virtual Reality the goal is to completely suppress Objective Reality and Mediated Reality
(that is, suppress any perception of mediation within the media) and achieve an absolute cinema
of fi rst person perspective. At the other end are the AR proto-typical Boeing wiring diagram
interfaces, which used see-through displays over which were overlayed tracking diagrams, with
the specifi c goal to neither suppress objective reality, nor to convolve the virtual and the real. In
mediated reality objective reality
capture/
surveillance/
camera
Processor/
scene generator/
fi lter
Difference /
Augmentation
video compositer/
render
screen
spectator
Augmented Reality Apparatus: Window
tracking/
computing
[framing]
objective reality/
Installation
Subject/
Figure
mediated reality
capture/
surveillance/
Processor/
scene generator/
fi lter
video compositer/
render
screen
Augmented Reality Apparatus: Mirror/ POV
tracking/
computing
Artist/
Figure/
Objective Reality
screen/
mediated reality
Video Art Apparatus: Acconci
spectator
camera
frame/
mis-en-scen
Video Art Apparatus: Campus
objective reality/
Installation
Subject/
Figure
mediated reality
capture/
surveillance/
camera
Processor/
scene generator/
fi lter
Difference/ Augmentation
video compositer/
render
screen
Augmented Reality Apparatus: expanded with dispositif
tracking/
computing
limits of allowed
performance/ activity
framing
objective reality/
Installation
Subject/
Figure
capture limitations/
camera
screen limitations/
installation THE
WALL/
mediated reality
projector
between these two are the projects of the art gallery which we have been looking at, which seek
different degrees of suppression and convolvement between virtual and real.
In the Magic Mirror type display, such as Rokeby’s Cheap Imitation, the object of representation
is the mediated subject or viewer and his or her surrounding objective reality. In a site-specifi c
mode, objective reality is not suppressed, but instead the area of expression is within the
juxtaposition of the real, the live mediation, and the illusion. So that the experience of viewing
Cheap Imitation is one of checking and inspection... the viewer presents themselves to the live
camera and checks