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een virtual and real are presented. The juxtaposition between illusion and objective (albeit
mediated) reality is emphasized as metonymy and addition within the screen... an augmentation
of space. In a sense, within these types of augmented reality, the point of entrance to the work
is in the edges between real and illusion—these sharp edges of addition. It is not an affected
mediation. This is why, at least for me, the fi ducial marker based work carries a special
fascination: the marker as a material object becomes a frame for this edge... a materiality of the
digital code, similar to the aesthetic preciousness of the fi lm sprockets for structuralist fi lm.
In all these works I think you could argue that the ground of representation is the circuit itself...
the mediation taking place—like Rokeby’s insistence on the live nature of the cameras. The
basis of representation is the live nature of the transmission—the mediated as a component...
a live analogue of reality, and exactly this circuit which is being augmented. In many ways
the body—either the body as subject-object as is the case with mirror displays, or the body
as depicted and showing presence and scale as in the Piazza San Marco—is the delineating
edge of augmentation. In the case of the magic mirror, part of the game is that our bodies
dually inhabit the non-augmented space and an augmented space. In a sort of Christian Metz,
cinematic identifi cation schema, it is like a tertiary stage of identifi cation (beyond his secondary
narcissism) where we must have embodied mediation itself in our perception to identify. This
circuit as a material for expression is not essentially digital, but instead, electric... based off of
the live nature of the electric image, but taken to its height in digital augmentation. We can, in
fact, see its relationship to the criticism of video art by Rosalind Krauss in the 70’s.
In her 1976 essay, Video and the Aesthetic of Narcissism, Krauss defi nes her critical search in
the new medium of video art as for “an object-state, separate from the artist’s own being, through
which his intentions must pass” ...like the pigment bearing substances of painting, and the
matter through space of sculpture. She defi nes the crucial element of the electric image in this
regard as the instantaneity of the communication from notion to message: “This is why it seems
inappropriate to speak of a physical medium in relation to video. For the object (the electronic
equipment and its capabilities) has become merely an appurtenance. And instead, video’s real
medium is a psychological situation, the very terms of which are to withdraw attention from
an external object—an Other—and invest it in the Self.” The object is bracketed out, she says,
and instead the artist is creating within a psychological state created by the mapping of the
mind onto this network, in a very McLuhanesque the-medium-becomes-the-nervous-system
way. In her analysis, this self-gazing video art is, for the viewer in the art gallery, like the
viewing of an electronic loop of the artist, camera, and screen. AR, instead, is this loop itself
installed in the gallery, now including the apparatus within the gallery. The actual apparatus of
the electric image medium are installed. Lars Qvortrub, in an essay on digital poetics, proposes
that all of new media art could be described as ready-mades, where in