Terence Quinn, who organized the VR, AR and MR workshop at Low Residency, just emailed me a sequence he had done afterwards, in order illustrates the potential of Mixed Reality. Terrence got files from some of us and made a kind of Mixed Reality gallery by using the Microsoft Hololens.
Nice to see the recording of Terence’s MR experience with this test. It gives me a little more impression of how it works.
Maybe AR could be a part of my final show?
Fast research shows me that AR can be many things and its scale of complexity is diverse.
Before taking any decisions, I have to think about questions like:
· What is my fundamental artistic idea using AR (don’t use it just because it is a possibility)?
· Think about the audience, how they will get experience while watching? (do they need smartphones or should they wear glasses/Hololens)
· Can I do it myself? If not, who can help me?
I met Nikolaj Staussbøl, one of my former student, who is currently working at the digital bureau Molamil, situated in Copenhagen.
Nikolaj is a curious and innovative person; he is openminded and interested in networking and dealing technology and ideas. A few years ago Virtual Reality took his attention; now he is into AR, and he knows a lot about it.
I briefly presented my project to Nikolaj. He asked me about the role of the audience, their access to material and interactions possibilities an also about my expectations to the solution and the work process.
Nikolaj warned me not making things too complicated: hard to get the app, unclear navigation, too expensive equipment, etc.
He likes when the idea is clear, readable for many of people (not only at location), etc.
He thinks that wearing glasses, whenever it is Hololense or Google glasses it narrows the target audience too much.
Furthermore, it is hard to produce / design to the “glasses”. In the working process, you have to take them on and of to check adjustments. You get headache, and you get tired.
Nikolaj showed me a project he made at Molamil; it was a nonprofit project experiment, a Christmas greeting for their clients “The Augmented Wine Box”.
This is Augmented Reality running in your browser. No downloads or apps. All with the magic of Three.js and AR.js
The only requirement is that you have the provided wine box with our marker on and a modern Android or ios11 with Safari (a computer with a webcam should also do).
I like the idea of having a physical object (the winebox) where AR objects can act (Chrismasthree). WebAR allows ongoing editing.
We talked about more simple methods, but as Nikolaj said: You have to consider the situation: Let people download apps? Free apps? Wearing glasses? To think about advantages and limitations.
I’m sure that I have to try some of the easiest apps, before asking anyone to help me, I have to know more about the technology.
Two projects which have taken my attention according to AR.
1. In 2013 I saw Camille Scherrer artist/designer at Resonate in Belgrade. She showed a project called “Le Monde des Montage” an augmented reality book. It has been on my mind since that.
What I like is the combination of illustration and animation and then the magic feeling which AR creates. She did the project back in 2008, later in 2011 she made “Augmented Room”. And once again, she shows a simple illustration style combined with very subtle animation. I like the mix of real objects in the room (the birch tree on the door) and the layer of AR to see on the screen.
2. The other project which has crossed my way is “Holograms from Syria ” made by artist Asad J. Malik.
The holograms of the war in Syria projected into spaces across the US. As he said in the interview: “It is almost like Pokemon Go, but with real people. Instead of funny characters, it is real people telling a real story.”
In another article, Asad says: “I think AR [augmented reality] has some very, unique powers because VR to me is all about giving up on reality itself. What I’m most interested in is using simulation to bring the focus back to the reality”.
I like the simple idea; changing the images from the iconic Pokemon to iconic war pictures from Syria. It has a powerful effect on me; seeing something which you do not expect to see.
Monday I met Karen Lisa Salamon at a cafe in Copenhagen. In fact, we should have met this fall when I was writing my Research Paper. I asked her if she would meet and talk about coincidence, serendipity. She said yes, but it turned out that she was too busy at that time.
Karen Lisa Salamon is Associate Professor, Anthropologist, PhD and mag.scient., researcher, writer.
I told KLS about my subject for the research paper as well as the practical part of my Master Project (Surrealism etc.).
This blog post is a loose summary of our conversation. I made this as a note.
It annoyed me that I did not record our talk since I only took notes from Karen Lisa and not myself, and therefore it becomes a bit unclear.
Very quickly we talked about some great thinkers there among Walter Benjamin. She told me that WB was much more than art and ide historian. That he also experimented with himself, used memories to associate and that he took his own life in Paris in 1938.
KLS recommended me reading “Childhood in Berlin”.
We talked about what could be a trigger for creativity. KLS mentioned Dali. He made his own Tarot card which he used to start his imagination. Dali read the cards; he saw signs. It is to find in “Tarot Universal Dali”.
Seeing signs can be drawn back to Paracelsus. For Paracelsus, the image of God, the signature of the Creator, is stamped into all created things. In his science, he also included alchemy, astrology and occultism.
KLS write about Paracelsus in “Naveus Falmmeus” (a cultural essay):
In the early 1500s wrote alchemist and physician Paracelsus that “everything has a sign” – a signature. All patterns and shapes could be decoded into deeper insights. Particularly inaugurated could read the true, divine meaning of everything. According to the science of signature could the location of the star in the sky, the pattern of plant leaves and people’s eczema is read as a sign and be related to each other. Everything was connected.
Paracelsus believed that all plants had a divine determination against diseases and that diseases should be divided into their healing effect. He placed great emphasis on accurate dosage and must have said, “It depends only on the dose whether a poison is poisonous or not.” Pretty much as nowadays homoeopathy.
Giorgio Agamben has followed up writing about sign; that everything has a sign. Book: The Signature of All Things
Surrealism playing with science causality makes obstructions in rationality understanding and enlarges the anomalous.
We are talking about the quantum theory of Bohr and Einstein, if you can predict everything and if everything has a crossword – a key, a keyhole.
Monster mythology – The idea of disharmony, the imperfect internal error. It goes back to Hippocrates, and again in renæcancen also Frankenstein. It is the meeting between science and nature attribution.
In the recent years, the anthropologist fieldwork is also to feel and sense. In fact, much of the anthropologist’s working method is derived from the biology; It must be repeated and validated.
An early anthropologist Malinowski, stranded during World War I on a Pacific island, and became the inventor of the long fieldwork.
Postmodernism goes against universal Western thinking – concepts such as ambivalence, unpredictability, ambiguity, differentiation, currents, dialogues, games and irony are essential in postmodern thinking. KLS mentioned coincidence as a player in Postmodernism. Dada worked against the rationale.
– Everything can not be measured. If you see the world from just one angle, there is only one truth.
Serendipity – We are talking about Clumsy Hans, maybe he was a manipulator who made bad things to look good, but the idea was that he found something useless that he could persuade the princess. Thus became the useless objects valuable.
The one who takes serendipity up and uses it does it through his own cultural, social and historical narrative – The coincidence lands in an already manured soil (the human).
Perhaps it’s characteristic of our time, with the cultivation of the coincidence, we need something beyond our quest for something religious.
I quote Hans Richter for his statements about Dada’s invention of the low of chance.
KLS made false treasures as a child, considering what one might think about the people who lived at the time the treasure was buried. It’s about heritage and environment and what we read/decodes – the science of sign.
KLS does not seem that magic in the scientific world is no problem.
Two days workshop; worked collaboratively in teams making a pop-up show, under the title: “Bring some work and we do something”.
It was exactly what Patatas Guerra did when they met in Milan some years ago. They were kind of stocked raise funding and needed new energy while just doing arts. They transformed frustrations into art and fun, made something lose and free.
· Find an area to install and curate
· Everyone needs to exhibit, collaborate in curating it
· Gather a lot of documentation
· Present the set of documentation of your group
I was in a group with Lyu, Dwa and Kat. The first day we looked for a place for making a pop-up show. We had no idea, talked about our art practices and decided to let the place inspires us.
A little place near Peckham library with five olive trees in pots seemed like a good spot; a lot of everyday life, people, traffic and shops and then the static trees.
After lunch, Lyu and I returned to the area in order to get a better understanding and bigger impression of the place. At the same time, it was interesting to hear Lyu explaining about performance art.
The performance “Five Olive Trees”:
Happy to spend my Sunday at Whitechapel Gallery. My luck was that Mark Dion, American artist, had a big exhibition in a part of the gallery.
Dion’s installations, sculptures and works on paper explore natural history and its institutions including the language and imagery used to identify species, the uncanny quality of natural history museums displays; and nature in popular culture. Inspired by cinema as well as Surrealism and Minimalism, Dion’s tableaux also draw on his expeditions.
I was especially excited about exploring Bureau of the Centre for the Study of Surrealism and its Legacy, 2005 and Tate Thames Dig, 1999.
I didn’t know about him before, but some of his work seems so familiar with my ideas; like working with a catalogue of element and surrealism. I also had a more personal experience while watching his stuff; one thing was my production design trained sister and her carpenter/artist husband. They build, restore and design exclusively with recycled materials; found in flea markets, dumps and in nature.
Another thing was the association I got to my fathers “green cabinet”(he is a natural scientist), which has attracted the curiosity of my since I was a child. A metal pot with coins from all over the world, heads of dulls found in the ocean, pictures of kids and other family members, skeletons of animals. I could make a mini Mark Dion project out of this cabinet.
I bought a small book about the Bureau of the Center for the Study of Surrealism and its Legacy.
Bureau of the Centre for the Study of Surrealism and its Legacy, 2005:
Tate Thames Dig, 1999:
This display of works by 28 major artists examines how we project our identity through our appearances and consumer choices, ultimately shaping our sense of self in relation to society.
A small painting hangs on a yellow patterned wall. The canvas is only half rolled out on its stretcher, and a dog, an upturned chair and a spilt bucket are visible. This enigmatic work by Francis Alÿs (b. 1959, Belgium) lends its title to the exhibition, which considers the question what do our possessions say about us?
Artists are in a unique position to prompt us to reconsider the use and value of objects. Alÿs examines and disrupts the conventions of domestic decoration and decorum, while Rayyane Tabet (b. 1983, Lebanon) takes a simple yet significant object, a suitcase, which he encases in concrete for posterity.