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Intro; Preface; Contents; Contributors; Emerging Augmented Reality Technology and the Birth of Augmented Reality Art; 1 Augmented Reality Activism; 1.1 Introduction; 1.2 Past Activists and Their Technology; 1.3 Augmented Reality Activism; 1.4 The Case for Augmented Reality; 1.5 Augmented Reality Activism in the Present; 1.6 Exposing the Unseen; 1.7 Cultural Loss; 1.8 Augmented Reality and Censorship; 1.9 Augmented Reality for Protest; 1.10 Augmented Reality Flash Mobs; 1.11 Augmented Reality Distributed Action; 1.12 Augmented Reality Environmental Activism; 1.13 Augmented Reality Monuments
1.14 Extreme Augmented Reality Activism1.15 Augmented Reality Communication and Creation; 1.16 Negative Aspects of Augmented Reality; 1.17 The Next Generation of Activist Work; 1.17.1 Multi-user Networked Experiences and Telepresence for AR Activism; 1.17.2 The Empathy Machine; 1.17.3 User Experience; 1.17.4 Considerations and Problems; 1.17.5 Test Subjects; 1.17.6 Outcome; 1.18 Dangers Facing the Digital Activist; 1.19 The Future; 1.20 Closing; Acknowledgements; References; 2 Critical Interventions into Canonical Spaces: Augmented Reality at the 2011 Venice and Istanbul Biennials
2.1 Introduction2.2 Challenging and Exploiting the Primacy of Site; 2.3 Site as Canvas and Context; 2.4 Manifest.AR Venice Biennale Intervention Themes and Concerns; 2.5 Manifest.AR Artworks in the Venice Biennale Intervention; 2.6 Veniceâ#x80;#x93;Lewisburgâ#x80;#x93;Istanbul; 2.7 â#x80;#x9C;Invisible Istanbulâ#x80;#x9D;: Istanbul Biennale 2011 AR Intervention; 2.8 Conclusions; Acknowledgements; References; 3 ART for Art: Augmented Reality Taxonomy for Art and Cultural Heritage; 3.1 Introduction; 3.2 Review of AR Taxonomies; 3.3 Activity-Based Taxonomy Method; 3.4 AR Taxonomy for Art and Cultural Heritage
3.4.1 Activity Model3.4.2 Taxonomy; 3.5 Results of Classification; 3.5.1 Context of Use and AR Technology; 3.5.2 Activity Support; 3.5.3 Analytical Activity; 3.5.4 Sensitive Activity; 3.5.5 Communication; 3.5.6 Personalization; 3.6 Conclusion; Acknowledgements; References; 4 Beyond the Virtual Public Square: Ubiquitous Computing and the New Politics of Well-Being; 4.1 Introduction; 4.2 Ubimage; 4.3 Apparatus; 4.4 Theoria; 4.5 The Malala Test; 4.6 Obscenario; 4.7 Ordinary Aura; 4.8 Choragraphy; 4.9 Aesthetic Attitude; 4.10 Rationale; 4.11 Quasi-object; References
5 Augmented Interventions: Redefining Urban Interventions with AR and Open Data5.1 Augmented Reality; 5.2 Data-Driven Art; 5.3 NAMAland; 5.4 Reception and Activation; 5.5 Peripatetic Activism; 5.6 Open Data; 5.7 The Future of AR Art; References; Augmented Reality as an Artistic Medium; 6 The Aesthetics of Liminality: Augmentation as an Art Form; 6.1 Introduction; 6.2 The Gaze, the Overlay, and the Retinal; 6.3 Queering Augmentation; 6.4 The Semiotics of AR; 6.5 The Structure of the Gesture in Augmented Reality Art: Fiducial, Planar, Locative/GPS, Environmental, and Embodied/Wearable
1.14 Extreme Augmented Reality Activism1.15 Augmented Reality Communication and Creation; 1.16 Negative Aspects of Augmented Reality; 1.17 The Next Generation of Activist Work; 1.17.1 Multi-user Networked Experiences and Telepresence for AR Activism; 1.17.2 The Empathy Machine; 1.17.3 User Experience; 1.17.4 Considerations and Problems; 1.17.5 Test Subjects; 1.17.6 Outcome; 1.18 Dangers Facing the Digital Activist; 1.19 The Future; 1.20 Closing; Acknowledgements; References; 2 Critical Interventions into Canonical Spaces: Augmented Reality at the 2011 Venice and Istanbul Biennials
2.1 Introduction2.2 Challenging and Exploiting the Primacy of Site; 2.3 Site as Canvas and Context; 2.4 Manifest.AR Venice Biennale Intervention Themes and Concerns; 2.5 Manifest.AR Artworks in the Venice Biennale Intervention; 2.6 Veniceâ#x80;#x93;Lewisburgâ#x80;#x93;Istanbul; 2.7 â#x80;#x9C;Invisible Istanbulâ#x80;#x9D;: Istanbul Biennale 2011 AR Intervention; 2.8 Conclusions; Acknowledgements; References; 3 ART for Art: Augmented Reality Taxonomy for Art and Cultural Heritage; 3.1 Introduction; 3.2 Review of AR Taxonomies; 3.3 Activity-Based Taxonomy Method; 3.4 AR Taxonomy for Art and Cultural Heritage
3.4.1 Activity Model3.4.2 Taxonomy; 3.5 Results of Classification; 3.5.1 Context of Use and AR Technology; 3.5.2 Activity Support; 3.5.3 Analytical Activity; 3.5.4 Sensitive Activity; 3.5.5 Communication; 3.5.6 Personalization; 3.6 Conclusion; Acknowledgements; References; 4 Beyond the Virtual Public Square: Ubiquitous Computing and the New Politics of Well-Being; 4.1 Introduction; 4.2 Ubimage; 4.3 Apparatus; 4.4 Theoria; 4.5 The Malala Test; 4.6 Obscenario; 4.7 Ordinary Aura; 4.8 Choragraphy; 4.9 Aesthetic Attitude; 4.10 Rationale; 4.11 Quasi-object; References
5 Augmented Interventions: Redefining Urban Interventions with AR and Open Data5.1 Augmented Reality; 5.2 Data-Driven Art; 5.3 NAMAland; 5.4 Reception and Activation; 5.5 Peripatetic Activism; 5.6 Open Data; 5.7 The Future of AR Art; References; Augmented Reality as an Artistic Medium; 6 The Aesthetics of Liminality: Augmentation as an Art Form; 6.1 Introduction; 6.2 The Gaze, the Overlay, and the Retinal; 6.3 Queering Augmentation; 6.4 The Semiotics of AR; 6.5 The Structure of the Gesture in Augmented Reality Art: Fiducial, Planar, Locative/GPS, Environmental, and Embodied/Wearable