Titlebook: Augmented Reality Art; From an Emerging Tec Vladimir Geroimenko Book 20182nd edition Springer International Publishing AG 2018 Augmented Re

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Dario Izzo,Francesco Biscani,Alessio Meretal-time pattern recognition with media, finally realizing the fantasies of William Gibson through goggles or handheld devices. This creates a welding of a form of perceptual vision and virtual reality, or optically registered simulation overlaid upon actual spatial environments. And even though AR-ba

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Lecture Notes in Computer Sciencessed in the normal ideological apparatus became the arena for new expression. As cinema through its acceleration of mechanization and sequence became the essential medium of its era, Augmented Reality accelerates the electric image and realizes a movement begun in video art and installation. This es

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Kourosh Neshatian,Mengjie Zhang It allows the artist to translocate the borders and constraints of the experience from physical to virtual, expressing the piece onto spaces independent of physical or locative constraint, yet still tethered to the real world. This practice of anchoring virtual assets to the physical world allows a

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James Vincent Patten,Conor Ryannthusiasts have been looking forward to for decades. AR has traditionally been defined by the capability to integrate real-time 3D computer graphics into a person’s field of view in such a manner as to be convincing that they are as real as the physical objects surrounding them. Interestingly though

蛙鸣声

Michaela Sikulova,Jiri Hulva,Lukas Sekaninart can be created and experienced. This is particularly true in the case of digital dance performance, as well as the digital augmentation of images to create performative gallery experiences. This chapter undertakes an examination of the use of augmented reality in recent examples of digital perfor

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Penousal Machado,João Correia,Juan Romerocurs, which we will call Behavioral Art (BA). An important aspect of BA is “borrowing intelligence” from a humanly organized source, such as a painting, applied to a computer process. The resulting artifact of this auto-creative process might easily be mistaken for an objet de (computer) art. But we

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Iliya Miralavy,Wolfgang Banzhafternet connection. The focus of the research is on the notion of “wilderness onticology” by Levi Bryant, and the ideas of “hyperobjectivity” by Timothy Morton, while examining artworks by George Ahgupuk, Alvin Lucier, Mark Skwarek, Nathan Shafer, v1b3, and John Craig Freeman. Most of the conclusions

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