*Assessing today's AR tech-art hijinks with the ol' Bourriaud relational-aesthetics theory is like smacking a caterpillar with an anvil.
*On the other hand, that can be pretty entertaining. We're gonna post all of this stuff we can get.
"This entry takes up where I left off last December, when I documented my encounter with electronics artist Rafael Lozano-Hemmer (((ace dude Rafael, call him up if you ever need your city adorned with giant lasers))) who lectured at the High Museum of Art (Atlanta) about art that engages in “the realm of social interaction and content.”
"Since then, I successfully completed my first year in a digital media Ph.D program and I continue to cover emerging contemporary artistic practices in the social realm. (((Oh, you do, do you? Whoa, wait: you really do.)))
http://blog.art21.org/author/nettrice-gaskins/
"Writing posts about socially-engaged and paradoxical art in popular culture led me into the topic of mobile augmented reality (defined below). The AR movement at first may seem like a novelty, but a closer look reveals interdisciplinary perspectives that involve aesthetic explorations of blended realities as a new kind of artistic practice and cultural space.
(((New cultural space fan, are we? So you must be on Twitter, then. Yup:)))
"Augmented reality is becoming more accessible and new uses continue to emerge as tools for creating and customizing applications become easier to use. The layering of information over 3D space produces new ways to experience content that is fueling the broader migration of computing from the desktop to the mobile device, bringing with it opportunities for broader user dynamic engagement with social media. Artists and other users are being encouraged to view their smart phones, iPods ,and tablet computers as tools for production and display. Augmented Reality tools can be used to explore concepts in ways that are ‘user led’ and increasingly participatory.
"Last year, a rogue augmented reality art show made its debut at MoMA (NYC). The physical show was visible to regular visitors, but those who were using a mobile phone application called Layar on their smart phones could see additional works on each of the floors, merging form and content in a non-didactic way.
"Here, I return to Relational Aesthetics, Nicholas Bourriaud’s approach to examining contemporary art by getting as close as possible to artists’ works in order to reveal interlocking social structures that link curators, artists, and audiences together...." (((klik! *follow)))
