Embodiment, meaning, and the augmented reality image

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

This paper investigates the augmented reality (AR) image as an embodied and interactive experience of image “in” location. The analysis of the AR image is specific in this paper to the rediscOvery iPhone app developed by the author. Operating to support a technologically mediated locative- based experience of the Titanic Quarter in Belfast, rediscOvery leverages the potential of the birthplace of the Titanic as the locus of an intervention to make known the symbolic value ascribed to a particular geographical space.To analyze the interconnectedness of meaning in the AR image constructed and the embodied interaction of the user, this paper first traces the historical trajectory of technology mediated projects in visual arts practice where visual perception and meaning have been turned into a condition of embodied interaction of the viewer, both spatially and temporally. This includes Krueger’s Videoplace (1969); Rokeby's Very Nervous System (1986); Sancho Plan (2010); Murder on Beacon Hill (2010), and Cardiff’s The Telephone Call (2001).Using Bergsonian notions of intuition (Kennedy 2000; Hansen 2004) as a basis for analysis of how these visual arts projects demonstrate the capacity of the body to receive, process and make meaningful visual arts practice, this paper subsequently resolves a language of embodiment by which to assess the rediscOvery AR images, in terms of how the images create a distinct model of the world, and one that requires an embodied presence in it.
LanguageEnglish
Title of host publicationImage Embodiment: New Perspectives of the Sensory Turn
EditorsLars C. Grabbe, Patrick Rupert-Kruse, Norbert M. Schmitz
Place of PublicationGermany
Pages211-236
Publication statusPublished - 31 Oct 2016

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Augmented reality
Neurology
Telephone
Application programs
Trajectories

Keywords

  • Embodiment
  • augmented reality
  • visual perception

Cite this

Jackson, H. (2016). Embodiment, meaning, and the augmented reality image. In L. C. Grabbe, P. Rupert-Kruse, & N. M. Schmitz (Eds.), Image Embodiment: New Perspectives of the Sensory Turn (pp. 211-236). Germany.
Jackson, Helen. / Embodiment, meaning, and the augmented reality image. Image Embodiment: New Perspectives of the Sensory Turn. editor / Lars C. Grabbe ; Patrick Rupert-Kruse ; Norbert M. Schmitz. Germany, 2016. pp. 211-236
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title = "Embodiment, meaning, and the augmented reality image",
abstract = "This paper investigates the augmented reality (AR) image as an embodied and interactive experience of image “in” location. The analysis of the AR image is specific in this paper to the rediscOvery iPhone app developed by the author. Operating to support a technologically mediated locative- based experience of the Titanic Quarter in Belfast, rediscOvery leverages the potential of the birthplace of the Titanic as the locus of an intervention to make known the symbolic value ascribed to a particular geographical space.To analyze the interconnectedness of meaning in the AR image constructed and the embodied interaction of the user, this paper first traces the historical trajectory of technology mediated projects in visual arts practice where visual perception and meaning have been turned into a condition of embodied interaction of the viewer, both spatially and temporally. This includes Krueger’s Videoplace (1969); Rokeby's Very Nervous System (1986); Sancho Plan (2010); Murder on Beacon Hill (2010), and Cardiff’s The Telephone Call (2001).Using Bergsonian notions of intuition (Kennedy 2000; Hansen 2004) as a basis for analysis of how these visual arts projects demonstrate the capacity of the body to receive, process and make meaningful visual arts practice, this paper subsequently resolves a language of embodiment by which to assess the rediscOvery AR images, in terms of how the images create a distinct model of the world, and one that requires an embodied presence in it.",
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note = "Reference text: Ascott, Roy. 1998. “Art, Technology and Consciousness: The Technoetic Paradigm.” Convergence 4 (3): 110-111. Barthes, Roland. 1981. “Rhetoric of the Image.” In Classic Essays on Photography, edited by Alan Trachtenberg, 269-285. New Haven: Leete's Island Books. Bogost, Ian. 2007. Persuasive Games: The Expressive Power of Videogames. Cambridge, Mass.: MIT Press. Bolter, Jay David, and Diane Gromala. 2003. Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency. Cambridge, Mass.: MIT Press. de Certeau, Michel, 1988. The Practice of Everyday Life, translated by Steven Rendall. Berkeley, Calif.; London: University of California Press (Originally published in 1984). Coyles, David. 2013. “Reflections on Titanic Quarter: The Cultural and Material Legacy of an Historic Belfast Brand.” The Journal of Architecture 18 (3): 331-363. Dixon, Steve. 2007. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Cambridge, Mass.: MIT Press. Dourish, Paul. 2001. Where the Action is: The Foundations of Embodied Interaction. Cambridge, Mass.: MIT Press. Entrikin, Nicholas. 1991. The Betweenness of Place, Towards a Geography of Modernity. Basingstoke: Macmillan Education Ltd. Farman, Jason. 2012. Mobile Interface Theory: Embodied Space and Locative Media. NY: Routledge. Featherstone, Mike. 2006. “Body Image/Body Without Image.” Theory, Culture and Society 23 (2/3): 233-236. Galloway, Anne. 2010. “Locating Media Futures in the Present: or how to map associations and expectations.” Aether, the Journal of Media Geography 5: 27-36. Galloway, Alexander R. 2006. Gaming, Essays on Algorithmic Culture. Minneapolis, London: University of Minnesota Press. Gieryn, Thomas F. 2000. “A Space For Place In Sociology.” Annual Review Sociology 26: 463-96. Gopnik, Blake. 2005. “Sound Ideas. Janet Cardiff's Audio Walk Makes Tracks for a Parallel Universe.” The Washington Post, August 4. Grau, Oliver. 2004. Virtual Art: From Illusion to Immersion. Cambridge, Mass.: MIT Press. Hansen, Mark B.N. 2004. New Philosophy for New Media. Cambridge, Mass.: MIT Press. Heidegger, Martin. 1967. Being and Time, Martin Heidegger 1889-1976, translated by John Macquarrie and Edward Robinson. Oxford: Blackwell (Originally published in 1962). Heim, Michael H. 2003. “Heidegger and McLuhan and the essence of VR.” In Philosophy of Technology, the Technological Condition: An Anthology, edited by Robert C. Scharff and Val Dusek, 539-555. Wiley- Blackwell. Hirsch, Eric, and Michael O’Hanlon. 1995. The Anthropology of Landscape: Between People and Places. Clarendon Press. Ingold, Tim. 2000. The Perception of the Environment: Essays on Livelihood, Dwelling and Skill. London: Routledge. Ingold, Tim. 2005. “The Eye of the Storm: Visual Perception and the Weather.” Visual Studies 20 (2): 97-104. Kabisch, Eric. 2008. “Datascape: A Synthesis of Digital and Embodied Worlds.” Space and Culture 11 (3): 222-238. Kennedy, Barbara M. 2000. “Thinking Ontologies of the Mind/Body Relational.” In The Cybercultures Reader, edited by Barbara M. Kennedy and David Bell, 773-787. London: Routledge. Kluitenberg, Eric. 2006. “The Network of Waves: Living and Acting in Hybrid Space.” Open 11: 6-17. Accessed January 6, 2015. http://www .scribd.com/doc/77541438/Open-11-Hybrid-Space Kondo, Masaki. 2014. “Unfolding the In-Between Image: The Emergence of an Incipient Image at the Intersection of Still and Moving Images.” Contemporaneity: Historical Presence in Visual Culture, North America 3 (1). Accessed August 12, 2015. http://contemporaneity.pitt.edu/ojs/index.php/contemporaneity/articl e/view/80/100 Kozel, Susan. 2012. “AffeXity: Performing Affect with Augmented Reality.” Fibreculture Journal 21. Accessed July 3, 2014. http://twentyone.fibreculturejournal.org/fcj-150-affexity-performing- affect-with-augmented-reality/#sthash.OcI4RfVA.zPkX5Zkg.dpbs Krueger, Myron W. 1997. “Responsive Environments.” In AFIPS 46 National Computer Conference Proceedings, 423-33. Montvale, N.J: AFIPS Press. Krueger, Myron W. 2004. Towards Interactive Aesthetics. Accessed November 17, 2011. http://90.146.8.18/en/archiv_files/20041/FE_2004_krueger_en.pdf Livingstone, Dan. 1999. “The Space Between the Assumed Real and the Digital Virtual.” In Reframing Consciousness, edited by Roy Ascott, 138- 143. Exeter: Intellect Limited. Manovich, Lev. 2001. The Language of New Media. Cambridge, Mass.; London: MIT Press. Massumi, Brian. 2002. Parables of the Virtual. London: Duke University Press. Meethan, Kevin. 2001. Tourism in a Global Society: Place, Culture, Consumption. Basingstoke: Palgrave. Merleau-Ponty, Maurice. 2002. Phenomenology of Perception, translated by Colin Smith. London: Routledge Classics. (Originally published in 1962). Neill, William J.V. 2006. “Return to Titanic and Lost in the Maze: The Search for Representation of ‘Post-Conflict’ Belfast.” Space and Polity 10 (2): 109-120. Neill, William J.V. 2011. “The Debasing of Myth: The Privatization of Titanic Memory in Designing the ‘Post-Conflict’ City”. Journal of Urban Design 16 (1): 67-86. Ong, Walter J. 2002. Orality and Literacy. London and New York: Routledge. Petralia, Peter S. 2010. “Headspace: Architectural Space in the Brain.” Contemporary Theatre Review 20 (1): 96-108. Petralia, Peter S. 2010a. Reshaping Spatiality: Cognitive Perception and the Fracturing of Theatrical Space Thesis (PhD). Accessed March 7, 2013. http://www .drpetralia.com/wp- content/uploads/2012/09/ReshapingSpatialityFinal.pdf Pink, Sarah. 2011. “Sensory Digital Photography: Re-Thinking ‘Moving’ and the Image.” Visual Studies 2 (1): 4-13. Rieser, Martin. 2002. “The Poetics of Interactivity.” In New Screen Media: Cinema/Art/Narrative, edited by Martin Reiser and Andrea Zapp, 146- 162. London: British Film Institute. Schuler, Douglas, and Namioka Aki. 1993. Participatory Design: Principles and Practices. Mahwah, NJ: Lawrence Erlbaum. de Souza e Silva, Adriana. 2006. “From Cyber to Hybrid: Mobile Technologies as Interfaces of Hybrid Spaces.” Space and Culture 9 (3): 261-278. Stewart, Pamela J., and Andrew Strathern. 2003. Landscape, Memory and History. London: Pluto. Tagg, John. 2001. “The Currency of the Photograph.” In Representation and Photography, A Screen Education Reader, edited by Manuel Alvarado, Edward Buscombe and Richard Collins, 87 -118. Basingstoke: Palgrave. Tilley, Christopher. 1994. A Phenomenology of Landscape. Oxford: Berg Publishers Ltd. Weber, John. 2001. “The Telephone Call.” Janet Cardiff George Bures Miller. Accessed November 17, 2011. http://www.cardiffmiller.com/artworks/walks/telephonecall.html# Willis, Katherine. 2008. “Places, Situations and Connections.” In Augmented Urban Spaces: Articulating the Physical and Electronic City, edited by Alessandro Aurigi and Fiorella de Cindio, 9-26. Aldershot: Ashgate Publishing Limited. Wollen, Peter. 2003. “Fire and Ice.” In The Photography Reader, edited by Liz Wells, 76-80. London: Routledge",
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Jackson, H 2016, Embodiment, meaning, and the augmented reality image. in LC Grabbe, P Rupert-Kruse & NM Schmitz (eds), Image Embodiment: New Perspectives of the Sensory Turn. Germany, pp. 211-236.

Embodiment, meaning, and the augmented reality image. / Jackson, Helen.

Image Embodiment: New Perspectives of the Sensory Turn. ed. / Lars C. Grabbe; Patrick Rupert-Kruse; Norbert M. Schmitz. Germany, 2016. p. 211-236.

Research output: Chapter in Book/Report/Conference proceedingChapter

TY - CHAP

T1 - Embodiment, meaning, and the augmented reality image

AU - Jackson, Helen

N1 - Reference text: Ascott, Roy. 1998. “Art, Technology and Consciousness: The Technoetic Paradigm.” Convergence 4 (3): 110-111. Barthes, Roland. 1981. “Rhetoric of the Image.” In Classic Essays on Photography, edited by Alan Trachtenberg, 269-285. New Haven: Leete's Island Books. Bogost, Ian. 2007. Persuasive Games: The Expressive Power of Videogames. Cambridge, Mass.: MIT Press. Bolter, Jay David, and Diane Gromala. 2003. Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency. Cambridge, Mass.: MIT Press. de Certeau, Michel, 1988. The Practice of Everyday Life, translated by Steven Rendall. Berkeley, Calif.; London: University of California Press (Originally published in 1984). Coyles, David. 2013. “Reflections on Titanic Quarter: The Cultural and Material Legacy of an Historic Belfast Brand.” The Journal of Architecture 18 (3): 331-363. Dixon, Steve. 2007. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Cambridge, Mass.: MIT Press. Dourish, Paul. 2001. Where the Action is: The Foundations of Embodied Interaction. Cambridge, Mass.: MIT Press. Entrikin, Nicholas. 1991. The Betweenness of Place, Towards a Geography of Modernity. Basingstoke: Macmillan Education Ltd. Farman, Jason. 2012. Mobile Interface Theory: Embodied Space and Locative Media. NY: Routledge. Featherstone, Mike. 2006. “Body Image/Body Without Image.” Theory, Culture and Society 23 (2/3): 233-236. Galloway, Anne. 2010. “Locating Media Futures in the Present: or how to map associations and expectations.” Aether, the Journal of Media Geography 5: 27-36. Galloway, Alexander R. 2006. Gaming, Essays on Algorithmic Culture. Minneapolis, London: University of Minnesota Press. Gieryn, Thomas F. 2000. “A Space For Place In Sociology.” Annual Review Sociology 26: 463-96. Gopnik, Blake. 2005. “Sound Ideas. Janet Cardiff's Audio Walk Makes Tracks for a Parallel Universe.” The Washington Post, August 4. Grau, Oliver. 2004. Virtual Art: From Illusion to Immersion. Cambridge, Mass.: MIT Press. Hansen, Mark B.N. 2004. New Philosophy for New Media. Cambridge, Mass.: MIT Press. Heidegger, Martin. 1967. Being and Time, Martin Heidegger 1889-1976, translated by John Macquarrie and Edward Robinson. Oxford: Blackwell (Originally published in 1962). Heim, Michael H. 2003. “Heidegger and McLuhan and the essence of VR.” In Philosophy of Technology, the Technological Condition: An Anthology, edited by Robert C. Scharff and Val Dusek, 539-555. Wiley- Blackwell. Hirsch, Eric, and Michael O’Hanlon. 1995. The Anthropology of Landscape: Between People and Places. Clarendon Press. Ingold, Tim. 2000. The Perception of the Environment: Essays on Livelihood, Dwelling and Skill. London: Routledge. Ingold, Tim. 2005. “The Eye of the Storm: Visual Perception and the Weather.” Visual Studies 20 (2): 97-104. Kabisch, Eric. 2008. “Datascape: A Synthesis of Digital and Embodied Worlds.” Space and Culture 11 (3): 222-238. Kennedy, Barbara M. 2000. “Thinking Ontologies of the Mind/Body Relational.” In The Cybercultures Reader, edited by Barbara M. Kennedy and David Bell, 773-787. London: Routledge. Kluitenberg, Eric. 2006. “The Network of Waves: Living and Acting in Hybrid Space.” Open 11: 6-17. Accessed January 6, 2015. http://www .scribd.com/doc/77541438/Open-11-Hybrid-Space Kondo, Masaki. 2014. “Unfolding the In-Between Image: The Emergence of an Incipient Image at the Intersection of Still and Moving Images.” Contemporaneity: Historical Presence in Visual Culture, North America 3 (1). Accessed August 12, 2015. http://contemporaneity.pitt.edu/ojs/index.php/contemporaneity/articl e/view/80/100 Kozel, Susan. 2012. “AffeXity: Performing Affect with Augmented Reality.” Fibreculture Journal 21. Accessed July 3, 2014. http://twentyone.fibreculturejournal.org/fcj-150-affexity-performing- affect-with-augmented-reality/#sthash.OcI4RfVA.zPkX5Zkg.dpbs Krueger, Myron W. 1997. “Responsive Environments.” In AFIPS 46 National Computer Conference Proceedings, 423-33. Montvale, N.J: AFIPS Press. Krueger, Myron W. 2004. Towards Interactive Aesthetics. Accessed November 17, 2011. http://90.146.8.18/en/archiv_files/20041/FE_2004_krueger_en.pdf Livingstone, Dan. 1999. “The Space Between the Assumed Real and the Digital Virtual.” In Reframing Consciousness, edited by Roy Ascott, 138- 143. Exeter: Intellect Limited. Manovich, Lev. 2001. The Language of New Media. Cambridge, Mass.; London: MIT Press. Massumi, Brian. 2002. Parables of the Virtual. London: Duke University Press. Meethan, Kevin. 2001. Tourism in a Global Society: Place, Culture, Consumption. Basingstoke: Palgrave. Merleau-Ponty, Maurice. 2002. Phenomenology of Perception, translated by Colin Smith. London: Routledge Classics. (Originally published in 1962). Neill, William J.V. 2006. “Return to Titanic and Lost in the Maze: The Search for Representation of ‘Post-Conflict’ Belfast.” Space and Polity 10 (2): 109-120. Neill, William J.V. 2011. “The Debasing of Myth: The Privatization of Titanic Memory in Designing the ‘Post-Conflict’ City”. Journal of Urban Design 16 (1): 67-86. Ong, Walter J. 2002. Orality and Literacy. London and New York: Routledge. Petralia, Peter S. 2010. “Headspace: Architectural Space in the Brain.” Contemporary Theatre Review 20 (1): 96-108. Petralia, Peter S. 2010a. Reshaping Spatiality: Cognitive Perception and the Fracturing of Theatrical Space Thesis (PhD). Accessed March 7, 2013. http://www .drpetralia.com/wp- content/uploads/2012/09/ReshapingSpatialityFinal.pdf Pink, Sarah. 2011. “Sensory Digital Photography: Re-Thinking ‘Moving’ and the Image.” Visual Studies 2 (1): 4-13. Rieser, Martin. 2002. “The Poetics of Interactivity.” In New Screen Media: Cinema/Art/Narrative, edited by Martin Reiser and Andrea Zapp, 146- 162. London: British Film Institute. Schuler, Douglas, and Namioka Aki. 1993. Participatory Design: Principles and Practices. Mahwah, NJ: Lawrence Erlbaum. de Souza e Silva, Adriana. 2006. “From Cyber to Hybrid: Mobile Technologies as Interfaces of Hybrid Spaces.” Space and Culture 9 (3): 261-278. Stewart, Pamela J., and Andrew Strathern. 2003. Landscape, Memory and History. London: Pluto. Tagg, John. 2001. “The Currency of the Photograph.” In Representation and Photography, A Screen Education Reader, edited by Manuel Alvarado, Edward Buscombe and Richard Collins, 87 -118. Basingstoke: Palgrave. Tilley, Christopher. 1994. A Phenomenology of Landscape. Oxford: Berg Publishers Ltd. Weber, John. 2001. “The Telephone Call.” Janet Cardiff George Bures Miller. Accessed November 17, 2011. http://www.cardiffmiller.com/artworks/walks/telephonecall.html# Willis, Katherine. 2008. “Places, Situations and Connections.” In Augmented Urban Spaces: Articulating the Physical and Electronic City, edited by Alessandro Aurigi and Fiorella de Cindio, 9-26. Aldershot: Ashgate Publishing Limited. Wollen, Peter. 2003. “Fire and Ice.” In The Photography Reader, edited by Liz Wells, 76-80. London: Routledge

PY - 2016/10/31

Y1 - 2016/10/31

N2 - This paper investigates the augmented reality (AR) image as an embodied and interactive experience of image “in” location. The analysis of the AR image is specific in this paper to the rediscOvery iPhone app developed by the author. Operating to support a technologically mediated locative- based experience of the Titanic Quarter in Belfast, rediscOvery leverages the potential of the birthplace of the Titanic as the locus of an intervention to make known the symbolic value ascribed to a particular geographical space.To analyze the interconnectedness of meaning in the AR image constructed and the embodied interaction of the user, this paper first traces the historical trajectory of technology mediated projects in visual arts practice where visual perception and meaning have been turned into a condition of embodied interaction of the viewer, both spatially and temporally. This includes Krueger’s Videoplace (1969); Rokeby's Very Nervous System (1986); Sancho Plan (2010); Murder on Beacon Hill (2010), and Cardiff’s The Telephone Call (2001).Using Bergsonian notions of intuition (Kennedy 2000; Hansen 2004) as a basis for analysis of how these visual arts projects demonstrate the capacity of the body to receive, process and make meaningful visual arts practice, this paper subsequently resolves a language of embodiment by which to assess the rediscOvery AR images, in terms of how the images create a distinct model of the world, and one that requires an embodied presence in it.

AB - This paper investigates the augmented reality (AR) image as an embodied and interactive experience of image “in” location. The analysis of the AR image is specific in this paper to the rediscOvery iPhone app developed by the author. Operating to support a technologically mediated locative- based experience of the Titanic Quarter in Belfast, rediscOvery leverages the potential of the birthplace of the Titanic as the locus of an intervention to make known the symbolic value ascribed to a particular geographical space.To analyze the interconnectedness of meaning in the AR image constructed and the embodied interaction of the user, this paper first traces the historical trajectory of technology mediated projects in visual arts practice where visual perception and meaning have been turned into a condition of embodied interaction of the viewer, both spatially and temporally. This includes Krueger’s Videoplace (1969); Rokeby's Very Nervous System (1986); Sancho Plan (2010); Murder on Beacon Hill (2010), and Cardiff’s The Telephone Call (2001).Using Bergsonian notions of intuition (Kennedy 2000; Hansen 2004) as a basis for analysis of how these visual arts projects demonstrate the capacity of the body to receive, process and make meaningful visual arts practice, this paper subsequently resolves a language of embodiment by which to assess the rediscOvery AR images, in terms of how the images create a distinct model of the world, and one that requires an embodied presence in it.

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KW - augmented reality

KW - visual perception

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SN - 978-3-941310-77-3 (Print) 978-3-941310-78-0 (PDF)

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BT - Image Embodiment: New Perspectives of the Sensory Turn

A2 - Grabbe, Lars C.

A2 - Rupert-Kruse, Patrick

A2 - Schmitz, Norbert M.

CY - Germany

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Jackson H. Embodiment, meaning, and the augmented reality image. In Grabbe LC, Rupert-Kruse P, Schmitz NM, editors, Image Embodiment: New Perspectives of the Sensory Turn. Germany. 2016. p. 211-236