“To infinity and beyond!” 

– Buzz Lightyear from Toy Story

While movies used to captivate us for hours as kids of the generation Z, today we give our undivided attention to social media. And we do not always do this consciously. The days when linear television made decisions for us are over. Instead, we are almost helplessly exposed to a flood of information. A glance at our phone is enough and we find ourselves in more than just one world.

But how do social platforms like Instagram manage to keep us on them for hours at a time and even make us dependent on them? – One answer to this are DARK PATTERNS. Dark patterns are manipulative design techniques used in user interfaces to lead people towards certain actions, such as making a purchase or sharing personal information. These techniques can be found on various platforms, including Instagram.

One example of a dark pattern on Instagram is the use of “endless scrolling.” This is when the platform uses an algorithm to continuously show users more content, even after they have viewed all of the posts in their feed. This can lead to a never-ending cycle of browsing and can cause users to spend more time on the platform than they intended. The endless scrolling can also lead to feelings of FOMO (fear of missing out) as users are constantly exposed to new content. It can also be used to keep users engaged with the platform by displaying interesting content they might have missed before. But this endless scrolling has also been known to affect users’ mental well-being, creating the feeling of not being able to disconnect or feeling overwhelmed.

Overall, dark patterns on Instagram can be used to manipulate users into taking actions that they may not have intended to take. It is important for users to be aware of these techniques and to exercise caution when using the platform.

Exploring local networks

In this blog post, I want to discuss an interview I conducted with Richard Dank, the lecturer of Design with Code for CMS. I will briefly summarize our conversation regarding local hands-on exhibits and the role of programming.

It is important to separate actuators and visualization as they do not occur in the same program. Every program has its own advantages and disadvantages, and it is crucial to understand the boundaries of the project and use cases in order to carefully choose the appropriate tools for building hands-on exhibits.

Projects often aim to provide unexpected outcomes, which can create additional curiosity. For example, Richard Dank shared a project in which pedestrians could trigger the projection of “Kunsthaus” by pressing the button of the traffic light in front of the building. Most pedestrians did not realize what they were doing, but their actions unintentionally changed the mapping. Only a few noticed this.

Programming, specifically using Processing, allows for the integration of microcontrollers on a larger scale while ensuring a clean visual mapping of the setup. Data from microcontrollers can be further processed using other tools such as PureDate, but the spatial arrangement and data flow can be controlled using Processing itself. Although this process is not visible to viewers, it greatly assists the artist in setting up and testing exhibits.

In the second part of this blog post, I will focus on artists based in Graz. I will stay in touch with Richard Dank as our brief discussion about interactive experiences and programming marked the beginning of a local network of freelancers who share a passion for art, technology, and society. I would like to mention a few inspiring people and places that Richard Dank referred to – I am excited to meet some of them during the next semester.

Richard Dank

The following link leads to some projects related to “interaction”.
http://richdank.com/4a/projects/index2_de.php

in|filtration

This project is well documented and gives insight into the process of developing an interactive installation.
https://www.researchcatalogue.net/view/711664/711665

Reni Hofmüller

She concentrates on art in technological contexts and explores the relationship between art, technology, and society.
https://esc.mur.at/en/bio/reni-hofm%C3%BCller

Reagenz

In this place not only projects are being developed and realized but also publications in contemporary art, focusing on sound and installation art as well as intermedia experimentation.
https://reagenz.at/

Note: Especially the work from Hanns Holger Rutz and his “transmedia” approach got my attention. https://www.sciss.de/

Paul Frick – “bildermehr”

The homepage is currently under construction but might show some interesting works with focus on haptics.
http://bildermehr.at/

Little progress among the giants largely because of lack of accountability and poor-quality data

This and the previous blog post are looking into two major reports about the state of sustainability in the fashion world. “The Business of Fashion Index 2022” is looking at the 30 largest companies in fashion and how they are doing over a variety of fields of sustainability.

“The Business of Fashion Index 2022” by The Business of Fashion

The Business of Fashion Index 2022 “examine the performance of the industry’s 30 largest publicly traded companies by revenue across three market segments: luxury, sportswear and high street (ed. ordinary clothes).” Although the original 15 companies from the last years report had some progress, this was “eclipsed” by the new additions’ inaction.

Business of Fashion (BoF) points at “limited accountability within the sector, poor-quality data and a lack of investment“ as some of the biggest obstacles. This is very clear when BoF writes that “some of the industry’s biggest players — including URBN, Skechers, Fila Holdings, Anta and HLA Group — provided little or no public detail about plans to tackle their environmental and social impact.”

Although this is quite dark, there are also positive news. Fast retailing had the biggest improvement (of 11 points) from last years report, showing some of the “technological innovation, policy cues and standardised reporting frameworks” in action. If the fashion industry can do more of this, if can lead to real change.

”The Index assesses companies’ progress towards ambitious 2030 goals across six impact categories: Transparency, Emissions, Water & Chemicals, Waste, Materials and Workers’ Rights.”

As we see in the figure, waste is one of the areas that has the lowest score overall. This is something “very easy” to work on by not overproducing (resulting in landfill material before it has even been in the store) and to use scrap products and cuttings in a mindful way. Transparency is also something that is also obvious to focus on as a smaller company as this is one of the advantages of being smaller.

For me it would be interesting to read the full report (behind a paywall) as a designer to make sure that I follow the parameters given by BoF. To take part in the politics of fashion would also be an impactful way of taking part of this world.

Source:

https://www.businessoffashion.com/articles/sustainability/widespread-inaction-on-sustainability-eclipses-progress-at-fashions-biggest-companies/

Nature Detectives Mania: An Approach to Gamification of Nature for Children

Nature Detectives Mania is an app for iOS and Android and was developed as part of a big national campaign for Migros, Switzerland’s largest retail company. The Nature Detectives app is designed to educate children between the ages of 8 and 11 about Swiss nature in a playful way. The kids learn interactively, by solving fun puzzles and small tasks which habitats exist in Switzerland, which plants and animals inhabit them and how to recognize them. The children can roam through 8 Swiss ultra realistic 3D environments filled with true to life details. Each habitat can be discovered in at least seven different camera perspectives. With the help of an animated character called Minspector and the two protagonists Mia and Leon, users solve tasks and questions about Swiss nature and its flora and fauna to collect badges.

What I like

I think having the two protagonists and the Minspector makes the game more appealing to kids and they can get attached to them so children want to use the app more. I also believe that the quick mini games are a great idea to keep the children’s attention and in addition to that each win causes a dopamine release. Lastly, I like the reward system and it is a clever idea to combine it with the parents spending at the Migros stores.

What I don’t like

It may be a clever idea to incorporate the parents purchases at the Migros stores, but whether that’s ethical or not is debatable. It casts a bad light on the app and the intention behind it. Additionally, I don’t like that the entire game is happening in the app. Not only is the environment completely digital, but the interactions with nature are also close to none. Making the digital environment look realistic and modeling it after an actual place cannot replace the real thing. This app is essentially a game about nature, rather than a game with nature.

Sources:

https://demodern.com/projects/migros-nature-detectives-mania-app

“Flying machines heavier than air are impossible!”

This remarkable phrase, which I put in the title, was said by Lord Kelvin in 1895, the eminent physicist, then president of the Royal Society. By the way, the unit of measurement “Kelvin” is named after him. This statement was made just eight years before Orville Wright made the first controlled airplane flight. Already by 1904 there was a more advanced model of the plane, capable of performing maneuvers. A year later there was a third “modification”, this model could stay in the air for about thirty minutes.

Just a year ago, we only laughed at AI and neural networks, finding their attempts to look “natural” funny. Siri was “born” only 12 years ago. The first iPhone was released in 2007. GSM was born in 1992, just 30 years ago. We never know how far technology can go or what to expect from it. In this article I would like to remember some inventions that were once met with hostility, but found their place in the world in the future.

Is it spinning or not?
Copernicus was a scientist of the early 16th century, the author of the heliocentric system of the world, which marked the beginning of the first scientific revolution. Scientists before Copernicus believed that the Earth was the center of the universe, and the world was divided into sublunary and supralunary. That was until Copernicus published his major work, On the Revolutions of the Heavenly Spheres, in 1543, outlining and justifying the heliocentric system of the world. The Polish astronomer assumed that the Sun was at the center of the universe and that the Earth was only one of the planets moving around the Sun. Copernicus also stated that the firmament in which we observe the stars every day does not revolve around the Earth, as previously thought, but is at rest. With his research, the scientist shattered the foundations of traditional worldviews, which caused resentment and misunderstanding among ordinary people. His doctrine was officially condemned 73 years after publication, and only in time did astronomers recognize that Copernicus, and his “colleague” Galileo Galilei, were right. The Earth does revolve. By the way, many people mistakenly believe that Copernicus was burned for his bold statement, but this is not true. The scientist died at the age of 70 from a stroke.

The Age of Steam or Sail?
Another telling story that not all great discoveries were welcomed with open arms is the invention of the steamer. In 1800, American engineer Robert Fulton began experiments to create a steam engine and modernize sailboats. As is not difficult to guess, the scientist’s proposal was met with a hostile reception.

“Mr. Fulton’s proposal to install a steam engine on seagoing vessels is sheer nonsense. A steam engine cannot replace sails.” – Fleet Commissioner François Le Moyne.

Despite the disapproval of colleagues and the public, Fulton still embodied his idea to life, and in 1803 created a steam ship 20 meters long. It was tested on the River Seine, where it reached a speed of three knots against the current. But successful tests did not help the scientist to convince people of the necessity of his invention. Napoleon Bonaparte did not believe in the success of the project either. It is worth noting that ten years later the emperor changed his mind. On Fulton’s models were built several steamboats, including a warship with 44 cannons. But his inventor never caught it.

Space and journalists.
The era of rocket technology did not begin so long ago, and its history was not so easy in the beginning either. In 1909, Robert Goddard proposed a project to create a multistage rocket. The scientist agitated that once the fuel from the tanks was completely consumed, the stages would be discarded, thus reducing the mass that needed to be accelerated to higher speeds. When the scientist talked about his project, many thought the scientist’s words were fantasies. In his column, the editor of the Technology News section of The New York Times even ridiculed the scientist and his idea. But no one knows the journalist’s name now, and Robert Goddard has gone down in world history. The scientist created a liquid fuel rocket, which was tested in 1926. The first prototype rocket was only about 20 centimeters, which took off in just two and a half seconds to a height of about 12 meters and flew 56 meters. Goddard’s designs were used to build dozens of real rockets in the future. The New York Times, by the way, then took it back and apologized for their article.

So, in conclusion, I would like to emphasize again that none of us can tell which technology will be successful and which will remain in the dustbin of history. Sometimes technologies that cause skepticism turn out to be vital after a couple of decades, and sometimes loud and promising inventions are soon forgotten. But that’s a topic for another article…

References:

Misra, R. (2015, December 16). The greatest newspaper correction ever written (49 years too late). Gizmodo. https://gizmodo.com/the-greatest-newspaper-correction-ever-written-49-year-1491590487

Hartenberg, R. S. (1998, July 20). Robert Fulton | Biography, Inventions, & Facts. Encyclopedia Britannica. https://www.britannica.com/biography/Robert-Fulton-American-inventor

Westman, R. S. (1998, July 20). Nicolaus Copernicus | Biography, Facts, Nationality, Discoveries, Accomplishments, & Theory. Encyclopedia Britannica. https://www.britannica.com/biography/Nicolaus-Copernicus

The Wright Brothers and the Invention of the Airplane. (2021, April 25). ThoughtCo. https://www.thoughtco.com/airplanes-flight-history-1991789

Touchable Augmented Reality

Touchable augmented reality (AR) is a relatively new technology that allows users to interact with digital objects in a more tactile and immersive way. By using haptic feedback and other advanced technologies, touchable AR allows users to not only see digital objects but also feel them as if they were real physical objects.

One example of touchable AR technology is haptic feedback. This technology uses vibrations and other tactile sensations to simulate the feeling of touching a physical object. For example, in a virtual reality (VR) game, haptic feedback can be used to simulate the sensation of holding a weapon or other object. In an AR application, haptic feedback can be used to simulate the feeling of touching a digital object, such as a virtual button or control.

Another example of touchable AR is force feedback, which simulates the sensation of pushing or pulling on a physical object. This technology can be used to create more realistic and immersive interactions with digital objects, such as in a virtual sculpting application where users can feel the resistance of the virtual clay as they mold it.

One of the most exciting applications of touchable AR is in the field of medicine. With the help of haptic feedback, doctors and surgeons can practice procedures in a virtual environment before performing them in real life. This allows them to improve their skills and reduce the risk of complications during actual surgeries.

In the field of education, touchable AR can also be used to create interactive and engaging learning experiences. For example, students can use touchable AR to learn about and explore the human body in a virtual dissection lab, or to practice assembling complex machinery in a virtual factory.

In conclusion, touchable augmented reality technology is revolutionizing the way we interact with digital objects. By allowing users to feel and manipulate digital objects in a realistic way, touchable AR is creating new possibilities for art, gaming, education, medicine and other fields. As technology continues to evolve, we can expect to see even more exciting and innovative applications of touchable AR soon.

AR Art – Best practice examples

Augmented reality (AR) art is a rapidly growing field that combines traditional art forms with cutting-edge technology. AR art can take many forms, including sculptures, paintings, installations, and performances, and can be experienced in a variety of settings, from galleries and museums to public spaces and online platforms.

One example of best practice in AR art exhibitions is the use of interactive installations. These types of exhibitions allow visitors to engage with the art in a more dynamic way, and can create a sense of immersion and participation. A good example of this is the “Van Gogh Alive” exhibit, which uses large projections and sound to create a multi-sensory experience that immerses visitors in the artist’s work. Another example is the “Rain Room” exhibit, where visitors can walk through a field of falling water without getting wet, thanks to the use of motion sensors and precise water jets.

Another best practice in AR art exhibitions is the use of contextual information and storytelling. By providing visitors with information about the artist, the creative process, and the historical context of the work, AR art exhibitions can help visitors understand and appreciate the art on a deeper level. An example of this is the “David Hockney: The Arrival of Spring” exhibit, which uses AR technology to overlay historical information and images onto Hockney’s paintings, giving visitors a glimpse into the artist’s life and inspiration.

In terms of augmented reality art use, one best practice is the use of AR to enhance public spaces and public art. For example, the “Green Light” project in New York City uses AR technology to overlay digital sculptures onto real-world buildings, creating a dynamic and ever-changing public art display. Another example is the “ARt Walk” project in Singapore, which uses AR to enhance the experience of visiting public sculptures and monuments by overlaying contextual information and animations onto the artworks.

In conclusion, best practices in AR art exhibitions include the use of interactive installations, contextual information and storytelling, and the use of AR to enhance public spaces and public art.

What do I actually want to do?

The main premise of this project is to add another layer to my existing and future artworks. By looking at the examples you can see that I take regular objects, clothes, etc. and make them look 2D in our three-dimensional world, which is causing a real eye-catching look. It is truly bizarre to hold and look at these objects while you have them in your hand, mostly because at a certain angle you can really see some unreal familiarity, like looking at objects in a comic book or video game (or a merge of both for that matter).

Now how do I implement AR into this whole situation?

Physical artwork is pretty cool, you can buy it, hang it on your wall, or have it displayed somewhere. It enhances a room, hallway or space in general. The idea would be to make these items in a sort of resin display case, making them look like loot crates in video games with a value system (common, rare, epic, legendary). Because the items are permanently sealed in the resin case “in real life”, the AR part would make the opposite. When you see the artwork through your phone camera, the item would break out of its case slowly rotating on the spot, and a pop-up “display” would appear next to it with the item’s name, category, backstory and statistics.

The name of the project and art pieces would be “Laurus Goods”. “Laurus” being my artist name and “Goods” being well, goods.

Future implementations

For future implementations, I have considered NFTs. The only problem with NFTs for me is that there is that physical part missing. It’s all fun and games having a png or gif of an artwork, but we all know that we would love it even more if we would have a physical copy of the digital asset. Therefore I would use NFTs in the sense of ownership transfer. When you acquire the NFT you are the owner of the object and the digital asset, if you wish to sell your artwork, you can, hence transferring your ownership to the buyer with the physical object linked to it. Because it is my artwork I would take a small commission every time ownership is transferred.

Continuing on NFTs, another project would be to open an AR NFT art gallery, a permanent exhibition with the physical items displayed in them. Underneath every item would be the small display with the current NFT and artwork holder name (or alias) and artwork price. When ownership transfers, the holder info automatically changes. The AR part would be the same as described before.

Let us see what the future holds…

Art Piece examples

Video example

Regular object transformed into 2D

AR Art Exhibitions

Augmented reality (AR) art exhibitions are a new and exciting way for artists to showcase their work. By using AR technology, artists can create interactive, immersive experiences that allow viewers to engage with their art in new and unique ways.

One of the most interesting aspects of AR art exhibitions is the ability for artists to incorporate movement and sound into their pieces. This allows for a more dynamic and engaging experience for the viewer, as they are able to interact with the art in real-time. For example, a sculpture made of virtual elements may change its shape, color or even move as the viewer moves around it.

Another advantage of AR art exhibitions is that they can be enjoyed by a global audience. Instead of having to physically travel to a gallery, viewers can experience the exhibition from the comfort of their own home, using their smartphones or tablets as a window into the virtual world.

There are many examples of successful AR art exhibitions that have been held around the world. One notable example is the “Invisible Landscapes” exhibition held at the Museum of Modern Art in New York City. The exhibition featured a number of AR installations that allowed visitors to explore different parts of the museum, as well as a virtual sculpture garden that was only visible through the use of an AR app.

Another example is the “Reflections” exhibition held in London, UK, that featured artworks that were only visible through a smartphone or tablet’s camera. The exhibition was curated by a number of artists, who created unique AR experiences that explored themes of identity and self-expression.

Master Thesis Research Start (AR)

Augmented reality (AR) is something that combines the physical and virtual worlds. It overlays digital images in your physical view. Augmented reality gives you an enhanced version of the real physical world visualized digitally with the same effects and sensory sounds and elements. 

Goal

To research how to create and apply AR art to my existing and following art pieces. The research would include the history of augmented reality, technical research regarding software, limitations and accessibility, state-of-the-art research and consultation in exhibition design.

Master thesis title: Interactive Storytelling Through Augmented Reality in Art and Art Exhibitions

Literature

Example – Ju Schnee – AR art installation Hamburg

https://ju-schnee.com/collaborations

Augmented reality art galleries

“Augmented reality can transform the artworks before the viewers’ eyes. This allows putting the potential of an endlessly expressive story-telling technology into the hands of galleries and their audience’s lives.”


https://artivive.com/augmented-reality-art-galleries/

Brief history of AR

These early systems superimposed virtual information on the physical environment (e.g., overlaying a terrain with geological information), and allowed simulations that were used for aviation, military and industrial purposes.

https://hbr.org/2016/10/the-mainstreaming-of-augmented-reality-a-brief-history#:~:text=The%20first%20AR%20technology%20was,for%20wearables%20and%20digital%20displays

Tapping into Exhibition design

“Exhibition design is the process of conveying information through visual storytelling and environment. It is an integrative, multidisciplinary process that often combines architecture, interior design, graphic design, experience and interaction design, multimedia and technology, lighting, audio, and other disciplines to create multi-layered narratives around a theme or topic.”

https://segd.org/what-exhibition-design-0