Crossroads of seeing: about layers in painting and superimposition in Augmented Reality
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ORIGINAL ARTICLE
Crossroads of seeing: about layers in painting and superimposition in Augmented Reality Manuel van der Veen1 Received: 31 July 2019 / Accepted: 18 August 2020 © The Author(s) 2020
Abstract Augmented Reality (AR) is itself a technology in which two ways of seeing are crossed. Our field of vision is thereby superimposed with digital information and images. But before this, the real environment is already perceived by machine seeing, it is redoubled by a 3D-model, scanned, located and linked. In this brief investigation, I will face the way of seeing in AR with traditional procedures, like ‘trompe-l’œil’ and the so-called ‘velo’, to distinguish between what remains classic and what has changed. It is important to examine this as layering, because it is a very thin stack of techniques, technology, materials and media, we seek to watch through. Subsequently, I shall analyze a painting of the contemporary artist Laura Owens in which both ways are crossed, the traditional one and the one concerning AR. Keywords Augmented Reality · (Digital) layering · Stack · Superimposition · Transparency · Trompe-l’œil · Velo (veil)
1 Introduction The field of vision in Augmented Reality (AR) challenges our way of seeing by registering digital images and objects onto the real environment. Sometimes these images and objects emerge as registered and sometimes, they blur the boundaries between the digital and the real area. It is my approach to face AR with its cognates in art history to sort out the specific strategies and procedures of layering. It is not the goal to prove some continuous development from ancient illusion techniques to newer technologies. Rather, the new should be divorced from the already known to examine our current way of seeing in AR more profoundly. The view through the glasses of AR enables a new perspective onto the tradition. The technology merges various techniques and procedures; in particular, it crosses two ways of seeing: our view through the eyes and that of machine seeing. The latter processes the data, received by the sensors and cameras, within our field of vision to calculate a hybrid view. However, this leads into a double blindness, as each participant is blind to the other for a certain extent of the way.
In general, AR may be defined as an operation of superimposition. It overlays the real environment and one has to perceive them together. For this, there are various scenarios in earlier procedures. For example, Filippo Brunelleschi’s two experiments in front of the Baptistery San Giovanni and at the Piazza della Signoria, placing cut-out paintings surrounded by the movement of clouds or the living city. We must also think of the phantasmagoria, within which ghosts are projected into the real space and in real time (Elcott 2016). Furthermore, the schüfftan-process, perhaps less common, also establishes an interplay of real fragments with illusionistic complements. Finally, there are analogue panoramic boards that provide information about the location, at the location. All of t
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