Paper title: A Syncretic Approach to Artistic Research in Mixed and Augmented Reality Data Transfer

1. A Syncretic Approach to Artistic Research in Mixed Reality Data Transfer
Julian Stadon* Raphael Grasset
Curtin University of Technology Graz University of Technology
ABSTRACT post-biological digital identity. Post-biological, in this sense,
This paper offers a contribution to an emerging culturally refers to a redefinition of the embodied subject that encompasses
orientated discourse regarding mixed reality interaction. It seeks their location in virtual environments as well as in the physical.
to define syncretic, or hybridized agency, particularly in social This involves the creation, through art practice, of what we might
mixed reality data transfer artworks. Recent developments in term autonomous agents that are born from data but which take
bridging relationships with digital representation of identity on the appearance of bio-forms and thus become embodied.
through mixed reality interfacing, have brought about the need In this discussion autonomy relates to a novel application
for further analysis of these new post-biological, hybridized of the term: All cybernetic feedback systems endure what is
states of being that traverse traditional paradigms of biophysics. known as time-space inconsistency. This is the spatial difference
time and space, and artistic practice. Roy Ascott’s interpretation between user and agent and occurs due to latency, bandwidth
of syncretism within digital networks may facilitate further speed, the paths chosen for data transfer to occur to name a few
understanding of multi-layered consciousness, both material and examples. This creates a deterritorialised autonomy in that a
metaphysical, that are emerging from our engagement with such potentially infinite number of users can participate with agents in
pervasive computational technologies and post-biological gap between action and response. It is in this democratic space
systems. Syncretism has traditionally been regarded as an attempt that robots can truly become autonomous, as they are free within
to harmonise and analogise [1] Citing recent examples of the network, emancipated of control and alleviated of the
practical research outcomes, this paper will cite what Deleuze responsibility to respond. While computer science endeavours to
and Guattari have called ‘deterritorialisation’ of the human body minimise the effect latency has on functionality, artists should
and its dispersion throughout multiple reality manifestations and embrace this in between space. It is a novel interpretation of the
how mixed reality data transfer might constitute a gap between, representation and ideas, but it goes beyond
‘reterritorialising’ effect that creates a syncretic post-biological traditional dichotomies of the master-slave metaphor to peer to
digital identity for the user [2]. peer interaction models, without burdening the issue with the
ethically loaded terminology of “master” and “slave” which is
KEYWORDS: Art, Media Art, Performing Arts, Metaverse, Dual pervasive in the literature relating to agency. It is forever
Reality, Cross-reality, Post-humanism. expansive in its invitation to be engaged with.
At the same time these agents are a differential
INDEX TERMS: H.5.2 [Information Interfaces and Presentation] embodiment of the ‘bodies’, which first generated that data in
Multi Media Information Systems-Artificial, Augmented and their everyday activities. This interrogates the meaning and
Virtual Realities; I.3.6 [Computer Graphics] Methodologies and consequences of the possibility of such ‘agents’ and, in doing so,
Techniques-Interaction Techniques; J.5 [Computer Applications] enables us to question the notion that information, once extracted
Arts and Humanities-Fine Arts. from the embodied self and placed within a computer system,
becomes ‘bodiless’. In posing that question we discover that,
1 INTRODUCTION contrary to what we might at first assume, data is also embodied.
It is a popular belief that we are now, through a media The existence of ‘embodied information’, linked to and yet not
convergent, participatory culture (that is integrated socially the same as embodied selves, creates an interface through which
through a sub network of platforms) creating what was first humans negotiate their identities across the boundaries of
coined in 1997 as collective intelligence by Pierre Lévy [3], different reality states, more or less virtual, and yet always
which exists in a ‘global village’ [4] of knowledge (data) transfer. involving the mapping or writing of that identity onto ‘a body’.
This perspective evades traditional mythological notions of By having bodies both material and virtual, humans have become
anthropomorphic interaction as it moves beyond the individual post-biological even though this biological materiality remains
and into a universal model of open access. Networked agency the primary point of reference.
destabilises traditional orthodoxies of thought through
challenging notions of representation, confronting materialism,
accelerating and smoothing social engagement and most
2 BACKGROUND
importantly, demanding participation in these open systems of Current research in mixed reality and interactive workspaces that
collaborative engagement. This has redefined our understandings use the concept of a bridge for data transfer have continued the
of consciousness and presence in way that requires rethinking development of new knowledge in this field, however the
everything from spirituality, time and space, esotericism, agency, majority of previous research in this area has been in the field of
emergence, quantum coherence through to eroticism [1]. computer science. The application of cultural and philosophical
Innovative actualisations of real-time data transfer discourse to recent developments in computer science will
systems that incorporate biological information and mixed reality propose new modes of representation that concern themselves
applications as artistic mediums are a creating a new notion of

2. with the affective capacities of art in order to articulate a sense of deterritorialised than a crystal: only something deterritorialised is
dispersed embodiment. capable of reproducing itself [2].”
Unlike traditional sites for communication and cultural Virtual reality’s hybridization with physical and
exchange, digital platforms rely on actions and conversations to biological architecture is constructed by the methods used to
shape not only the social and cultural environments, but also the connect the environments. The combination and cohesion of
spatial environments. Such systems allow participants to heterogeneous elements is generally problematic, particularly
physically interact with virtual (deterritorialised) biological when a three dimensional space is primarily viewed on a two
representations and mediate (reterritorialise) through physical dimensional plane. The integration of virtual elements and
engagement, rather than entering traditional text or numerical physical environments relies on bridging the two spaces with
based data sets and command sequences. The very notion of dynamic interfaces that are simultaneously accessible and able to
dispersed data works well in regards to the packet switching that be openly engaged with, edited and developed. To create
occurs in Internet data transfer as it is broken down into small integration systems that network physical and virtual data shared
parts and reconstructed at the end user. location are required in order to represent the data in a
meaningful way, that is inclusive of both environments.
A good example of deterritorialised mixed reality data
transfer would be would be the Layar application for For the construction and exploration of mixed reality to
smartphones. This application, available for free download to occur interfacing is required to bridge the virtual environment
any smartphone user, provides an advanced augmented reality with the physical so that both spaces can be mediated in an
platform capable of reliably delivering many different AR autonomous manner. The hypersurface is the site on which
experience, though largely focusing on using geolocation to bridges are built: where the real and virtual, material and textual,
augment the user’s physical surroundings. For example, author and agent can meet and interact with each other.
Manifest.AR, an international artist’s collective working with Performance technology theorist Gabriella Giannachi states that,
emergent forms of augmented reality as public art, use the “The hypersurface is a zone of exchange between consciousness
technology to transform public space for users. They install (language and text) and levels of the inorganic… Able to present
virtual objects and artworks that respond to and overlay the dichotomous relationships, between representation and matter,
configuration of located physical meaning. The application uses inside and outside, organic and inorganic, the hypersurface is the
geolocation software to superimpose computer generated three- site of virtual performance [6].” For the construction and
dimensional art objects, enabling the public to see the work exploration of mixed reality to occur interfacing is required to
integrated into the physical location as if it existed in the real bridge the virtual environment with the physical so that both
world.[5] Thus, the Layar application reterritorialises information spaces can be mediated in an autonomous manner. The
primarily through geolocating individuals, in order to provide a hypersurface is the site on which bridges are built: where the real
richer engagement with their physical surrounds through the and virtual, material and textual, author and agent can meet and
layering of virtual content over real time video. interact with each other.
Massively Multi User Online Worlds (MMOs) are 3 EXAMPLES FROM COMPUTER SCIENCE
another example of an open virtual environment that allows for
the contribution to and manipulation of private and publicly The earliest example of a research project that proposed a
owned virtual space through a variety of methods. The content of hypersurfaced system for data transfer using mixed reality was in
these environments is dependent on the participants, due to this 1999 Butz et al. [7] proposed a drag and drop technique between
open interaction, and therefore relies on the quality of an augmented reality space to a screen space within the EMMIE
information transfer methods being used. Through collaborative system. Using a mirror metaphor, virtual objects would change
creative production MMOs facilitate social engagement and representation and dimensionality by passing through screen
further collaborative production by its participants. Spatial boundaries, their approach focused on transferring documents.
developments define the environments and the (real or virtual) Recently Lang et al. [8] from Georgia Tech University
individuals inhabiting such spaces through their participation in modified Second Life to create mixed reality experiences the
and response to them. The collective construction of such virtual purpose being the creation of a novel augmented reality
meeting sites, for remote interpersonal interaction acts as an environment for entertainment. This example bridged reality
instrument of location and orientation, referential to the real states in a way that facilitated a further inquiry into the socio-
world of knowledge. Implementing biological and physical data cultural implications of such systems, but was never addressed in
into MMOs through augmented reality, contributes new the research publications.
knowledge in regards to bridged mixed reality states, under a
paradigm of post-biological deterritorialisation and The VTT Technical Research Center Finland has also
reterritorialisation of the body. Deleuze and Guatarri discuss recently worked with hypersurfacing Second Life avatars within
deterritorialisation in terms of dispersed resemblance and physical experience through the Meeting Avatars joint project
identity. In Difference and Repetition Deleuze introduces the with IBM and Nokia. [9] By using the Second Life engine,
notion of deterritorialisation (through dispersion) as a “dark virtual avatars had the same appearance and behavior as in the
precursor” that “relates heterogeneous systems and even virtual world but in their context be represented in a physical
completely disparate things [2].” In order for deterritorialisation meeting room
to occur there must be some form of agent that can remain
constant and self-referent. Deleuze and Guatarri state that: “The Barakonyi and Schmalstieg [10] created two pilot
alignment of the code or linearity of the nucleic sequence in fact systems in order to facilitate proactive multi-user interface
marks a threshold of deterritorialisation of the “sign” that gives it adaptation and user interface migration. The system was
a new ability to be copied and makes the organism more developed in order to migrate tasks across a range of autonomous
agents and a number of users, rather than a single avatar being

3. used by each individual. The goal was to increase the versatility engagement. Individuals and large clusters of people produce
of ubiquitous agency through mixed reality data bridging amplified sounds and shadows based on their oscillating
(hypersurfacing). By increasing the number of agents (in various movements within a defined social landscape.
reality states) that can autonomously perform tasks set by users,
the bridge defines a dedicated space where the viewer can
transfer objects and images between worlds, spaces, and contexts
Koleva et al [11] explored navigation between real,
augmented and virtual worlds by establishing “mixed reality
boundaries” and proposed a model of how space, boundaries can
be represented. Schnädelbach et al [12] further generalized the
concept to any architectural construct, how collaboration and
communication can be established in this type of environment.
Finally, Grasset et al proposed in [13] and [14] a general
conceptual model how to represent spaces, navigation and the
different step of a transition between contexts
These research examples articulate a range of different
solutions that have been proposed for technological
developments in the field of computer science, and often neglect
the philosophical and theoretical impact of such technologies on
human subjectivity, representation, identity and social discourse.
The collaboration between computer science and art seeks to
establish a hybridized practice capable of traversing fields in
order to provide a richer dialogue. Emerging technologies often
develop faster than we have the ability to understand them. When
these technologies, particularly imaging systems across science
and lived experience become creative mediums, they redefine the
Figure 1. Second Life view of virtual ‘shadows’ from physical data
ways by which we define humanity.
4 EXAMPLES FROM ARTISTIC PRACTICE
The work uses real-time motion-tracking technologies
An example of a researcher that creates shared mixed reality with a unique pipeline application to create a mixed-reality
systems of exchange is telematic artist Paul Sermon. Sermon’s soundscape. This audio environment is mediated through
early work explored the emergence of user-determined narrative interactions between the viewer, the physical environment, and
by bringing remote participants together in a shared telepresent other participants within a hypersurfaced mixed-reality feedback
environment. Through the use of live chromakey and video loop. As visitors negotiate a traditional public environment -the
conferencing technology, two public rooms or installations and entrance and surround to the Somerville Auditorium at UWA-
their audiences are joined in a virtual duplicate that turns into a data regarding their movements and interaction with others
mutual space of activity. Currently Sermon’s practice examines present is gathered and translated into sonic outputs, both in the
the concepts of presence and performance within Second Life physical and virtual environments. In the physical, the output is
and what he calls ‘first life', and attempts to bridge these two via stereo speakers installed in the space and in the virtual, a
spaces through mixed reality techniques and interfaces [15]. The three dimensional representation shadows and echoes sonic and
notion of telepresence is explored through a blurring between visual traces of the real-time dialogues into UWA's Second Life
‘online’ and ‘offline’ identities, and the signifiers and conditions Environment.
that make us feel present in this world. His research questions
how subjectivity is articulated in relation to embodiment and The individual experiences an intimate interaction with
disembodiment. Sermon creates hypersurfaces through which the work and social environment where they control the
data can oscillate between two reality states in an autonomous soundscape through their actions, thereby conducting their own
way: present and telepresent. The development of such a method personal song. Meanwhile, each community that forms also
of data exchange creates an interesting situation where both the produces unique tones. Movements of individuals between
user and an autonomous agent (their avatar) can now affect visual groups results in a sonic symphony of social interaction that
data in a mixed reality environment. Primary author Julian shifts dynamically according to the social dialogues that occur in
Stadon’s own research practice is inspired largely by the work of the space. Stepped tonal outputs are produced by audience
the aforementioned examples. movement in space: a scroll to the right will cause the pitch to
drop with each step. The pace of the movement determines the
4.1 TERRA(SOCIO)SONIA speed of the notes; lingering conversations produce long
lingering sounds while the rush of busy passersby results in
Terra(socio)sonica is a mixed-reality interface which realises a fleeting melodies that come and go just as quickly.
sonic soundscape constructed via the movements of communities
that inhabit two current landscape realities that constitute the
University of Western Australia (UWA) cultural precinct.
Through the translation of movement into sound in both the
physical and virtual realms, the work explores the notion of
unspoken ‘silent dialogues’ under a paradigm of social

4. Figure 3. Installation setup for organtrader2010
Figure2. Technical Specifications Diagram for Terra(socio)sonica
As mentioned above, the organs in organtrader2010
are obtained through real CT scans and are made by converting
4.2 ORGANTRADER2010 data into a 3D model, then converting this model to Open Scene
Graph. They are then included in a Python-based application that
organtrader2010 is a novel mixed reality interface that allows uses the OSGSWIG python wrapper for the ARToolkit to enable
for the transfer of real CT scanned organs into augmented reality the augmented reality system to occur. To bridge this application
and Second Life. Using the metaphor of organ trade to allude to with Second Life, data is streamed in to the Linden Scripting
traditional gallery hierarchies, organtrader2010 allows the Language via the PHP server using XML. PHP provides the
participant to donate, sell, buy or steal virtual organs across potential to extend the application network to include mobile
platforms including an interactive mixed reality system, standard devices and multiple reality environments with the system. The
Second Life interfaces and mobile platforms. organtrader2010 actual organtrader2010 application can even be installed to
uses the organ trade metaphor to question the meaning of Python enabled platforms for multiple mixed reality
ownership and the relationship between content and property. In participation.
regards to (unregulated) machines of production and the
subversion of power hierarchies, organtrader2010 examines the
roles of media artist/supplier, gallery/distributor and
participant/trader. In doing so, the project explores
deterritorialisation of the body and post-biological identity in
mixed realities.
organtrader2010 uses a narrative representational
structure in a mixed reality context where a participant, wearing a
camera mounted HMD (head mounted display) can transfer real
CT scanned organs to an augmented organ ‘trader.’ This
augmented Second Life avatar can exist in both physical and
virtual space simultaneously, so when the participant hands over
one of their organs to the ‘augmented trader’ they are also giving
their organs unsuspectingly to the ‘in-world avatar.’ This avatar is
linked to a network of organ trader avatars that all have
ownership permissions to clone and steal organs from the
augmented trader and sell them to other Second Life avatars.

5. deterritorialisation to include reterritorialisation, by
facilitating a dispersive relationship between the body
and its virtual self-referent. In the same way that a
digital device deterritorialises and reterritorialises
information through binary code, the augmentation of
an autonomous agent into a shared space with the body,
creates new opportunities for investigation into
technology, the body and identity.
Critical literary theorist Donna Haraway relates the
body’s augmentation through digital technology to the notion of
the cyborg. In A Cyborg Manifesto she argues that the body can
be viewed as a conglomerate where its components can be
separated, combined with new elements and put together again in
ways that violate its traditional boundaries [17]. This rhetoric
implies a fractured identity that articulates a ‘cyborg’ reality. In
Chaos Bound, literary theorist N. Katherine Hayles refers to the
notion of dispersed self in light of virtual bodies and narrative,
arguing that by turning bodiless information into narratives, the
teleology of disembodiment is replaced with contests with
ambiguous outcomes: “As I have argued, human being is first of
all embodied being, and the complexities of this embodiment
mean that human awareness unfolds in very different ways than
Figure 4. Technical Overview Diagram for organtrader2010 intelligence in cybernetic machines [18].”
The advent of nanobiology has called for a rethinking
of Hayles and Harraways’ post-human discourse through it
shifting our perception of organisms from micro to nano scale.
The system uses an XML RPC to link an augmented Charles Ostman suggests: "[T]he very definition of life itself may
reality application with Second Life via a PHP server. This be perched on the edge of the next great revolution in medicine-
pipeline allows for a method of real-time transfer of 3D visual nanobiology. What is emerging now are technologies and
material, linking the body with the augmented and virtual applications in the arenas of biomolecular 'components'
representations of itself. The use of real CT scanned organs with integrated into microscale systems, . . . synthetically engineered
fiducial marker and proximity tracking adds to the viewer’s quasi-viral components, modified DNA and related
experience of agency within the processes involved in the pseudoproteins, biomolecular prosthetics, and biomolecular
simulated organ trade and in the process of media art creation, organelle component 'entities' . . . [that] will redefine the very
display and dissemination. essence of what is commonly referred to as 'life [19].'” Critical
theorist Colin Milburn relates nanotechnology to virtual
5 SYNCRETIC POST-BIOLOGICAL IDENTITY
environments, stating: “Nanotechnology thrives in the realm of
the virtual. Throughout its history, the field has been shaped by
futuristic visions of technological revolution, hyperbolic
At the recent First International Conference on Transdisciplinary
promises of scientific convergence at the molecular scale, and
Imaging at the Intersections between Art, Science and
science fiction stories of the world rebuilt atom by atom [17].”
Culture (TIIC) Roy Ascott gave a keynote in which he
Today nanotechnology exists as a living sensation of the future of
described Syncretism as a possible method by which to
human existence: In Milburn’s words, “[A] bodily registration of
classify mixed reality interaction [16]. He used Second
potential for global change [20].” Brian Massumi states, “The
Life as an example of a metaverse that allowed for an
body,sensor of change, is a transducer of the virtual [21].”
embodied syncretic participatory experience..
Through existing in these virtual representations, that are directly
Second Life, like all virtual environments uses an avatar (agent) linked to living bio-systems, we effectively sense, feel and think
to navigate users through the space. While these are in a way that hybridizes the virtual with scientific inquiry, and
usually controlled by the user (avatars can be therefore we require a discourse that addresses whether this does
automated and left on their own, plus there are bots in fact make us post-biological.
being regularly created and used), they function as
independent to their ‘master’ and are therefore
autonomous. Returning to the example of Facebook, CONCLUSION
this can also be said for user profiles on that platform.
Who we represent ourselves as on social networks is
not necessarily a true articulation of our identity by any Art has, historically had a strong preoccupation with
means and therefore it is autonomous. Avatars represent the body and with consciousness. When dealing with such a
a transient, continually altered identity, usually that of massive area of inquiry there is a need to look to a wide variety
its author and acts as an agent, through which users can of fields, As Ascott has stated, “[H]owever eccentric or esoteric,
engage with virtual platforms. This becomes any culture, immediate or distant in space or time, any
particularly interesting in unique autonomous systems technology, ancient or modern, to find ideas and processes that
where participants can physically interact with a virtual allow for the navigation of mind and its open-ended exploration
deterritorialised ‘self’ and mediate it through physical [19].” Roy Ascott proposes a syncretic approach to this issue:
engagement. The dispersion of multiple autonomous “Just as cybernetics analogizes differences between systems, so
virtual agents via mixed reality constructs in expands syncretism finds likeness between unlike things. Syncretic

6. thinking breaches boundaries and subverts protocols. Thinking [6] Gabriella Giannachi, Virtual Theatres: An Introduction,
out of the box, testing the limits of language, behaviour and Routledge, London and New York, 2008.
thought puts the artist on the edge of social norms but at the
centre of human development [22].” Second-order cybernetics [7] A. Butz, T. H Lollerer, S. Feiner, B. MacIntyre, and C.
did very well to explain our early relationships with machines in Beshers. (1999). Enveloping Users and Computers in a
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reality state. The hybridisation of augmented reality and virtual [11] Boriana Koleva, Holger Schnädelbach, Steve
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