Designing Mobile Augmented Reality Art Applications: Addressing the Views of the Galleries and the Artists
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The utilisation of mobile augmented reality to display gallery artworks or museum content in novel ways is a well-established concept in the augmented reality research community. However, the focus of these systems is generally technologically driven or only addresses the end user and not the views of the gallery or the original artist. In this paper we discuss the design and development of the mobile application ‘Taking the Artwork Home’, which allows people to digitally curate their own augmented reality art exhibitions in their own homes by digitally ‘replacing’ the pictures they have on their walls with content from the Peter Scott Gallery in Lancaster. In particular, we present the insights gained from a research through design methodology that allowed us to consider how the views of the gallery and artists impacted on the system design and therefore the user experience. Thus the final artifact is the result of an iterative evaluation process with over 100 users representing a broad range of demographics and continues to be evaluated/enhanced by observing its operation ‘in the wild’. Further, we consider the effect the project has had on gallery practices to enable both augmented reality designers, and galleries and museums to maximise the potential application of the technology when working together on such projects.
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Designing Mobile Augmented Reality Art Applications: Addressing the Views of the Galleries and the Artists
- 1. Designing Mobile Augmented Reality Art Applications: Addressing the Views of the Galleries and the Artists Paul Coulton, Richard Smith, Emma Murphy, Klen Čopič Pucihar, and Mark Lochrie @mysticmobile @AugmentedArt @marklochrie
- 2. Context
- 3. Virtuality Continuum Paul Milgram Spatially combines the real and virtual and is interactive in real time
- 4. Mobile Augmented Reality Handheld
- 5. Head Mounted Displays Wearable
- 6. Head Mounted Displays Too much Immersion?
- 7. Mobile Augmented Reality Glass
- 8. Spatial estimation AR marker preset or user defined 2D image 3D object continuous mapping GPS Compass Accelerometers Sensor Vision
- 10. Process
- 11. Taking the Artwork Home
- 17. Viewing Modes
- 18. Scaled
- 19. Spotlight
- 20. Creating Targets Creating Targets
- 23. Demo
- 25. Insights
- 27. Insights: ethics
- 30. What’s Next?
- 31. Questions Banksy
Notas del editor
- The focus of many AR systems is generally technologically driven or only addresses the end user and not the views of the gallery or the original artist. ‘Taking the Artwork Home’, allows people to digitally curate their own augmented reality art exhibitions in their own homes by digitally ‘replacing’ the pictures they have on their walls with content from the Peter Scott Gallery in Lancaster. In particular, we present the insights gained from a research through design methodology that allowed us to consider how the views of the gallery and artists impacted on the system design and therefore the UX. Thus the final artefact is the result of an iterative evaluation process with over 100 users representing a broad range of demographics and continues to be evaluated/enhanced by observing its operation ‘in the wild’.
- Partners of the project - Live at Lica - gallery - Imagination - academics - Industrial partner - m-ventions
- Augmented reality is best understood by considering its place on the virtuality continuum proposed by Paul Milgram in1994]. The virtuality continuum can be regarded as a continuous scale ranging from the completely real (real environment) and the completely virtual (virtual environment). Augmented Reality – is a live view of the real-world environment upon which virtual objects are augmented. Varying 2D or 3D intractable objects. Augmented Virtuality – merging of real world elements within virtual worlds. These physical elements, e.g. physical objects or people, are dynamically integrated into, and can interact with the virtual world in real-time.
- Mobile Augmented Reality (MAR) 1. handheld 2. wearable
- Head Mounted Displays (HMD)
- Google of Glass means we do not yet know which incarnation of AR will ultimately dominate but from a practical consideration phones and tablets are likely to been the main platform for some time.
- Sensor-based Approaches – Global Positioning System (GPS), accelerometers, magnetometers (digital compass), and recently gyroscopes on mobile phones. Combining the readings obtained from such sensors allows the camera pose to be estimated in relation to 3D space; Easy to implement but the main issue is that the use of GPS limits the applicability of this approach to cultural sites outdoors. This is because GPS accuracy can be highly variable due to spatial scattering that will ultimately impact on the contextual sensitivity of any applications developed. Vision-based Approaches – Markers; the practicalities of covering museums and galleries with such markers limits the situations in which it can be realistically deployed. Whereas user defined markers are particularly relevant as they allow users to engage with an application without necessarily using pre-defined markers. In particular we encourage the use of pictures they may currently have on their walls as markers that can then be ‘replaced’ with gallery content using the app. Future Approaches – Although natural feature tracking and scene reconstruction are starting to emerge which would mean users would simply point there device at the environment effectively creating a 3D virtual map of the world allowing digital content to augmented almost anything there is some way to go in adapting these techniques so that they can be easily implemented on current mobile phones. Even though these maps are generated in real time they are currently limited to static environments, a constraint which is bound to persist until alternative methods of reconstruction emerge, or depth cameras become available on mobile phones. Google’s Project Tango will be such a device that offers this capability but it is likely to be some time before cultural organisations can consider such technology.
- An in the wild approach permitting for continuous evaluation whilst currently deployed in the gallery. This approach allows us to consider the views of the gallery and artists and how this impacted the system design and user experience. The system was developed using an iterative participatory design approach whereby a number of prototypes were presented to a range of potential user groups of between 8-20 people for feedback and discussion.
- User groups: volunteers and patrons of the gallery children from local schools (6-18yr old) local learning disabilities college (18-25yr old) Users were given devices are were to launch the application speaking aloud their thoughts, proceeded by a group discussion to capture their likes/dislikes about the project, including enhancements/improvements and any additional features.