Over the years, I developed various new marketing strategies for the diverse festival editions that the Virtuale was producing. 1: “The Coming of a New Dimension” an immersive AR work by Arthur Clay that was premiered during the CEBIT in Hannover in 2015. This in turn offered art educators, tourist offices, and city marketing agencies something completely new and which they made use of to accomplish their goals of providing activities in the city which were appealing to visitors as well to residents.įig. What made it interesting to others and which became a major growth factor in being able to fund the events was the fact that the program bridged areas such as art and technology, digital heritage and tourism, and digital culture and art mediation. Urban gaming was introduced to provide to diversify participation and include a genre that was not tied to a fixed location. In terms of actual program content, the Virtuale expanded the offerings as new genres and methods of engagements were introduced. Platforming Augmented Reality art works became second nature and was expanded on by the introduction of Digital Heritage applications, which brought more interest from city marketing offices, because it made viable for us to show key landmarks in a city in a very new way. So whatever method was used to attract the audience to view the works in the exhibit that method had to be “playful” and at the same time offer a unique experience to ad hoc audience drawn from random public. The program content for Virtuale always focused on the use of public space and the use of mobile communication technologies and did so in order to explore addressing a new type of audiences, which was simply part of public space and not necessarily an audience that would be specifically targeted for exhibitions of artworks. Also, the process of accessing and viewing the works would have to be so designed that it would offer the public a participatory experience never before had elsewhere. What was unique about setting up and running the Virtuale was that I was forced to think outside of the box and had to not only deal with a completely new genre of art but also had to make creative use of the digital tools that were needed to view the artworks and to interact with them. Hence, a picture is worth a thousand words, but a QR Code is worth more!Īll of the strategies for making invisible art visible were thought up for the Virtuale Switzerland, a festival for art created with augmented reality and presented in public space in different cities around the world. However, this requires often a lengthy explanation and even once it becomes clear that the image needs to be scanned in and it is clear to the user what the results will be, the correct position of the camera lens to the image is something that often is not possible to explanation and requires that the boundaries of the image by marked in someway. In contrast, the alternative method of image recognition only works if the user knows that the image must be scanned in. Although, many see the QR Code as something belonging to a past era of technology, it is however clearly anchored in society as a symbol that is immediately understood and its presents signals the complex procedure of scanning without having to use a single word in text. The one commonality between all of the strategies used to lure in the public, whether this be printed matter or actual objects, is a clever use of the QR Code. The journey begins on the two dimensional plane and picks up terrain as the strategies for marketing the invisible leave the flat planes of the tour guide and begin to manifest on the three dimensional plane as complex sculpture “gates” that open up visitors to the virtual layer that surrounds them. This article is about a journey made while creating and exhibiting invisible arts and searching for strategies that would make the invisible visible and at the same time motivate visitors to jump the hurdle and link into works in virtual space using their own smart phones.
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