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airTime:a site-specific augmented reality installation for Hastings

Poster

Poster

airTime:a site-specific augmented reality installation for Hastings

A site specific installation, commissioned for America Ground, Hastings UK.

airTime uses encoded visual markers embedded in posters placed in the vicinity of America Ground to tell an unfolding story from data. 

The site specificity of the piece is designed to tell two kinds of stories: an immediate one and an extended one. The sequence of the stories are a nonlinear in composition, but work as a body of information, and are indicated as linear for ease of use.

Here I am playing with states of duality in the Mandé notion of secrecy; which is the idea that information can be revealed and concealed, whilst simultaneously indicating there is more here than meets the eye. To paraphrase Roth (2000); Mandé information changes designation depending on its location in social space, these devices are employed at differing points in the work.

The immediate story is told with posters taking you on a journey around space, their placement indicating that ‘here there is a story to be told’ at that particular intersection point. Audiences are in the contemporary moment and can consuming mix-media e.g. video, audio or 3d models in augmented reality.

Here the extended story is in play; concealed in the significance of poster placement; made apparent through map coordinates and travelling back in time. The converging lines on the map have the potential to take audiences to other places in the built environment; to the data point 1835 where concealed in the bungaroosh are other unremembered stories.

airTime is made with HTML, CSS, JavaScript, d3.js and Ar.js, mix media includes moving image, audio, QR codes, barcodes, augmented reality, to deliver archival data. 

Judith Ricketts


University of Brighton

Biography

I am an Artist, ECR, a Serious Games Developer and Lecturer in digital media arts.

My practice is thematically centred on the spatial memory of the built environment as an intersectional backdrop to examine data related to the gaze, that is Human-to-Human looking, and by extension machines that see.

I tell interactive stories in cultural spaces delivered over mobile, real-world or room based immersive spaces. These stories are told between the spaces of; historic narrative, digital geographies digital humanities, from the built environment using archival data.

I make artefacts designed to raise questions, and reshape the boundaries of situated ideologies and their application in media conventions. This approach is designed to challenges the application of thinking and making, as it relates to the problematised identities of embodied and virtual blackness.

This work is made with combinations of software with moving image, photography, augmented reality, virtual reality, facial detection, and conversational chatbots.

airTime:a site-specific augmented reality installation for Hastings

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