Augmented Reality (2019, Palace of Culture, Iasi, Romania)
Augmented Reality is an artistic project built on new artistic media practices in the area of generative arts, which are using IT technology and have produced over the past decades a paradigm shift in the viewer's perceptual plan by linking him to a subjective reality, generated by the computer. Augmented reality is defined as "a live, direct or indirect, physical view, in the real environmental world", supplemented by a computer program, by generated sensory forms of sound, digital or video imaging, in order to increase the perception in the current reality. Essentially, it is a concept that speaks of a mediated reality in which an objective view of reality is modified (augmented) by technology. The term Augmented Reality belongs to Thomas Caudell, who developed in the 1990s different theories of subjective perception in relation to the reality of natural fate.
The Augmented Reality project is the result of a four-year personal research exploring the application of computer-generated image through video streams in the pictorial environment as a way to enhance the perception of the viewer and cause him to sweep between contemplation of a traditional art work (painting, sculpture, etc.) and direct communication through current technologies.
The painting incorporates intelligent communication tools that include both HDMI displays, sound modules, and mediation constructions, controlled by sensors and actuators, so that painting becomes interactive in contact with the viewer.
On a theoretical basis, Augmented Reality puts into question the mix of two subjective realities in the same space of action: one created by traditional artistic environments, the second produced by advanced technological means in the IT field. The result of this construction generates, for the viewer, visual interactive scenes that include additional video and audio information, related to the topic proposed for discussion, in this case Augmented Reality.
By mixing these two environments, diverse as structure, such as traditional oil painting on canvas, and the obvious technological media in which sound and video fit or overlap painting, the visitor will discover the pleasure of standing in front of an artwork, both to contemplate painting and to watch the visual performance created by embedded video inserts.
Within the same project, through holographic projections, it is easy to see a metamorphosis in progress of famous painting works, to an artificially synthesized image, a translation to the inexpressive world, simulated by new technologies. (Dorin Baba)