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Le applicazioni della realtà aumentata nelle arti visive e nella poesia
 

Le applicazioni della realtà aumentata nelle arti visive e nella poesia

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Vivere il volontariato culturale a cura dell’International Association for Art and Psychology presieduto dalla psicoanalista Graziella Magherini, scopritrice della Sindrome di Stendhal. GROSSETO, ...

Vivere il volontariato culturale a cura dell’International Association for Art and Psychology presieduto dalla psicoanalista Graziella Magherini, scopritrice della Sindrome di Stendhal. GROSSETO, 6.07.2013.

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    Le applicazioni della realtà aumentata nelle arti visive e nella poesia Le applicazioni della realtà aumentata nelle arti visive e nella poesia Presentation Transcript

    • Le applicazioni della realtà aumentata nelle arti visive e nella poesia di Giuliana Guazzaroni * Grosseto- 6 luglio 2013 – Vivere il volontariato culturale Convegno Annuale delle Sezioni dell’International Association for Art and Psychology e delle associazioni affiliate
    • * *Mobile devices and augmented reality may represent access points to navigate the city, to observe different layers of reality, to redraw the urban geography and to explore the real environment..
    • * *An emotional journey to observe familiar places from different perspectives and angles: a continuous sliding between two worlds (real and virtual), an invitation to participation, reflection and rediscovery of public spaces..
    • * *Urban paths to engage citizens, students and visitors with local heritage, memories and art (Guazzaroni, 2013)
    • *E M M A P EMMAP *The main objective of EMMAP was encouraging an active learning environment through the use of mobile and ubiquitous technologies (Guazzaroni & Leo, 2011)
    • * *On September 2011, sixty digital paintings were disposed all around the wall of Macerata *On September 2012, the experience in Macerata was enlarged with new digital paintings displayed in Borgo Ficana *On June 2012, a similar experience was brought to L’Aquila
    • * *Artists from L’Aquila said that after the earthquake their town centre needs life, vital projects, art and poetry. Consequently a Call for artists was opened to gather digital artworks to be used to build an augmented reality exhibit all around the “red zone”. The main aims were to collect and enrich memories of a destroyed city centre and to add artists’ works in a virtual form in order to create invisible emotional routes (Guazzaroni, 2013)
    • * *L’Aquila Municipality, Adam Accademia Delle Arti Macerata, Licenze Poetiche, L’Aquila eMotion and Noi L’Aquila patronized the exhibit *The opening to public was a success and the invisible emotional paths produced a vibrant reaction on visitors
    • * *On September 22nd 2012, 100 eTwinning ambassadors participated in a walking workshop and interact with augmented reality *Streets exhibits have been evaluated through questionnaires, interviews and direct observation to reveal: social benefits, positive interaction, creative thinking, emotional benefits and territorial feedback
    • * *The “performative absolute” appears during difficult situations. It is a sign of danger. It is a “cultural apocalypse” *During these events humans invent strategies or react using monologues to establish more predictable outputs during communication (Virno, 2003)
    • * *The “performative absolute” is the common condition that generally transpires when walking across scattered streets in L’Aquila *Words could not be uttered to express the experience of visiting a territory where every thing is destroyed (human bonds, housing, instruction) (Guazzaroni, 2013)
    • * *The denied right to housing characterizes the “red zone”, as citizens that lived there were obliged to leave their homes. The inhabitants have had temporary or new prefabricated homes, where former links with their oikos, their neighborhood have been broken. To foster this emergence, an artist created a digital painting representing a gate with superimposed a chained breast (Guazzaroni, 2013b)
    • * *A collective urban ritual, with its own rhythm. The rhythm of poetry and storytelling that can be repeated each time visitors decide to walk those paths, each time people participate and rise arms holding smartphones or tablets. It is an act of pure performance (Guazzaroni, 2012)
    • * *Mirron neurons unveil how people learn and why group of people respond to certain dance, rhythm and pieces of art (Rizzolatti & Fabbri- Destro, 2008) *When participants are in the streets, when they enjoy interactive performance, they naturally react to specific stimuli and to other people movements (Guazzaroni, 2012)
    • * *EMMAP experiences are divided into seven phases, based on the 7E learning cycle. Consequently, each time a group performs “Street Poetry” a sort of ritual and rhythm is activated across the streets
    • * *Elicit: The facilitator/designer/artist prepares useful technologies and material *Engage: The facilitator/designer/artist explains the experience *Explore: Visitors start detecting artworks *Explain: Groups start an active interaction with real objects and points of interest *Elaborate: Each group content to be left in the location *Extend: Participants collect additional content *Evaluate: The facilitator/designer/artist evaluate the performance (Eisenkraft, 2003; Guazzaroni & Leo, 2011; Guazzaroni 2012a; Guazzaroni, 2012b; Guazzaroni, 2013a)
    • * *Andare su Google Play o Apple Store e scaricare l’App gratuita AURASMA *Lanciare AURASMA *Cliccare sulla A stilizzata in basso al centro *Cliccare sulla Lente d’Ingrandimento (SEARCH) in basso verso destra *Scrivere EMMAP e poi cliccare su CERCA *Appare il Canale EMMAP, cliccare sopra per aprirlo *Cliccare su FOLLOWING in alto a destra *Cliccare sul quadratino di LIVE CAM *Posizionare LIVE CAM sulle immagini indicate con il logo AURASMA
    • Poesia di strada 2010 Virgulti - Ortore
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    • *
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    • Testa Rossa, Donatella Giagnacovo
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    • Cubo,AndreaPanarelli
    • FunzioneY,IlariaBeretta
    • *
    • * *During “Street poetry” performances participants repeat apparently insignificant gestures, the ritual of using augmented reality to detect emotional paths and to leave stories for future visitors *These gestures may reconstruct bonds and social links *They may narrate different stories through different overlay of reality, they may represent a message to the future, or a vital storify of daily life using wearable smart interfaces (Guazzaroni, 2013)
    • * *A sort of “cultural apocalypse” (Virno, 2003) was reached and the actual rhythm of storytelling monologues could be listened *Memories are monologues, words uttered by citizens or visitors impressed by the absence of everything (Guazzaroni, 2013)
    • * *The augmented reality routes represent the effort to create significant interaction *Performance art is created for the others, to enhance participants’ active participation and awareness of the needs of a territory and their citizens
    • Senzatitolo,HernànChavar
    • *
    • Allattamento, Barbara Vaccarelli
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    • * *Social benefits: most of the participants felt that working in groups had improved their attitude to listening to their peers (87%); moreover, most of them said that everybody in the group had contributed to the construction of knowledge (77%); lastly, they improved the awareness and respect for their peers (90%). *Creative thinking benefits: Most of the participants said that they improved their creative thinking during the experience (93%); the interaction with digital artworks stimulated their creative mind (96,7%); moreover, they all agreed that the possibility to tell a story, and to leave it in the streets for future visitors, inspired creative thinking (96%). *Techno-didactic benefits: All the ambassadors said that the use of technologies reinforced social participation and fostered group work; moreover, they affirmed that technology promoted a dialogue with future visitors (100%), and it improved the interest in artworks (93%). *Emotional benefits: Most of the participants said that the augmented reality routes fostered the creation of an emotional bond with the location (97%); moreover, they believed that routes activated an “emotional dimension” with objects and people related to the past, present and future of L’Aquila (97%); they said that a “sentimental dimension” was fostered by a storytelling activity (95%).
    • * * Guazzaroni, G. (in stampa). Street Poetry in Augmented Reality. In S. Leone (Ed.) Synergic Integration of Formal and Informal E-Learning Environments for Adult Lifelong Learners. IGI Global. * Guazzaroni, G. (inviato referaggio). The ritual and the rhythm: interacting with augmented reality, visual poetry and storytelling across the streets of scattered L’aquila. In Special Issue in Personal and Ubiquitous Computing. Understanding Performative Interactions in Public Settings. * Guazzaroni, G. (2013a, March). Emotional Mapping of the Archaeologist Game. In M. Lytras, P. Ordoñez De Pablos & F. J. García-Peñalvo (Eds.) Advanced Human-Computer Interaction. Computers in Human Behavior Elsevier, 29 (2), 335-344. * Guazzaroni, G. (2013b, May). Piegare la tecnologia alla creatività. Superfici specchianti, gesti, forme e linguaggi non scontati. La narrazione dell’Aquila in realtà aumentata. In G. Griziotti (Ed.) Bioipermedia Moltitudini Connesse. Alfabeta2 (29), 4. * Guazzaroni, G. (2012a). Experiential Mapping of Museum Augmented Places - Using Mobile Devices for Learning. Saarbrücken, D: LAP. * Guazzaroni, G. (2012b). Emotional Mapping of Museum Augmented Places (EMMAP). In M. Pieri (Ed.) Mobile Learning. Esperienze e Riflessioni “Made in Italy”. Bari, IT: Progedit. * Guazzaroni, G. (2012c, December). Emotional Mapping of Museum Augmented Places. In Archeomatica (3), 44-46. * Guazzaroni, G. (2010/2011). Emotional Mapping of Museum Augmented Places. Università Politecnica delle Marche, Doctoral Thesis, 2010/2011 * Guazzaroni, G. & Leo, T. (2011). Emotional Mapping of a Place of Interest Using Mobile Devices for Learning. In I. Arnedillo Sánchez & P. Isaías (Eds.) Proceedings of IADIS International Conference on Mobile Learning (pp. 277-281) Avila, E. Nota bene: tutti i contenuti della presentazione sono riservati e non riproducibili, poiché inseriti nelle pubblicazioni sopra indicate
    • Dr. Giuliana Guazzaroni Tel.: +39 333 2042483 E-mail: giuliana.guazzaroni@gmail.com http://www.elearningoddess.net