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Future of AR - Facebook Presentation
- 1. ILLUST SPACE A R T , A R , & A U T H E N T I C A T I O N 2 0 2 0 . F B P r e s e n t a t i o n
- 4. “I believe that the art of the future is art without objects. To me, mixed reality is this answer.” Marina Abramović
- 6. Space Is The Place. • As above, so below. 6 • A foot, A hand and a map. • Here be dragons. • Poles and places of worship
- 8. Brains & The World 8 • Hippocampus • Propri perception • Palimpsest
- 9. 2 0 2 0 . F B P r e s e n t a t i o n . Mediated Media.
- 10. “We Become What We Behold. We Shape Our Tools, And Thereafter Our Tools Shape Us.” 10
- 12. The Experience Of Art Today. * Pre Covid.
- 13. NOW. The central problem for AR up to this point is it is fleeting, experience led and not anchored to broader permanent everyday interactions These problems can be summed up in a few technical hurdles: • Occlusion Meshing • Anchoring/Accuracy • Persistence • Multi platform/user frameworks We are seeing a step change in the technology that underpins AR and with it the development of what is being called the ‘AR Cloud’. A P l a t f o r m F o r R e a l i t y 2 . 0 In the same way as the internet became a pervasive ever updating ‘instant’ connection to everybody, the ‘AR Cloud’ is set to be an always on, location aware overlay that connects us in physical space. Avatars, advertisements, games, networking and chat will all move and live in a layer that directly corresponds with our perceived world. T H E A R C L O U D 13
- 14. What Persistence Means 14 Always On Geospatial Precise The layer will continue even when it is not being observed or interacted with. Characters could perform actions, learn and adapt based on input or routines. Updates are global Anchor points will have the precision of millimetres, surfaces in the real world will be mapped allowing occlusion and interaction with real objects and people Experiences will be geographically specific, targeted and tied to their surroundings. The easiest way to think about this is as a digital layer of cartography that perfectly aligns with the physical world. This layer or ‘slice’ then stores interactions, objects and changes to them in perpetuity (just like the real world). They are viewable from the relative perspective of any device, and opens up social and collaborative possibilities. It is a networked mesh of constant spatial data. Initially it will be mobile phones that are the gateway to this reality but most industry analysts see an inevitable shift towards heads up displays/Glasses at this point mixed reality becomes the predominant reality. Users will be able to ‘drop’ objects in the world for others to find. Characters could live in the space, changing and learning as interactions occur. Everything from wayfaring to restaurant ratings could be gamified and overlaid on actual cities. Temporal events can occur in the real world with the regularity of the one o’clock gun. For instance at midsummer a full ceremony could be seen at a standing stone, or once a day people could gather to watch a ‘virtual’ eruption of a dormant volcano. Long forgotten Zeppelins can float across the skyline following exact routes and inhabiting true ‘world scale’. These spectacles will be genuinely shared, simultaneous and repeatable.
- 15. “Longest Way Round Is Shortest Way Home.”
- 16. A Return To The Vivid.
- 17. Our Collective
- 19. The New Art Market. Established artists are already exploring this digital space, Kaws sold 25 AR editions for $10,000 a piece, and Abramovic is on track to break records for digital art. That is without considering the thousands of artists that use instagram as a scrolling gallery and those already working in mixed reality and VR. 2 0 2 0 . F B
- 20. Over 50 Percent Of Art Is Forged. According to a 2014 report by the AFP at least 50 percent of art in galleries and collections are fakes. The Fine Art Expert Institute (FAEI) actually estimate this number to be much higher - approximately 70 - 90 percent of their appraisals are not the artist claimed. This is despite expert valuations, a global network of institutions and auction houses. What happens when the ability to forge art becomes as simple as ctrl-V? 2 0 2 0 . H i g h l e v e l O v e r v i e w .
- 21. Kaws. Not Kaws.
- 23. Hash The Mesh. Platform agnostic and is built from the creator up. From the all too frequent experience of individual artists having their work re- appropriated by brands to having work simply copied, the rise of digital pieces will only echo the piracy boom we saw when music switched to digital distribution. There is also the central issue that affects visual artists in a way no other creators have, the value to the creator is bound to the one time sale. Everything else from literature to music has a rights management system that can trace back to the author. Our chain will allow ‘Digital Scarcity’ and value within digital artifacts to be actualised, tracked, and publishable between the silos of our contemporary spaces.
- 24. SOLUTION. I L L U S T S P A C E What? - A digital platform, SDK and API that turns AR artwork into unique trackable assets on a blockchain. A way to create digital scarcity across platforms. Why? - Authorship has always been difficult in a copy and paste-able world. Rights attribution and value are sometimes difficult and at worse arbitrary. Artists need a way to create value, share and sell their work and currently there is no universal way. How? - Using Illust.chain to hash the object themselves, the art exists as an encryption key, verifiable asset, and the art itself. Beginning as a central platform, our aim is to create a way of signing and moving pieces across all platforms from VR, to Snapchat, to the Getty. When? - The demand is there, the technology is ready - it is time to start building now. 2 0 2 0 . F B P r e s e n t a t i o n
- 25. ILLUST SPACE B E T A
- 26. Illust Space. A geolocated global exhibition of AR art on the blockchain. .