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Projection-Based Augmented Reality for Visual Learning and Creation in Contemporary Art Museums

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Projection-based augmented reality (PBAR) techniques offer the possibility to transform flat and three-dimensional surfaces into dynamic interactive displays. This is possible through video mapping software, which enables the control and arrangement of projected images in interactive installations (Roldan et al., 2019, p. 575). This software allows the connection of different image capturing devices that can be controlled by the audience to facilitate visitors immersion and active engagement, fostering an active visual learning based on a “discursive communication” (Kwastek, 2013, p. 133).

We share three examples of installations based on PBAR which were developed in different contexts and with different visual learning objectives to demonstrate the versatility of the approach for museum education.

Keywords: Active aesthetic experience ; Active engagement ; Active visual learning ; Arte para aprender ; Hatch Art Gallery ; Inhabiting / Living Space ; Interactive installations ; Interactivity in museums ; Joan Brossa ; José Val del Omar ; Picto-luminic ; Response-ability ; Tate Liverpool ; Video mapping ; Virtual experience

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Projection-Based Augmented Reality for Visual Learning and Creation in Contemporary Art Museums
Intellect , 369 (2024); https://doi.org/10.1386/9781789389135_32
/content/books/9781789389135.c30
/content/books/9781789389135.c30
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References

  1. Brossa, J. (1970). Sin título [Untitled]. [Serigraphy]. 700 × 500 mm. Museo Caja Granada, Granada.
  2. Cage, J. (1973). Silence. Wesleyan University Press.
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  3. Castillo-Inostroza, J. (2019). A meter of territory. [Photographs]. 100 prints of 100 × 100 mm. Hatch Art Gallery.
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  5. Martín Prada, J. (2018). El ver y las imágenes en el tiempo de Internet. Akal.
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  6. Parfait, F. (2016). Welcome! On Dan Graham's opposing mirrors and video monitors on time delay. In S. Bianchini & E. Verhagen (Eds.), Practicable: From participation to interaction in contemporary art (pp. 469–477). The MIT Press.
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  7. Roldán, J. , Lara-Osuna, R. , & Gonzalez-Torre, A. (2019). The project “Art for Learning Art” in contemporary art museums. International Journal of Art and Design Education, 38(3), 572–582. https://doi.org/10.1111/jade.12245
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  8. Rubio Fernández, A. (2014). El muñeco [The doll]. [Plaster sculptures]. Museo CajaGranada and Centro Cultural Valey de Castrillón.
  9. Shield, A. , & Cloutier, G. (2020). Inhabiting/living space. In G. Cloutier , P. Ding , T. Kukkonen , A. Shield , & A. Sokolowski (Eds.), MAKING Proceedings | InSEA 2019 World Congress (pp. 855–856). InSEA Publications. https://online.fliphtml5.com/yxjyl/idnn/#p=860
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  10. TATE . (2018). From mittens to Barbies: International arts-based education research – workshop at Tate Liverpool | Tate. https://www.tate.org.uk/whats-on/tate-liverpool/workshop/mittens-to-barbies
  11. Val del Omar, J. (2019). Val del Omar: Elemental de España [Val del Omar: Elementary of Spain]. [Recordings on 5 DVDs]. Cameo Media S. L.
  12. Witcomb, A. (2006). Interactivity: Thinking beyond. In S. Macdonald (Ed.), A companion to museum studies (pp. 354–361). Blackwell Publishing Ltd.
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References

  1. Brossa, J. (1970). Sin título [Untitled]. [Serigraphy]. 700 × 500 mm. Museo Caja Granada, Granada.
  2. Cage, J. (1973). Silence. Wesleyan University Press.
     [Google Scholar]
  3. Castillo-Inostroza, J. (2019). A meter of territory. [Photographs]. 100 prints of 100 × 100 mm. Hatch Art Gallery.
  4. Kwastek, K. (2013). Aesthetics of interaction in digital art. The MIT Press.
     [Google Scholar]
  5. Martín Prada, J. (2018). El ver y las imágenes en el tiempo de Internet. Akal.
     [Google Scholar]
  6. Parfait, F. (2016). Welcome! On Dan Graham's opposing mirrors and video monitors on time delay. In S. Bianchini & E. Verhagen (Eds.), Practicable: From participation to interaction in contemporary art (pp. 469–477). The MIT Press.
     [Google Scholar]
  7. Roldán, J. , Lara-Osuna, R. , & Gonzalez-Torre, A. (2019). The project “Art for Learning Art” in contemporary art museums. International Journal of Art and Design Education, 38(3), 572–582. https://doi.org/10.1111/jade.12245
    [Google Scholar]
  8. Rubio Fernández, A. (2014). El muñeco [The doll]. [Plaster sculptures]. Museo CajaGranada and Centro Cultural Valey de Castrillón.
  9. Shield, A. , & Cloutier, G. (2020). Inhabiting/living space. In G. Cloutier , P. Ding , T. Kukkonen , A. Shield , & A. Sokolowski (Eds.), MAKING Proceedings | InSEA 2019 World Congress (pp. 855–856). InSEA Publications. https://online.fliphtml5.com/yxjyl/idnn/#p=860
    [Google Scholar]
  10. TATE . (2018). From mittens to Barbies: International arts-based education research – workshop at Tate Liverpool | Tate. https://www.tate.org.uk/whats-on/tate-liverpool/workshop/mittens-to-barbies
  11. Val del Omar, J. (2019). Val del Omar: Elemental de España [Val del Omar: Elementary of Spain]. [Recordings on 5 DVDs]. Cameo Media S. L.
  12. Witcomb, A. (2006). Interactivity: Thinking beyond. In S. Macdonald (Ed.), A companion to museum studies (pp. 354–361). Blackwell Publishing Ltd.
     [Google Scholar]

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