Between light and shadow: The impact of light augmentation on storytelling and audience engagement in urban, commercial and public spaces | Intellect Skip to content
1981
  1. Home
  2. A-Z Publications
  3. Journal of Pervasive Media
  4. Volume 8, Issue 1
  5. Article
AI, Augmentation and Art
  • ISSN: 2633-8793
  • E-ISSN: 2633-8785

Abstract

The exploration of light as a transformative and narrative tool in urban spaces has been traced from its historical roots in the 1800s to its contemporary application in creating ‘spatial augmented realities’. This evolution has been examined through the lens of advanced light projection technologies, which have been used to craft compelling narratives and transform public and private spaces. The role of audience engagement in constructing these narratives has been investigated, highlighting the importance of participation and interaction in creating meaningful stories through light technologies. This exploration has led to developing a theoretical model for ‘accordant’ and ‘discordant’ audience responses, providing a framework to understand the spectrum of audience engagement and its impact on the success of light-based narratives. The concept of light projection mapping has been further elucidated, revealing its potential to expand and transform existing spaces through the superimposition of digital representations. This process has been defined, and its technical aspects have been discussed, providing a comprehensive understanding of its application in various settings. Light art has been categorized based on its narrative function and application, with examples drawn from events and festivals that utilize light projection to celebrate heritage or culture. These examples demonstrate light art’s versatility and multifaceted nature in creating memorable and meaningful experiences. The social implications of light projection mapping on monuments have been discussed, positioning it as a medium for audiences to reflect on historical events and their impact on the present. This exploration contributes to the understanding of how light can be used to enhance spaces, tell stories, and engage audiences in urban environments and provides a theoretical basis for future research and practice in the field of light art.

© 2023 Intellect Ltd
Loading

Article metrics loading...

/content/journals/10.1386/jpm_00006_1
2023-08-18
2024-04-27
Loading full text...

Full text loading...

References

  1. Adair, Bill,, Filene, Benjamin, and Koloski, Laura. ( 2011), Letting Go? Sharing Historical Authority in a User-Generated World, Philadelphia, PA:: Left Coast;.
     [Google Scholar]
  2. Alvarez, Maria. ( 2022;), ‘ Disruption and maintenance: New technologies and dynamics of access and display. ’, Ph.D. thesis, Dublin:: Trinity College;.
     [Google Scholar]
  3. Antón, Carmen,, Camarero, Carmen, and Garrido, Ma J.. ( 2018;), ‘ Exploring the experience value of museum visitors as a co-creation process. ’, Current Issues in Tourism, 21:12, pp. 1406–25.
     [Google Scholar]
  4. Akkar, Müge A.. ( 2005;), ‘ The changing “publicness” of contemporary public spaces: A case study of the Grey’s Monument Area, Newcastle upon Tyne. ’, Urban Design International, 10:2, pp. 95–113, https://doi.org/10.1057/palgrave.udi.9000138.
     [Google Scholar]
  5. Bec, Alexandra,, Moyle, Brent,, Timms, Ken,, Schaffer, Vikki,, Skavronskaya, Liubov, and Little, Chris. ( 2019;), ‘ Management of immersive heritage tourism experiences: A conceptual model. ’, Tourism Management, 72, pp. 117–20.
     [Google Scholar]
  6. Beete, Paulette. ( 2021;), ‘ The world of lighting designer Jeanette Oi-Suk Yew. ’, National Endowment for the Arts , 21 May, https://www.arts.gov/stories/blog/2021/world-lighting-designer-jeanette-oi-suk-yew. Accessed 2 March 2023.
  7. Bekele, Mafkereseb K.,, Pierdicca, Roberto,, Frontoni, Emanuele,, Malinverni, Eva S., and Gain, James. ( 2018;), ‘ A survey of augmented, virtual, and mixed reality for cultural heritage. ’, Journal on Computing and Cultural Heritage, 11:2, pp. 7–36.
     [Google Scholar]
  8. Bishop, Claire. ( 2012;), ‘ Participation and spectacle: Where are we now?. ’, in N. Thompson. (ed.), Living as Form: Socially Engaged Art from 1991–2011, New York:: Creative Time Books and MIT Press;, pp. 34–45.
     [Google Scholar]
  9. Bonnet, Éric. ( 2013), Esthétiques de l’écran, lieux de l’image, Paris:: L’Harmattan;.
     [Google Scholar]
  10. Brox, Jane. ( 2011), Brilliant: The Evolution of Artificial Light, New York:: Souvenir Press;.
     [Google Scholar]
  11. Burczykowski, Ludovic. ( 2020;), ‘ The origins of projection mapping. ’, in D. Schmitt,, M. Thébault, and L. Burczykowski. (eds), Image Beyond the Screen: Projection Mapping, London:: John Wiley & Sons;, pp. 1–36.
     [Google Scholar]
  12. Busch, Dennis,, Klanten, Robert, and Hellige, Hendrik. ( 2013), The Age of Collage: Contemporary Collage in Modern Art, Berlin:: Gestalten and Prestel Publishing;.
     [Google Scholar]
  13. Calvillo Cortés, Amparo, and Falcón Morales, Luis E.. ( 2016;), ‘ Emotions and the urban lighting environment: A cross-cultural comparison. ’, Sage Open, online first, https://doi.org/10.1177/21582440166297.
     [Google Scholar]
  14. Carrozzino, Marcello, and Bergamasco, Massimo. ( 2010;), ‘ Beyond virtual museums: Experiencing immersive virtual reality in real museums. ’, Journal of Cultural Heritage, 11:4, pp. 452–58, https://doi.org/10.1016/j.culher.2010.04.001.
     [Google Scholar]
  15. Day, Adrienne. ( 2012;), ‘ “When skyscrapers are your screen”: Video mapping artists use light as a medium. ’, The New York Times, 25 January, http://www.nytimes.com/2012/01/29/arts/design/video-mapping-artists-use-light-as-a-medium.html?_r=0&gt. Accessed 15 December 2022.
     [Google Scholar]
  16. Digital Ambiance ( 2016;), ‘ Pepsi’s augmented reality ad. ’, Digital Ambiance , 21 March, https://www.digitalambiance.com/pepsi-creates-an-unbelievable-experience-in-london/. Accessed 25 January 2023.
  17. Empire 3D ( 2022;), Crosswalk This Way. , installation, Empire 3D , https://www.empire3d.com.au/crosswalk-this-way. Accessed 7 January 2023.
  18. Fumerton, Patricia. ( 2006), Unsettled: The Culture of Mobility and the Working Poor in Early Modern England, Chicago, IL:: University of Chicago Press;.
     [Google Scholar]
  19. G20 Cultural (@g20cultural) ( 2014;), ‘ Brisbane, Australia. ’, Instagram , 30 October, https://www.instagram.com/p/uxjMeLLyHN/?utm_source=ig_embed&amp%3Butm_campaign=loading. Accessed 15 January 2023.
  20. Gates, Charlie. ( 2022;), ‘ Opera singer Amanda Echalaz brings macabre skills to Macbeth role. ’, Stuff , 17 October, https://www.stuff.co.nz/the-press/christchurch-life/art-and-stage/theatre/130152460/opera-singer-amanda-echalaz-brings-macabre-skills-to-macbeth-role. Accessed 14 December 2022.
  21. Guttentag, Daniel A.. ( 2010;), ‘ Virtual reality: Applications and implications for tourism. ’, Tourism Management, 31:5, pp. 637–51.
     [Google Scholar]
  22. Hattingh, Jack. ( 2010;), ‘ 3D Projection Mapping promoting The Tourist in Dallas. ’, YouTube , Dec 4, https://www.youtube.com/watch?v=XSR0Xady02o&ab_channel=JackHattingh. Accessed 22 June 2023.
  23. Hogsden, Carl, and Poulter, Emma. ( 2012;), ‘ Contact networks for digital reciprocation. ’, Museum & Society, 10:2, pp. 81–94.
     [Google Scholar]
  24. Horkheimer, Max, and Adorno, Theodor W.. ( 2007), In Dialectic of Enlightenment, Stanford, CA:: Stanford University Press;.
     [Google Scholar]
  25. Kadner, Noah. ( 2019), The Virtual Production Field Guide: Volume 1, Cary, NC:: Epic Games;, https://cdn2.unrealengine.com/vp-field-guide-v1-3-01-f0bce45b6319.pdf. Accessed 17 December 2022.
     [Google Scholar]
  26. King, Laura,, Stark, James F., and Cooke, Paul. ( 2016;), ‘ Experiencing the digital world: The cultural value of digital engagement with heritage. ’, Heritage & Society, 9:1, pp. 76–101.
     [Google Scholar]
  27. Krauss, Rosalind. ( 2006;), ‘ Two moments from the post-medium condition. ’, October, 116, Spring, pp. 55–62.
     [Google Scholar]
  28. Krautsack, Daniela. ( 2011;), ‘ 3D projection mapping and its impact on media and architecture in contemporary and future Cn spaces. ’, Journal of the New Media Caucus, 7:1, n.pag., http://median.newmediacaucus.org/summer-2011-v-07-n-01-under-fire-3d-animation-pedagogy/. Accessed 10 February 2023.
     [Google Scholar]
  29. Kumar, Shanti. ( 2019;), ‘ The affective audience: Beyond the active vs. passive audience theory debate in television studies. ’, in S. Shimpach. (ed.), The Routledge Companion to Global Television, London:: Routledge;, pp. 99–110.
     [Google Scholar]
  30. Łabądź, Justyna W.. ( 2020;), ‘ The “Spatialization” of the gaze with the projection mapping dispositive. ’, in D. Schmitt,, M. Thébault, and L. Burczykowski. (eds), Image Beyond the Screen: Projection Mapping, New York:: John Wiley & Sons;, pp. 37–49.
     [Google Scholar]
  31. Lefebvre, Henri. ( 1991), The Production of Space, Oxford:: Blackwell;.
     [Google Scholar]
  32. Level, Pascal. ( 2020;), ‘ The factory of the future, augmented reality and projection mapping. ’, in D. Schmitt,, M. Thébault, and L. Burczykowski. (eds), Image Beyond the Screen: Projection Mapping, New York:: John Wiley & Sons;, pp. 159–76.
     [Google Scholar]
  33. Loukaki, Argyro. ( 2020), Urban Art and the City: Creating, Destroying, and Reclaiming the Sublime, New York:: Taylor & Francis Group;.
     [Google Scholar]
  34. Lovell, Jane, and Griffin, Howard. ( 2019;), ‘ Fairy tale tourism: The architectural projection mapping of magically real and irreal festival lightscapes. ’, Journal of Policy Research in Tourism, Leisure and Events, 11:3, pp. 469–83, http://doi.org/10.1080/19407963.2018.1556674.
     [Google Scholar]
  35. LUMA ( 2022;), ‘ LUMA 2022 look back. ’, YouTube , 26 July, https://www.youtube.com/watch?time_continue=2&v=uA29P1vvXGI&embeds_euri=https%3A%2F%2Fwww.notion.so%2F&feature=emb_logo. Accessed 30 January 2023.
  36. LUMA ( 2023;), ‘ LUMA New York. ’, LUMA , https://lumafestival.com/. Accessed 14 April 2023.
  37. Masefield, Rob. ( 2014;), ‘ Colour Me Brisbane: A look back at the 2014 G20 Summit. ’, MASEY , 3 December, https://masey.co/post/619638312943124480/colour-brisbane-look-back-g20. Accessed 7 April 2023.
  38. Massumi, Brian. ( 1995;), ‘ The autonomy of affect. ’, Cultural Critique, 31, Autumn, pp. 83–109.
     [Google Scholar]
  39. McQuire, Scott. ( 2014;), ‘ Let there be light: Behind the trend of illuminating cities for art. ’, The Conversation, 23 May, https://theconversation.com/let-there-be-light-behind-the-trend-of-illuminating-cities-for-art-26449. Accessed 11 April 2023.
     [Google Scholar]
  40. Morris, David. ( 2016;), ‘ Affect as transcendental condition of activity versus passivity, and of natural sciences. ’, in J. Reynolds, and R. Seabold. (eds), Phenomenology and Science: Confrontations and Convergences, London:: Palgrave Macmillan;, pp. 103–20.
     [Google Scholar]
  41. Murphy, Kevin D., and O’Driscoll, Sally. ( 2015;), ‘ The art/history of resistance: Visual ephemera in public space. ’, Space and Culture, 18:4, pp. 328–57.
     [Google Scholar]
  42. Murray, Jessica. ( 2021;), ‘ Projection fight’ breaks out on side of Cop26 venue in Glasgow. ’, The Guardian, 11 November, https://www.theguardian.com/environment/2021/nov/10/projection-fight-breaks-out-cop26-venue-glasgow. Accessed 4 April 2023.
     [Google Scholar]
  43. Nam, Yun T.. ( 2015;), ‘ Case study: White Night Melbourne in 2013 and 2014 disruption or contribution toward the socially engaged public (art)?. ’, Proceedings of the ISEA 2015 Conference: The 21st International Symposium on Electronic Art, Vancouver, Canada, 15–19 August, ISEA;, https://www.researchgate.net/profile/Yun-Tae-Nam/publication/308889448_Case_Study_White_Night_Melbourne_in_2013_and_2014_Disruption_or_Contribution_Toward_the_Socially_Engaged_Public_Art/links/57f4f87408ae8da3ce551673/Case-Study-White-Night-Melbourne-in-2. Accessed 17 January 2023.
     [Google Scholar]
  44. Northern Lights ( 2023;), ‘ Northern Lights. ’, Canadian Heritage , 17 January, https://www.canada.ca/en/canadian-heritage/campaigns/sound-light-show.html. Accessed 15 April 2023.
  45. Paquin, Alexandra G.. ( 2020;), ‘ Heritage mediation through projection mapping. ’, in D. Schmitt,, M. Thébault, and L. Burczykowski. (eds), Image Beyond the Screen: Projection Mapping, New York:: John Wiley & Sons;, pp. 177–97.
     [Google Scholar]
  46. Peterson, Bruce. ( 2023;), ‘ Grande Experiences. ’, https://grande-experiences.com/. Accessed 5 April 2023.
  47. Renaissance Human (@windsorwoo) ( 2014;), ‘ I particularly loved the little people #swimming up and down the lanes/pillars. ’, Instagram , 16 November, https://www.instagram.com/p/vdZvV0vGAe/?utm_source=ig_embed&amp%3Butm_campaign=loading. Accessed 5 April 2023.
  48. Schmitt, D.,, Thébault, M., and Burczykowski, L.. (eds) ( 2020), Image Beyond the Screen: Projection Mapping, London:: John Wiley & Sons;.
     [Google Scholar]
  49. Simonsen, Kristen. ( 2005;), ‘ Bodies, sensations, space and time: The contribution from Henri Lefebvre. ’, Geografiska Annaler, 87:1, pp. 6–7.
     [Google Scholar]
  50. Stella, Martina. ( 2020;), ‘ Projection mapping: A new symbolic form?. ’, in D. Schmitt,, M. Thébault, and L. Burczykowski. (eds), Image Beyond the Screen: Projection Mapping, New York:: John Wiley & Sons;, pp. 51–67.
     [Google Scholar]
  51. Thrift, Nigel. ( 2008), Non-Representational Theory, New York:: Routledge;.
     [Google Scholar]
  52. Trunfio, Mariapina,, Campana, Salvatore, and Magnelli, Adele. ( 2020;), ‘ Measuring the impact of functional and experiential mixed reality elements on a museum visit. ’, Current Issues in Tourism, 23:16, pp. 1990–2008.
     [Google Scholar]
  53. Trunfio, Mariapina,, Jung, Timothy, and Campana, Salvatore. ( 2022;), ‘ Mixed reality experiences in museums: Exploring the impact of functional elements of the devices on visitors’ immersive experiences and post-experience behaviours. ’, Information & Management, 59:8, pp. 103698.
     [Google Scholar]
  54. Turnbull, Kerry. ( 2015;), ‘ Art and light: Reinventing public space. ’, EngageArts , 6 May, https://engagearts.com.au/2015/05/06/art-and-light-reinventing-public-space/. Accessed 9 January 2023.
  55. Varnava, Aikaterini Kolovea. ( 2017;), ‘ Light as a medium to enhance communication in urban spaces. ’, master’s thesis, Stockholm:: KTH Royal Institute of Technology;.
     [Google Scholar]
  56. Vincent, Caitlin. ( 2021), Digital Scenography in Opera in the Twenty-First Century, New York:: Taylor & Francis Group;.
     [Google Scholar]
  57. Vivid Sydney (@vividsydney) ( 2022;), ‘ Where original pedestrian crossing lights seek to create order, @Empire3dprinting seek to create a little chaos. ’, Instagram , 16 June, https://www.instagram.com/p/Ce3K1AOJc_6/?img_index=1. Accessed 4 December 2022.
  58. Vivid Sydney ( 2023;), ‘ Vivid Sydney. ’, https://www.vividsydney.com/. Accessed 15 April 2023.
  59. Watch Northern Lights ( 2022;), ‘ Watch Northern Lights. ’, YouTube , 8 July, https://www.canada.ca/en/canadian-heritage/campaigns/sound-light-show/watch.html#a1. Accessed 7 April 2023.
  60. Weisenberger, Loring. ( 2022;), ‘ Virtual production and volume technology: How The Mandalorian is opening a new frontier in film. ’, Wrapbook , 20 June, https://www.wrapbook.com/blog/virtual-production-mandalorian-technology-new-frontier. Accessed 4 December 2023.
  61. Yoo, Hyeyoung, and Kim, Hyunggi. ( 2014;), ‘ On study of the projection mapping in media arts. ’, Advanced Science and Technology Letters, 54, pp. 73–76.
     [Google Scholar]
http://instance.metastore.ingenta.com/content/journals/10.1386/jpm_00006_1
Loading
Between light and shadow: The impact of light augmentation on storytelling and audience engagement in urban, commercial and public spaces
Journal of Pervasive Media 8, 85 (2023); https://doi.org/10.1386/jpm_00006_1
/content/journals/10.1386/jpm_00006_1
/content/journals/10.1386/jpm_00006_1
Loading

Data & Media loading...

  • Article Type: Article
Keyword(s): audiences; augmented reality; light art; light projection; space versus place; story; urban environments; virtual production
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error