Columbia University virtual
AR Paris-Malaquais
INTENCITY
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Contents Introduction Augmented Reality in the world Applications of AR as of 2011 The “flâneur” in the digital landscape, or AR in Paris Critique Conclusion Works cited
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A vision of how the future will look like, as we saw a few decades ago
Introduction “The Internet allowed us to think with shared memory and now Augmented Reality allows us to see with shared eyes” Jesse Schell
Even such an imaginative writer as Jules Verne couldn’t envisage the speed with which technology would produce informational media. He predicted that television would be invented in the 29th century and he certainly couldn’t even imagine Augmented Reality. This study will discuss research on how Augmented Reality (AR) applications give us a new vision of our environment and how this technology can change our perception of the city. According to Marshall McLuhan, “societies have always been shaped more by the nature of the media by which men communicate than by the content of the communication”, he notices that “the media, or process, of our time - electric technology - is reshaping and restructuring patterns of social interdependence and every aspect of our personal life; it is forcing us to reconsider and reevaluate practically every thought, every action, and every institution formerly taken for granted.”1 This means that our life in the society and our perception of our environment de-
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pends on the technologies we live with. For example the Internet, since its birth in the late seventies, has been changing our way of thinking. It has enabled entirely new forms of social interaction, activities and organizing; therefore it has changed our image of knowledge and information. The digital revolution (or Information Age) we have been observing in recent decades is a shift from the industrial era to a new economic system, based on the manipulation of information. Hence, in contrary to a passive and obedient society; today’s mass audience (the successor of the “public” according to McLuhan1) is an active, creative and participating force. Today’s mass audience has a power with which no professional media can compete. The speed and the freedom of speech are limitless on the web. We live in a world where Twitter users are informed of the most secret US military operation of the century in real time. Users learned about Osama’s death before the White House due to the hiding terrorist’s neighbor in
Pakistan who happened to be a Twitter user. Facebook founder Mark Zuckerberg highlighted in a interview given to the Time Magazine that users trust more information coming from their friends than the one coming from official sources. This means that today’s mass audience is a critical omnipresent network of people who create the content and share it among their community in real time.
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Augmented Reality in the world The idea involving superposition of computer graphics onto an image of the ‘real’ world, was initially proposed and explored by Ivan Sutherland and his students at Harvard University and the University of Utah, in the 1960s.2 The term “augmented reality” was first used by Tom Caudell and David Mizell, engineers at Boeing in the early 1990s who researched a guidance system for assembly workers.3 AR functions by enhancing one’s current perception of reality by adding an additional layer of information to the reality we would normally perceive. In contrast, virtual reality replaces the ‘real’ world with an artificial, simulated one. Science-fiction writer Bruce Sterling (considered as “the prophet of AR”) defines Augmented Reality as “in some ways just another version of the web; a web applied, through novel interfaces, in reference to the physical world, instead of floating documents tied only to each other as the web is today (…) it combines the real and the virtual, it’s interactive and in
real time, it registers in 3D”. According to him, “AR will be one of the things that fundamentally define the 21st century”.4 According to a survey5, “Augmented Reality is identified as one of the top ten most disruptive new technologies for 2008-2012 and is expected to be used by more than 30% of the mobile workforce by 2014”5. One can think of the movie Iron Man (2008) in which the hero can see a layer of information about his environment constantly through his mask. Interestingly, the current situation of AR is quite similar to this movie’s futuristic gadget.6
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Applications of AR as of 2011 Advertising with AR made its first steps in 2008 and since, marketers use AR to present their product in an interactive way. For example, in 2009, Best Buy ran a circular with an AR code which allowed users with a webcam to interact with products in 3D.7 In architecture, Augmented Reality was first used in 2009, when the project of the Market Hall of Rotterdam by MVRDV was shown in 3D at the actual site of construction.8 People with a smartphone could see the projected building on its site during construction. Concepts dealing with superimposed real space and virtual space will be developed further. Artists are creating new pieces of art specifically created for AR. We can now experiment with old or new pieces of art in a completely new context: not in the museum but outside on the city’s main square or in a park. In 2010, MoMA curated a festival in New York City which was dedicated to “art and technology for the creative exploration of urban public space.”9 Artists could submit their work (or even upload them
MVRDV’s project in Rotterdam virtually placed in its future site
to the AR application database), so they could share their art with the “visitors” who - in this case - were the pedestrians equipped with smartphones on the street of New York City. The comic magazine Le Sketch is another way to show art using Augmented Reality.10 People can freely download an AR marker, print it, then turn it to their webcam so it could interact with the software. Augmented Reality comics and illustrations will then pop up in front of us and we can turn the page by turning the paper in our hands. A Sydney music band called Lost Valentinos decided to create an interactive music video in which the public could use printed markers and the computer’s webcam to watch the band spring to life and sing their song.11 AR also augments the effectiveness of actual navigation devices. Smartphones with their built in GPS and compass can deliver navigation information with high accuracy. Traffic and weather conditions are updated in real time due to the network connection.
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Image showing how AR artpieces come to life on the screen of a smartphone
Immersion in an artificial Augmented Reality space
AR can enhance the experience of a concert or theater performances, but can also be the basis of a performance. A New York based sound collective created Soundwalk with which users can have unique experiences while walking on the streets.12 The Parisian Soundwalk application will be discussed later. Using sightseeing related AR applications, users can rebuild ruins, buildings or even landscapes as they previously existed. Experiments were made in Greece to enable visitors to discover the ancient Olympia. As another instance for amusing sightseeing applications, is Jean Reno presenting the mystery of Da Vinci Code in the Musée du Louvre with an interactive audio guide creted by a New York collective, Soundwalk. Mark Billinghurst and Daniel Wagner first experimented with AR in the field of mobile phones.13 They developed the first marker tracking systems for mobile phones and PDAs . Nowadays, the most common use of AR is through smartphones equipped
with a camera, internet connection and the suitable applications. According to a survey14 published in May 2010, the use of smartphones increased by at least 4 times since 2008. Users of the iOS and Android platforms (the two most widely used operation systems on smartphones) spend at least 79 minutes a day using applications (apps) and they download 9 new apps a month. This shows how quickly this technology is becoming popular and part of our everyday life. Layar is the most widely used AR application today which aims to show information from the web added to the view of our environment through the camera of the phone. It displays digital information called “layers” into your smartphone’s field of vision.15 Creators of this 2-year-old application organize frequently events in different cities where developers and companies meet and discuss the future of Augmented Reality. In Paris, Layar has only a few “layers” devel-
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An application showing the “must-sees” of Paris
General Electric’s online AR campaign. Visualize a moving 3D scene with a paper at home
oped mostly for tourists, but anybody can add new points of interests quite easily.
AR markers are printed signs that allow the AR device (smartphone or a webcam) to recognize objects and add the augmentation to the right position. It is commonly used by advertisers to showcase a product in an interactive way.
Foursquare is location-based social networking application. Users “check-in” at venues and share their experiences of the given venue with the world. People can view the position of their friends, read reviews of other users and collect points with each check-in. This application is more popular in Paris than Layar, but is still not a main-stream application according to the Apple App Store. Wikitude was the first Augmented Reality Browser published in 2008. “An Augmented Reality Browser scans your surroundings for (e.g.) geo-referenced content using the camera and the device’s sensors. The objects’ (shops, buildings, monuments or other attractions) information is displayed on the screen, right where the real object is located. “
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An “augmented” view of Place de l’Opéra
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The “flâneur” in the digital landscape, or AR in Paris Paris with its 2,2 million inhabitants is the most visited city in the world with over 30 million tourists a year. 55% of them come from foreign countries such as: United Kingdom, the United States, Germany, Italy, and Japan. They spend 2,5 days in the city on average.16 The most visited destinations within and around Paris are: Disneyland Paris (14,5 million visitors), Musée du Louvre (8,3 million), Tour Eiffel (6,8 million), Centre Pompidou, Château de Versailles, Musée d’Orsay…17 Nowadays, the most common way of being a tourist in Paris consists of reserving flight and hotel online, using guide books, taking a guided tour, visiting the main attractions, et cetera. However, having AR will enable us to perceive the environment in a new, revolutionary way. A single device will provide real-time information in the exact time and way it is needed. The tourist does not need another source of information like a guide book or a tourist guide. Imagine these 30 million tourists wandering around the city with their AR devices, seeking
information without any traditional human guidance. If one takes another look at the facts, Paris has a great potential for developers. In 2009 and 2010, the city was ranked among the three most important and influential cities in the world, and also among the first three “European cities of the future”.18 To continue, Paris is ranked 1st in the categories of “Livability” and “Accessibility” and 3rd in the category of “Cultural Interaction” in the world according to an international urban strategy survey. On top of that, 59,6% of Paris’ population is under 45 years old, so potentially open for new technology. Paris seems to have everything for the technological revolution of augmented reality to happen; good reputation (it’s still the most visited city of the world) and favorable social circumstances like high living standards.19 For the fact that the common usage of augmented reality applications is an untouched field yet, Paris-oriented applications are only just now being put on the market. The fact isthat Augmented Reality has just reached the French capital. France had 7 million smartphone users in 2010 (142 million in the USA20), barely enough to motivate developers to create “Paris specific” applications.20 Nonetheless, there are a few newbies on the market specifically tailored for the Paris. Soundwalk, an international sound collective based in New York City, for instance, developed five different audio guided tours for five different quartiers of Paris, such as Pigalle, Le Marais, or Saint-Germain-des-Prés. The guide is written and performed by well known Parisian artists; therefore the guide itself can be considered a single piece of art. The commentary is enriched with music and ambient sounds. People can download the Soundwalk application on their phones and listen to it while walking and following the map on their screen. Not only is this application simple in technological terms - as it only consists of an audio guide linked to a map -; but it also enhances our perception
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Screenshot of the first Paris-specific app: Paris Metro. A possible “Las Vagas-ization”?
of the city. The enhancement, in this case, is actually about perceiving more than the actual reality. Again, it’s the imagination that is stimulated to perceive more than what we can see and experience normally in the museum. Another, more practical Paris-specific application is the Paris Metro App.22 It enables smartphone users to see the nearest metro stations through the live view of the camera. The application also lists POIs (point of interest) around the user’s position, looking for restaurants, cafés and accommodations. This application is licensed by the RATP (public transport operator). In order to deliver as precise geo-localized information as possible; the application uses the smartphone’s camera, GPS and the built-in compass if applicable.
It is interesting to look at the phenomenon of AR in the city of Paris, as it is a city that - due to its scale and urbanism - can be explored by foot. Charles Baudelaire defines the flâneur as “a person who walks the city in order to experience it”.23 He saw the flâneur as having a key role in understanding, participating in and portraying the city. Do we qualify as flâneurs while we walk in the streets navigating with our phones? Are we passive or are we on the way to becoming new active “users” of the city? As our world is a “world of all-at-onceness”24 as McLuhan says, we have instant access to information and this is particularly true in the case of smartphones, but how will this change our relation to the city?
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Critique “The Internet allowed us to think with shared memory and now Augmented Reality allows us to see with shared eyes” Jesse Schell25
To be able to decide what effect AR will have on our lives, we need to consider both the positive and negative aspects of it. One of the most impressive things about augmented reality is that it has real-time (constant) access to local information. This means that a user can gain more information in less time than before. The information – as it comes from the web – is free and open. Using the built-in GPS, compass and a constant connection to the web, users can quickly and easily get adequate and extremely precise information wherever they are. Another important positive aspect of AR is that, whatever the device, it will serve the user the same way for it is just an application within the system of the device. On the other hand, as a common consequence of many 21st century applications, people are likely to lose their need of physical social interaction in favour of a safer and more efficient virtual interaction. As seems to be the case for social networking
16 applications, people interact more often online than offline. If AR applications completely take over traditional ways of observing a city, it also modifies the users’ relation to the environment. It is to say that as McLuhan pointed out, “our “Age of Anxiety” is, in great part, the result of trying to do today’s job with yesterday’s tools, with yesterday’s concepts”. He smartly noticed that “survival is not possible if one approaches his environment, the social drama, with a fixed, unchangeable point of view - the witless repetitive response to the unperceived”.1 Today, at the beginning of AR, applications’ main function is to entertain and remain useful, it is possible that in the future, these positive attributes will be outshined by advertisements or even spams. Useful pieces of information are already hard to be recognized in the flow of information. It certainly is a challenge for developers to prevent the world of augmented reality from providing false information. Bruce Sterling suggests that “today we can find stuff, but soon stuff will also find us”.26 This idea implies the positive effect of being found by information we are interested in, but there is a possibility that information we do not want will find us as well. The phenomenon of unwanted information could be observed when the Web and TV started to grow worldwide and spams were the new enemies of the virtual world. As a great critique of today’s brand-oriented thinking, the movie Logorama (2010) ironically shows how our world is built on advertisements and ruled by brands.27 This is something that AR may further perpetuate if it is not controlled. As AR is a new way of expression, there’s not yet any ethics or control. Another problem that could arise is related to privacy. As Jesse Schell said25, without a control of AR technology, for all information is accessible, one can feel a bit “naked” because what we call private could become public. There is a relevant example to demonstrate this matter.
Doctor: My dear friend, only the gods see everything. X: My dear Dr., I am closing in on the gods… From the movie “X: The Man with the X-Ray Eyes”28
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“The eye - it cannot choose but see; we cannot bid the ear be still; our bodies feel, where’re they be, against or with our will” William Wordsworth
The application called Recognizr is under development and has yet to be put onto the market.29 The concept is to “see” who a person is and what web services and social networks he or she is connected to. The application is clearly an improvement of augmented reality and will definitely serve users, but it is just as controversial as novel. By scanning your face, the application is able to show your virtual identity to your entourage, even if you do not want to be seen. Another issue to solve is how to filter information and people as well; so to be able to choose information to be seen and choose the people who can see it. This application, once available, will definitely change our relation to each other. With Recognizr people won’t need to make the effort to ask somebody’s name to start a conversation, they will just point their phone’s camera on each other and see immediately all available information about the given person. This application may disrupt our relation to the city as all places that were made to create social interaction, such as cafés and public spaces, may lose their function. AR also draws attention to the matter of trust, accuracy of information and control. How can we know what source of information to trust and what not to? As Socrates said once about the written language, “the discovery of the alphabet will create forgetfulness in the learners’ soul, because they will not use their memories; they will trust to the external written characters and not remember of themselves... You give your disciples not truth but only the semblance of truth; they will be heroes of many things, and will have learned nothing; they will appear to be omniscient and will generally know nothing.” This means that once we have an easily accessible source of knowledge, we will give up questioning the truth of the information it gives us. In Socrates’ opinion, this is what happened with written language. As Augmented Reality is a new way of expression and perception of data, just as new as the written word was in Socrates’ time, this would mean that we stop to be critical vis-à-vis the environment of information
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Scene from the movie “They Live” from 1988, in which citizens see manipulated reality through magic sunglasses.
we are surrounded by... Trusting our senses has always been a fascinating topic both in science and literature. William Wordsworth’s poem points out, we are conducted by our senses that can be easily bluffed. A relevant reference here could be the movie They Live from 1988 in which citizens are manipulated and controlled by the media.30 In every advertisement and even products in the supermarket, there’s a subliminal message that is conveyed. The main character discovers that society is being manipulated when he finds magic sunglasses that reveal the true message of those media. Curiously, it takes wearing a pair of sunglasses in order not to see the AR which contains the manipulation hiding reality. This film is a critique of the consumer society, but is still relevant today with our new vision through AR applications. AR enables us to see more than we actually could see with naked eyes, but it is also can be a danger as AR
creates new space for advertisement and spams. Our (augmented) reality could quickly become polluted with unwanted information. We can experience such informational pollution in Las Vegas, where the “symbol is dominating the space” – as Robert Venturi and Denise Scott Brown remarked.31 Our perception of a street in Las Vegas is relative since the displays that are used for advertizing repress the actual physical features of the city. So our view of reality is not augmented, but on the contrary it is diminished as the reality we perceive is heavily manipulated, or even fake. Disneyland, in Paris, can have the same effect on us. Disneyland is an augmented world. Everything we see is exaggerated and to achieve the complete enchantment, there’s omnipresent (even in the parking) background music, and artificial hills are all around the complex in order to hide the real (more sad) world from our eyes. From an architectural point of view, Michael Beigl
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Fremont street in Las Vegas. An overdose of commercial information
in Disappearing architecture: from real to virtual to quantum introduces the term of “heterarchitecture”.32 He defines it in the following way: “The idea of a heterarchitecture as “hybrid mixed reality” tries to fulfill exactly this new experience and design an architecture which creates a new order between contingency, disorder and dismissal. It is understood that this architecture can be neither standard nor a deconstructive architecture but only a nonstandard architecture. The classical architecture disappears into the heterarchitecture.” According to him, in “this new kind of architecture” in which real and virtual space are coherently superposed is obeying the rules of quantum mechanics rather than classical physics. He sees the future of the field as “architecture becoming a quantum object”. MVRDV’s Market Hall project that can be viewed in 3D on smartphones could be an interesting example here.
Another case in the field of architecture is the work done during the Smart Geometry 2011 workshop in Copenhagen by architects and media designers. One of the topics of this workshop was “informing digital design with real world data”. In this collaborative research and experimentation, they described their goal as the following: “Design sits not separate from is environment but inhabits an ecological system, open, dynamic and interdependent. We now have the chance to instill design with an imminent intelligence creating new relationships between the user, the built and its ecosphere. From the simulation of megacities to the solid modeling of material systems, design has the potential to be informed by the real.”33 This approach consists of collecting and analyzing data from the environment and use that data in a meaningful way to make better informed design decisions.
20 As McLuhan noticed, “the media is reshaping and restructuring patterns of social interdependence and every aspect of our personal life; it is forcing us to reconsider and reevaluate practically every thought, every action, and every institution formerly taken for granted.�1
Conclusion Throughout this paper, the idea of augmented reality changing our perception of our environment has been discussed. We have come through technological achievements in the field of AR in the world, and we have also seen its existing forms and applications. We have seen in what various ways this technology can be used to enrich reality. Furthermore, particular attention was paid to Paris-oriented applications. We have also analyzed how augmented reality had great potential in the city in architectural and social terms as well. For AR to become widely used, favorable technical facilities are necessary. The interest of developers in improving and creating is also needed, but it comes hand in hand with a supporting economy. Finally, having negative aspects and dangerous consequences considered, we ended with a critique of the dangers to be aware of. We looked at ideas in the field of architecture to discover the great potential AR technology can have.
Augmented Reality is definitely a technology of our time. It provides instant and omnipresent access to information, it is social and is emerging very fast. However, the subject raises many questions that will only be answered in the course of time: How far can we go with AR? When will we reach the point where technology will not enhance our life anymore, but it will distort it? What will our society become when no more (physical) social interaction is needed? Will technology adapt to our human nature or is it us who will have to adapt to technology? AR enhances our experience of the city by showing us more that actually can be seen. Will we judge the quality of a city by the informational infrastructure and the available virtual content, rather than by its built environment and the quality of life it provides? And if, augmentation can be used to enrich what is not good enough; therefore the real quality of built architecture may be degenerated. Nevertheless, this technology may serve as a new tool for architects by opening a new dimension for creation. Not only is augmented reality a new way of expression, but so it is a revolutionary way of perception; which combination will make us reconsider our relation to reality.
Works cited
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1 McLuhan, Marshall. Medium is the message: an inventory of effects.. 1967. Reprint. Corte Madera: Gingko Press, 2011. Print. 2 Sutherland, Ivan E.. The Ultimate Display. USA: Information Processing Techniques Office, ARPA, OSD, 1965. Print. 3 Caudell, Tom. AR at Boeing. Boeing Inc. USA, n.d. Web. 7 Apr. 2011. <www.idemployee.id.tue.nl>. 4 Lens-FitzGerald, Maarten. “Video: Bruce Sterling’s Keynote - At the Dawn of the Augmented Reality Industry on Vimeo.” Vimeo. Layar, n.d. Web. 26 Apr. 2011. <http://vimeo.com/6189763>. 5 “Gartner Identifies Top Ten Disruptive Technologies for 2008 to 2012.” Technology Research & Business Leader Insight | Gartner Inc.. N.p., n.d. Web. 26 Apr. 2011. <http://www.gartner.com/it/page. jsp?id=681107>. 6 Iron Man. Dir. Jon Favreau. Perf. Robert Downey Jr. Paramount, 2008. Film. 7 “Augmented Reality Advertising Is Here.” Social Media News and Web Tips – Mashable – The Social Media Guide. N.p., n.d. Web. 26 Apr. 2011. <http://mashable.com/2009/12/21/brightkite-augmentedreality/>. 8 “Augmented Reality - Market Hall Rotterdam.” V2_Lab Knowledgebase. N.p., n.d. Web. 26 Apr. 2011. <http://knowledgebase.projects. v2.nl/ar?view=item&type=ar&id=71>. 9 “Augmented Reality art exhibition MoMA NYC (guerrilla intervention).” SNDRV - Sander Veenhof. N.p., n.d. Web. 26 Apr. 2011. <http://www.sndrv.nl/moma/>. 10 “Le Sketch .” Le Sketch . N.p., n.d. Web. 26 Apr. 2011. <http:// www.lesketch.com/>. 11 Lost Valentinos ‘Nightmoves ‘ Augmented Reality Music Video Project. N.p., n.d. Web. 26 Apr. 2011. <http://www.lostvalentinos. com> 12 “SOUNDWALK.” N.p., n.d. Web. 26 Apr. 2011. <http://soundwalk. com/>. 13 Wagner, Daniel . Handheld Augmented Reality. Graz: Graz University of Technology Institute for Computer Graphics and Vision, 2007. Print. 14 “May 2010 Mobile Metrics Report « AdMob Metrics.”AdMob Metrics. N.p., n.d. Web. 26 Apr. 2011. <http://metrics.admob. com/2010/06/may-2010-mobile-metrics-report/>. 15 Augmented Reality - Layar Reality Browser - Homepage. N.p., n.d. Web. 26 Apr. 2011. <http://site.layar.com/company/b 16 Source : Insee, Direction du tourisme
17 Source: ODIT France, 2007 18 according to research published by the Financial Times 19 Source: Institute for Urban Strategies, The Mori Memorial Foundation 20 “La France compte 7 millions d’utilisateurs de smartphone.”01net informatique high-tech. N.p., n.d. Web. 26 Apr. 2011. <http:// www.01net.com/editorial/514735/la-france-compte-7-millions-dutilisateurs-de-smartphones/>. 21 “Nielsen - France.” ACNielsen. N.p., n.d. Web. 26 Apr. 2011. <http://fr.nielsen.com>. 22 “Metro Paris Subway (subway) iPhone and iPod Touch Application.” -. N.p., n.d. Web. 26 Apr. 2011. <http://www.metroparisiphone. com/ 23 Tester, Keith. The Flâneur . London: Routledge, 1994. Print. 24 McLuhan, Marshall. Medium is the message: an inventory of effects.. 1967. Reprint. Corte Madera: Gingko Press, 2011. Print. 25 Schell, Jesse. “Keynote by Jesse Schell: Augmented Reality Will Define the 21st century.” ARE2010. N.p., n.d. Web. 26 Apr. 2011. <http://augmentedrealityevent.com/2010/08/25/are2010-keynote-byjesse-schell-augmented-reality-will-define-the-21st-century/>. 26 Lens-FitzGerald, Maarten. “Video: Bruce Sterling’s Keynote - At the Dawn of the Augmented Reality Industry on Vimeo.” Vimeo. Layar, n.d. Web. 26 Apr. 2011. <http://vimeo.com/6189763>. 27 Logorama. Dir. François Alaux Hervé de Crécy. Perf. Bob Stephenson, Sherman Augustus and Aja Evans. Autour de Minuit Productions, 2009. Film. 28 X - The Man With The X-Ray Eyes. Dir. Roger Corman. Perf. Ray Milland, Diana Van der Vlis, Harold J. Stone. MGM, 1963. Film. 29 Perez, Sarah. “Recognizr: Facial Recognition Coming to Android Phones .”ReadWriteWeb. N.p., n.d. Web. 26 Apr. 2011. <http://www. readwriteweb.com 30 They Live. Dir. John Carpenter. Perf. Roddy Piper, Keith David, Meg Foster. Universal Studios, 1988. Film. 31 Venturi, Robert, Denise Brown, and Steven Izenour. Learning from Las Vegas . Cambridge, Mass.: MIT Press, 1972. Print. 32 Beigl, Michael, Georg Flachbart, and Peter Weibel.Disappearing architecture from real to virtual to quantum. Basel: Birkhäuser, 2005. Print. 33 “Building the Invisible.” Smart Geometry 2011. N.p., n.d. Web. 26 Apr. 2011. <smartgeometry.org>.
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Written by David Ottlik at Ecole nationale supĂŠrieure dâ&#x20AC;&#x2122;architecture Paris-Malaquais, Paris in cooperation with Columbia University, New York under the direction of Brent Patterson. 2011