1

map of essex folklore

cave -mitologies

soundscapes landscapes 2014 located narrative-non linear handheld

Poetry garden
History Unwired Venice narration 2005
l'aquila
Emotional Mapping of Museum Augmented Places
e-Learning Papers ISSN: 1887-1542 www.openeducationeuropa.eu/en/elearning_papers n.
34 October 2013
The ritual and the rhythm: interacting with augmented reality, visual poetry and storytelling
across the streets of scattered LAquila.
In 2011, sixty digital paintings were disposed all around the wall of Macerata. The visual
artists were asked to paint selected poems relating to the Street Poetry awards from 2006 to
2010
Can You See Me Now? Nottingham 2000
locative media
<http://gpsmuseum.eu/>
Hundekopf 2005
Walk this Way Mobile Narrative as Composed Experience
Join the Resistance Berlin tv tower keitai shosetsu
alternate reality game arg
One might initially think that mobile narratives refers to the
phenomenon of keitai shosetsu, or cell phone novels, in Japan, the circulation
and sales figures for which are nothing short of astounding, particularly when
considered alongside print markets for books in English.1 The first keitai
shosetsu in print was Yoshis Deep Love (2002), the story of the trials and
tribulations of a teenage prostitute that sold over 2.5 million copies and quickly
became a discourse network including manga, a television series, and a film.
The central structural feature of the genreinteractivityis captured in a
South African fiction writers account of his experience composing short
stories for the keitai shosetsu market. Drawing on the minimalist tradition of
Raymond Carver, Barry Yourgrau wrote 78 stories under 350 words, all of
which were eventually published in print as I-Mode Stories. The stories were
embedded in Japanese culture stylistically and referentially with connections to

manga and J-pop, but they treated the screen as a static page and did not
facilitate engagement between author and readers and were thus not as
successful as most in their genre. Television fandom, with the number of sites
devoted to interpretative commentary and suggestions for future episodes,
might be a roughly equivalent phenomenon of audience engagement in the
U.S., but there is as yet no comparable market for mobile fiction.2 I raise the
issue of keitai shosetsu so as to stress the difference between the use of mobile
devices to read texts that would be meaningful in other media, especially print,
and native mobile narratives, composed and delivered via SMS and
meaningful in a full sense only on that platform.3 This essay analyzes the latter,
mobile texts that are sited and situational, and that are narratological both at
the level of the work and its effects. Mobile, here, is not limited to a
particular hardware architecture but rather encompasses a range of handhelds,
from basic phones to a tablet PC to the iPAQ (a GPS-enabled smartphone).
While the recent proliferation of scholarship on the material specificities of
hardware and software is crucial for the discipline of media studies, an
expansive and transmedial concept of mobile allows me to focus on a
distinct literary-arts practice and the motifs and modes of engagement shared
by multiple platforms.4
To adapt a phrase from Ted Nelson, we need to understand the participant in a mobile narrative as
one who branches [read: navigates, moves] or performs on request (314)
Kate Armstrongs PING (2003) (if/then) existential
Knifeandforks Hundekopf; Teri Ruebs Itinerant (2005)
Jeff Knowlton, Naomi Spellman and Jeremy Hights 34 North 118 West (2002)
soundscapes landscapes sonic ghosts, imagine another time in the same place.
For 34N118W, which is commonly regarded as the first locative narrative, small groups of
participants were equipped with a single GPS receiver and tablet PC map of the Santa Fe Railroad
depot that formerly occupied the site, which, as one might expect from a post-industrial city, is now
used by the Southern California Institute of Architecture. (As part of its challenge to technicity and
the culture of use, 34N118W breaks the indexical relationship between map and territory by using a
decades-old map for its interface.) Instructed to walk to hotspots that triggered narrative fragments
spoken by voice actors, they explored the physical environment, which was content rather than
background or stage set. Both the art practice and the mode of participation was framed as
narrative archaeology, the uncovering and ordering of the past within the frame of the present.
Jeremy Hight, the author of the fictional text, researched the history of the freight yard and
discovered the surprising and macabre stories of the line watchers, workers who were on suicide
watch and charged with cleaning human debris off the tracks.
35 years I cleared the tracks. Those men, along the rails, tired. Death
by train we called it. They waited and wandered. Hoped . . . for the
sound that comes too late To take them from this life. It was my job
to assist . . . to help . . . kind words . . . or help clear the tracks after
the impact . . . Such failures. My failures. Such small horrors.
(Knowlton et al.)

Imagine walking through the city and triggering moments in time. Imagine wandering through a
space inhabited with the sonic ghosts of another era. Like ether, the air around you pulses with
spirits, voices, and sounds. Streets, buildings, and hidden fragments tell a story. The setting is the
Freight Depot in downtown Los Angeles. At the turn of the century Railroads were synonymous
with power, speed and modernization. Telegraphs and Railroads were our first cross-country
infrastructures, preceding the Internet. From the history and myth of the Railroad to the present day,
sounds and voices drift in and out as you walk.
Narrative archaeology is not then a project of strict historical recovery and preservation. To figure
history and historical processes as ghosts is instead to imagine a past that does not stay past, that
was once forgotten but now intrudes upon the present
The haunting effect of a disjunctive and surprise encounter with the past was also produced by the
audioscape, which was composed of overlapping voices and so suggested a historical and temporal
layering. In this respect, compressed layers functioned as both a design and a conceptual principle.
The significance of this is twofold. On the one hand, such an archaeological metaphor as this
suggests that past and present do not necessarily maintain distinctor easily distinguishable
ontologies and spatialities. On the other hand, the metaphoricity of layers, which after all have a
distinct meaning for augmented reality researchers, extends to the conception of the relation
between concrete, physical space and the virtual, otherwise understood as the infoscape or the
datascape. What are the implications of figuring the virtual as a layer that rests on top of the
physical? In short, if we imagine the virtual to exist as a data cloud in the ether, as a separate entity
the contours of which we might demarcate if provided with the proper mapping tool, then we
prevent ourselves from seeing the many ways in which the virtual and the physical are coextensive
with each other, to the point that they cannot be regarded as ontologically distinct. Recent research
on the research consumption of data centers indicates that the virtual is deeply physical and, as Eric
Kabisch argues, the physical world already exists as a hybrid stew of digital and embodied
entities and practices (223). Layers, then, might be a useful way to conceive of practical computing
problems in augmented reality, but this rhetorical conceit runs the risk of naturalizing the notion that
the virtual is a separate, freefloating, and detachable window that might be transported to another
physical context without materially changing that context or the information itself. That might very
well be the case pragmatically: mapping errors might put a virtual layer in the wrong place and
misidentify a pharmacy as the coffee shop it borders. But perhaps the metaphors of agitated and
compressed layers used by the artists behind 34N118W help us to begin to think about the ways in
which the virtual is already a physical, lived space, and the physical is already encoded with
information.
walk this way <http://locative.articule.net/wp-content/uploads/2013/06/Raley_Walk-This-Way.pdf>
Itinerant-Teri Rueb
Itinerant invites people to take a walk through Boston Common and surrounding neighborhoods to
experience an interactive sound work that reframes Mary Shelleys Frankenstein, the classic tale of
conflict between techno-scientific hubris and the human spirit. The project engages a search for an
elusive character who is doppelgnger to both the doctor and the creature of the novel. Sounds,
automatically played by visitors as they move through different parts of the city, create a series of
frames within which to reflect upon our highly mobile, technologically saturated society and issues
of identity, place, and displacement. The sonic overlay is also presented as an interactive map on the
web, creating a reframing and displacement of this site-specific work.
<http://www.electronicbookreview.com/thread/firstperson/located>

to read videoplace 1975

nARratives of Augmented Worlds

f. H. Porter Abbott defines: story is an event or sequence of events (the action), and narrative
discourse is those events as represented [1]. According to Abbott, narrative is comprised of two
elements: story and discourse events and their representation. Ryan adds that narrativity (how well
a story can be told) is not a binary feature but a continuous scale, and narratives should contain: a
story-world, intelligent characters, a timeline, and meaningful events [31]. We can think of narrative
as any medium-independent text which is used with intention to reconstruct mental images of a
fictional world in the mind of the reader [11].
3.2.1 Situated Augmented Narratives
3.2.2 Location-Based Narratives
3.2.3 World-level Augmented Narratives

The Voices of Oakland, a dramatic, audio-based mixed reality (MR) experience situated in
Oakland Cemetery in Atlanta [18] 2005 spatial
The audio-only AR experience introduces the visitor to the history and architecture of the cemetery.
The prototype for this experience was created using the DART (Designers Augmented Reality
Toolkit) system, conceived and implemented in the AEL. Wearing headphones and carrying a
portable computer and tracking device, the visitor walks among the graves and listens the voices of
various historical figures. The visitor can tailor the experience to suit her interests through an
optional, hand-held interface.
https://books.google.gr/books?
id=E7c0CgAAQBAJ&pg=PA114&lpg=PA114&dq=voices+of+oakland+cemetery&source=bl&ots
=f3tQPthVh8&sig=Iy_WfLgYRXpp5Ny6san27icKNcY&hl=el&sa=X&ved=0ahUKEwjHiKOkx5_
NAhWBOxQKHQYaBYQQ6AEISTAH#v=onepage&q=voices%20of%20oakland
%20cemetery&f=false
the lights of st. ettiene The Lights of St. Etienne: An (AR/MR) experience situated in the cathedral
in Metz, France
Maria Engberg Lab: Augmented Environments Lab
http://gvu.gatech.edu/research/projects/lights-st-etienne-armr-experience-cathedral-metz-france
The Augmented Reality experience, The Lights of St. Etienne, uses the AR-browser Argon as a
platform for an embodied, location-based experience in St Etinne Cathdral in Metz. The
experience takes into account the cultural heritage and hidden stories embedded in its
architecture, windows, and ornamentations. Lights focuses on five separate sites (geo-spots) in
and around the cathedral to explore various dimensions of the cathedral, its history, and its place
in Metz. The five spots are inside the cathedral, working with historical narratives relating the
history of the cathedral and citizens experience of Metz at various points in time. 3D panoramas
will be used to give the visitor a sense of the changing architecture of the vast church over the
centuries. Photographic images, presented on the screen, will permit the visitor to examine more

closely some of the stained glass located high overhead. Sound and music is prominent in the
experience, changing as the visitor moves to the various sites. Ranging from the sounds of fire (cf.
Bill Violas Fire Woman video work 2005 serves as example), to spoken narratives in 1st person
point-of-view narratives of people telling personal stories relating to a particular moment.
Favoring a situated personalized narrative, inspired by historical events and drawn from
contemporaneous sources, the narratives present one view on the complexity of history that is
centered on the cathedral. Music is also used in the application, underscoring contemplation or
the sacral experience of being in the cathedral. Argon permits us to design using a variety of
Augmented and Mixed reality techniques, as well as multimedia presented on the mobile devices
screen. This prototype was designed and produced by AEL researchers, students at the Metz
campus of Georgia Tech (GT Lorraine), and students at Georgia Tech in Atlanta (US)

situtated located

Project Name Year Narrative Model Augmented World AR Type Type of Interaction
Mad Tea Party [25] 2001 Spatial Situated HMD Exploratory (POV), Ontological
(Gestures, Audio)
[inbox] [2] 2001 Non-linear Situated Handheld Exploratory (Space)
Jeff Knowlton, Naomi Spellman and Jeremy Hights 34 North 118 West (2002)
M-Views [5] 2003 Non-linear Location Handheld Exploratory (Location)
The Beast [22] 2003 Linear World Live, Online Exploratory, Ontological arg AI stephen spielberg
microsoft
Three Angry Men [17] 2003 Linear++ Situated HMD Exploratory (POV)

GEIST [18] 2004 Non-linear Location HMD Exploratory (Location)

The GEIST system is another similar project, which allows users to explore the history of 17th
century Heidelberg, Germany, via mini-stories spread throughout the modern city with a wearable
AR system and a hybrid GPS and visionbased tracker [18]. To form the mini-stories GEIST uses a
familiar plot-line such as fairy tale stories (which Abbott calls masterplots
[1]), or a familiar story arc such as Freytags triangle [11
Hopstory [26] 2004 Non-linear Location Projection Exploratory (Space)
History unwired 2005 non linear location ar exploratory venice
Oakland Cemetery [6] 2005 Spatial Location Audio Exploratory (Location)
Hundekopf 2005 Linear + location text mobile
AR/Facade [7] 2006 Linear+ Situated HMD Exploratory (POV), Ontological
(Speech)

Gustafsson et al. [8] 2006 Spatial Location Audio Exploratory (Location)

-Touched Echo by Markus Kison 2007
http://www.markuskison.de/#touched_echo
http://gpsmuseum.eu/locative_storytelling/114/index.html
-Sensory Deprivation by Christian Nold 2007
http://www.softhook.com/sensory.htm
http://gpsmuseum.eu/locative_art/107/index.html

Social Immersive Media [33] 2009 Non-linear Situated Projection Exploratory, Ontological
(Gestures)
Murder on Beacon Hill [23] 2009 Linear Location Handheld Exploratory (Location) paromoi me
m views pou einai gia thn istoria tou campus tou MIT

The Westwood Experience [37] 2010 Linear Situated & Location Handheld, Live Exploratory
(Location)
-Audio Graffiti by The Audioscape Project 2010
https://www.cim.mcgill.ca/srewiki/bin/view/Audioscape/AudioGraffiti

Conspiracy For Good [36] 2011 Spatial World Handheld, Live Exploratory, Ontological
+ The narrative is generative and therefore (to an extent,) non-repeatable, but still has a linear
course of progression
++ The events in the story are static and linear, however the character behavior is changing
-Audiocaching the voice is in the box 2011 Titania yes!
http://www.transnationaltemps.net/geocaching/
https://vimeo.com/35154097
-Het Westerbork Luisterpad from Tijmen Schep 2012
Walking Stories by Charlotte Spencer 2013
http://charlottespencerprojects.org/walking-stories/
https://vimeo.com/114560518
-Google night walk in Marseilles 2013
-Walk Through Time, a true walking documentary along the history of life on Earth 2013
-http://soundsky.org/
Sound Sky by Trudy Lane and Halsey Burgund 2013
-Tod an der Mauer, a walking documentary along the Berlin Wall 2013
http://sprylab.com/en/projekte/mobile-edutainment-app-death-berlin-wall
-Water Memory by Piotr Wyrzykowski 2013

-Summer of Anarchy by Edu Comelles 2015

http://gpsmuseum.eu/locative_storytelling/109/index.html
-project for Mons cultural capital of Europe 2015

-Water Memory by Piotr Wyrzykowski 2013

-Summer of Anarchy by Edu Comelles 2015
http://gpsmuseum.eu/locative_storytelling/109/index.html
-Walk Through Time, a true walking documentary along the history of life on Earth 2013
-http://soundsky.org/
Sound Sky by Trudy Lane and Halsey Burgund 2013
-Tod an der Mauer, a walking documentary along the Berlin Wall 2013
http://sprylab.com/en/projekte/mobile-edutainment-app-death-berlin-wall
-Het Westerbork Luisterpad from Tijmen Schep 2012
http://www.wblp.nl/
-Touched Echo by Markus Kison 2007
http://www.markuskison.de/#touched_echo
http://gpsmuseum.eu/locative_storytelling/114/index.html

-Audio Graffiti by The Audioscape Project 2010

https://www.cim.mcgill.ca/srewiki/bin/view/Audioscape/AudioGraffiti
Walking Stories by Charlotte Spencer 2013
http://charlottespencerprojects.org/walking-stories/
https://vimeo.com/114560518
-Audiocaching the voice is in the box 2011 Titania yes!
http://www.transnationaltemps.net/geocaching/
https://vimeo.com/35154097
-Sensory Deprivation by Christian Nold 2007
http://www.softhook.com/sensory.htm
http://gpsmuseum.eu/locative_art/107/index.html
-Google night walk in Marseilles 2013
-project for Mons cultural capital of Europe 2015


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History unwired 2005 venice
metalepsis

'

digital
soundscapes / landscapes
cleio corfu
polistory https://www.facebook.com/permalink.php?
story_fbid=885900968114674&id=128864253818353
video walk http://www.ct.aegean.gr/projects/videowalk/vw2015.html
sound acts akoo-o
WORKSHOP: LOCATIVE MEDIA - THE STREET

athens digital art festival

locative media
gps
text
projection
bluetooth
wifi

http://dacathens.blogspot.gr/

[inbox]

installation

container

hostspot

34 North 118
West /

Ping

Hopstory
Geist
oakaln

/ poi
POI