Mobile art: Rethinking intersections between art, user created content (UCC), and the quotidian (original) (raw)
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Treading a fine line between intimacy and extension, there is no doubt that mobile media devices such as tablets and smartphones, have been making a serious con- tribution to the expressive power of human bodies. The threshold that has tradi- tionally separated human and machine has shifted, so that the virtual and physical are no longer separate topologies, but rather embodied together in the immediacy of the everyday: the body, like the smartphone, is an interface. But that is not all, because, bit by bit (or byte by byte) mobile media devices have been turning us into post-humans (Hayles 1999; Braidotti 2013). It is not that the devices are some kind of Cyborgian appendage to the human body, although an argument for this could certainly be made. Rather, these new threads weaving themselves into the geo- cultural fabric of humanity are created through the increasingly dominant organi- sational force of software. The data network, cloud, or Internet have many uses in life, and perhaps the least of these is artistic. Yet, it is art that is now being revolutionised by the same data networks that produced pervasive computing. Through these innovations artists have been given the capacity to transport audi- ences into complex meshworks of narrative and experience. The pervasive use of smartphones has created many new lines of critical inquiry that intersect with notions of post-humanism, such as the shaping of human culture through a myriad of physical, embodied, and perceptual connections with the technological machines we use regularly. One such line of inquiry is posited by the radical and highly experimental artistic practice of mobile Augmented Reality Art [ARt].
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