The document discusses using augmented reality in visual arts and poetry. It describes how mobile devices and augmented reality can be used to navigate cities and observe different layers of reality. Emotional journeys with augmented reality engaged citizens and visitors with local heritage and art. The document outlines several augmented reality art projects in Italian cities between 2011-2012, including evaluations that found social, creative thinking, emotional and territorial benefits. It concludes by discussing the "performative absolute" and role of augmented reality in creating collective rituals and rebuilding social bonds after disaster.

1. Le applicazioni della realtà aumentata nelle arti visive e nella
poesia
di Giuliana Guazzaroni
*
Grosseto- 6 luglio 2013 – Vivere il volontariato culturale
Convegno Annuale delle Sezioni dell’International Association for Art and Psychology
e delle associazioni affiliate

2. *
*Mobile devices and augmented
reality may represent access points
to navigate the city, to observe
different layers of reality, to redraw
the urban geography and to explore
the real environment..

3. *
*An emotional journey to observe
familiar places from different
perspectives and angles: a
continuous sliding between two
worlds (real and virtual), an
invitation to participation, reflection
and rediscovery of public spaces..

4. *
*Urban paths to engage citizens,
students and visitors with local
heritage, memories and art
(Guazzaroni, 2013)

5. *E M
M A
P EMMAP
*The main objective of EMMAP was
encouraging an active learning
environment through the use of
mobile and ubiquitous technologies
(Guazzaroni & Leo, 2011)

6. *
*On September 2011, sixty digital paintings
were disposed all around the wall of
Macerata
*On September 2012, the experience in
Macerata was enlarged with new digital
paintings displayed in Borgo Ficana
*On June 2012, a similar experience was
brought to L’Aquila

7. *
*Artists from L’Aquila said that after the
earthquake their town centre needs life, vital
projects, art and poetry. Consequently a
Call for artists was opened to gather digital
artworks to be used to build an augmented
reality exhibit all around the “red zone”. The
main aims were to collect and enrich memories
of a destroyed city centre and to add artists’
works in a virtual form in order to create
invisible emotional routes (Guazzaroni, 2013)

8. *
*L’Aquila Municipality, Adam Accademia
Delle Arti Macerata, Licenze Poetiche,
L’Aquila eMotion and Noi L’Aquila
patronized the exhibit
*The opening to public was a success and
the invisible emotional paths produced a
vibrant reaction on visitors

9. *
*On September 22nd 2012, 100 eTwinning
ambassadors participated in a walking
workshop and interact with augmented
reality
*Streets exhibits have been evaluated
through questionnaires, interviews and
direct observation to reveal: social
benefits, positive interaction, creative
thinking, emotional benefits and
territorial feedback

10. *
*The “performative absolute” appears
during difficult situations. It is a sign of
danger. It is a “cultural apocalypse”
*During these events humans invent
strategies or react using monologues to
establish more predictable outputs
during communication (Virno, 2003)

12. *
*The “performative absolute” is the
common condition that generally transpires
when walking across scattered streets in
L’Aquila
*Words could not be uttered to express the
experience of visiting a territory where
every thing is destroyed (human bonds,
housing, instruction) (Guazzaroni, 2013)

14. *
*The denied right to housing characterizes the
“red zone”, as citizens that lived there were
obliged to leave their homes. The inhabitants
have had temporary or new prefabricated
homes, where former links with their oikos,
their neighborhood have been broken. To foster
this emergence, an artist created a digital
painting representing a gate with superimposed
a chained breast (Guazzaroni, 2013b)

16. *
*A collective urban ritual, with its own
rhythm. The rhythm of poetry and
storytelling that can be repeated each
time visitors decide to walk those paths,
each time people participate and rise arms
holding smartphones or tablets. It is an act
of pure performance (Guazzaroni, 2012)

18. *
*Mirron neurons unveil how people
learn and why group of people
respond to certain dance, rhythm
and pieces of art (Rizzolatti & Fabbri-
Destro, 2008)
*When participants are in the streets,
when they enjoy interactive
performance, they naturally react to
specific stimuli and to other people
movements (Guazzaroni, 2012)

19. *
*EMMAP experiences are divided into
seven phases, based on the 7E
learning cycle. Consequently, each
time a group performs “Street
Poetry” a sort of ritual and rhythm is
activated across the streets

20. *
*Elicit: The facilitator/designer/artist prepares
useful technologies and material
*Engage: The facilitator/designer/artist explains the
experience
*Explore: Visitors start detecting artworks
*Explain: Groups start an active interaction with real
objects and points of interest
*Elaborate: Each group content to be left in the
location
*Extend: Participants collect additional content
*Evaluate: The facilitator/designer/artist evaluate
the performance (Eisenkraft, 2003; Guazzaroni & Leo, 2011;
Guazzaroni 2012a; Guazzaroni, 2012b; Guazzaroni, 2013a)

21. *
*Andare su Google Play o Apple Store e scaricare l’App
gratuita AURASMA
*Lanciare AURASMA
*Cliccare sulla A stilizzata in basso al centro
*Cliccare sulla Lente d’Ingrandimento (SEARCH) in basso verso
destra
*Scrivere EMMAP e poi cliccare su CERCA
*Appare il Canale EMMAP, cliccare sopra per aprirlo
*Cliccare su FOLLOWING in alto a destra
*Cliccare sul quadratino di LIVE CAM
*Posizionare LIVE CAM sulle immagini indicate con il logo
AURASMA

22. Poesia di strada 2010
Virgulti - Ortore

23. *

26. *

28. *

30. Testa Rossa, Donatella Giagnacovo

31. *

32. Cubo,AndreaPanarelli

33. FunzioneY,IlariaBeretta

34. *

35. *
*During “Street poetry” performances
participants repeat apparently insignificant
gestures, the ritual of using augmented
reality to detect emotional paths and to
leave stories for future visitors
*These gestures may reconstruct bonds and
social links
*They may narrate different stories through
different overlay of reality, they may
represent a message to the future, or a
vital storify of daily life using wearable
smart interfaces (Guazzaroni, 2013)

36. *
*A sort of “cultural apocalypse” (Virno, 2003)
was reached and the actual rhythm of
storytelling monologues could be listened
*Memories are monologues, words uttered
by citizens or visitors impressed by the
absence of everything (Guazzaroni, 2013)

37. *
*The augmented reality routes represent
the effort to create significant interaction
*Performance art is created for the
others, to enhance participants’ active
participation and awareness of the needs
of a territory and their citizens

38. Senzatitolo,HernànChavar

39. *

41. Allattamento, Barbara Vaccarelli

42. *

43. *
*Social benefits: most of the participants felt that working in groups had
improved their attitude to listening to their peers (87%); moreover, most of them
said that everybody in the group had contributed to the construction of
knowledge (77%); lastly, they improved the awareness and respect for their peers
(90%).
*Creative thinking benefits: Most of the participants said that they improved
their creative thinking during the experience (93%); the interaction with digital
artworks stimulated their creative mind (96,7%); moreover, they all agreed that
the possibility to tell a story, and to leave it in the streets for future visitors,
inspired creative thinking (96%).
*Techno-didactic benefits: All the ambassadors said that the use of technologies
reinforced social participation and fostered group work; moreover, they affirmed
that technology promoted a dialogue with future visitors (100%), and it improved
the interest in artworks (93%).
*Emotional benefits: Most of the participants said that the augmented reality
routes fostered the creation of an emotional bond with the location (97%);
moreover, they believed that routes activated an “emotional dimension” with
objects and people related to the past, present and future of L’Aquila (97%); they
said that a “sentimental dimension” was fostered by a storytelling activity (95%).

44. *
* Guazzaroni, G. (in stampa). Street Poetry in Augmented Reality. In S. Leone (Ed.) Synergic Integration
of Formal and Informal E-Learning Environments for Adult Lifelong Learners. IGI Global.
* Guazzaroni, G. (inviato referaggio). The ritual and the rhythm: interacting with augmented reality, visual
poetry and storytelling across the streets of scattered L’aquila. In Special Issue in Personal and
Ubiquitous Computing. Understanding Performative Interactions in Public Settings.
* Guazzaroni, G. (2013a, March). Emotional Mapping of the Archaeologist Game. In M. Lytras, P.
Ordoñez De Pablos & F. J. García-Peñalvo (Eds.) Advanced Human-Computer Interaction. Computers
in Human Behavior Elsevier, 29 (2), 335-344.
* Guazzaroni, G. (2013b, May). Piegare la tecnologia alla creatività. Superfici specchianti, gesti, forme e
linguaggi non scontati. La narrazione dell’Aquila in realtà aumentata. In G. Griziotti (Ed.) Bioipermedia
Moltitudini Connesse. Alfabeta2 (29), 4.
* Guazzaroni, G. (2012a). Experiential Mapping of Museum Augmented Places - Using Mobile Devices
for Learning. Saarbrücken, D: LAP.
* Guazzaroni, G. (2012b). Emotional Mapping of Museum Augmented Places (EMMAP). In M. Pieri (Ed.)
Mobile Learning. Esperienze e Riflessioni “Made in Italy”. Bari, IT: Progedit.
* Guazzaroni, G. (2012c, December). Emotional Mapping of Museum Augmented Places. In
Archeomatica (3), 44-46.
* Guazzaroni, G. (2010/2011). Emotional Mapping of Museum Augmented Places. Università Politecnica
delle Marche, Doctoral Thesis, 2010/2011
* Guazzaroni, G. & Leo, T. (2011). Emotional Mapping of a Place of Interest Using Mobile Devices for
Learning. In I. Arnedillo Sánchez & P. Isaías (Eds.) Proceedings of IADIS International Conference on
Mobile Learning (pp. 277-281) Avila, E.
Nota bene: tutti i contenuti della
presentazione sono riservati e non
riproducibili, poiché inseriti nelle pubblicazioni
sopra indicate

45. Dr. Giuliana Guazzaroni
Tel.: +39 333 2042483
E-mail: giuliana.guazzaroni@gmail.com
http://www.elearningoddess.net