The Bit Expansion

Origin of augmentation operations in mixed realities

Andrea Sosa & Laura Maiori correo.andreasosa@gmail.com / lauramaiori@gmail.com

ABSTRACT

The present study explores the characteristics of mixed realities focalizing in the analysis of

augmentation operations that arise from the merging of real and virtual. First, the concepts of

interface, metaphor and immersion are analyzed. Secondly, works of art are analyzed in order to

observe the way in which these concepts function in a concrete level. Finally, a theory is

developed regarding augmentation operations in mixed realities.

1. INTRODUCTION

Is it possible that our future reality might be a world made only of

ineffable presences, a world without any materiality and physical

character? Is it reasonable to think that in the XXI century we will have to

deal only with intangible realities, illusory and evanescent images, with

something similar to a world populated by spectrums, hallucinations and

ectoplasms?

Tomás Maldonado (1999)

In the decades of the XXth century, the paradigm of virtual reality (VR) and evanescent worlds

nourished imaginary and forecasts about the next century. Life experience would turn then into an

immaterial experience, immersed in labyrinths of substitute images of what is actually real.

According to Maldonado, it is impossible to think that humans could live without their physical

character and without the environment’s physical character. “It seems to be forgotten that the

relationship of our individual and collective experience with the world’s physical character cannot

be revoked with the touch of a more or less magical cane.” (Maldonado, 1999) Our biologic

constitution and the conformation of the elements composing our environment inevitably have a

material basis, which makes it impossible not to accept materiality as vector of our experience in

the world. In the same way, if we believe our reality is purely physical, we will be ignoring the

endless immaterial configurations that arise from the bit. The emergence of the mixed realities

paradigm at the end of the last century, and its continuous development, seems to recognize our

experience’s basically mixed nature in the contemporary world, thus dismissing the dichotomous

thinking -nearer to the VR paradigm.

In this context -half atom half bit- mixture is associated with augmentation operations that

provide new dimensions to our experience, a unified experience, impossible to be conceived in a

purely physical or virtual environment.

If expansion is based in the fundamental operation of these types of realities, it is necessary to

reflect upon its specific characteristics in order to elaborate a feasible methodology to understand

the involved factors and face the challenge of designing within this paradigm.

Is it possible to think that expansion arises only from physical and virtual mixture? Or do we need

other factors for expansion to exist and experience to be perceived as a unified entity?

2. DEVELOPMENT

With the aim of organizing the present study, we will explore three operating concepts in

augmented reality experiences: interface, metaphor and immersion. It is worth mentioning that

these concepts are not exclusive of Augmented Reality, they are part of all interactive

configurations.

2.1. INTERFACE

According to the conception of Gui Bonsiepe, interface is the space where three heterogeneous

elements converge: a person (user), an action he/she wishes to perform, and an artifact acting as

medium for this action to develop. For example, a person wishes to hang a picture and so needs to

nail down in the surface of the wall. The user’s body is not ready to perform this action

successfully without being hurt. The hummer becomes the artifact that allows completing the

operation. Bonisiepe wonders about the way in which these divergent elements –the human body,

an action’s objective, and the instrumental object- can make a unit. The answer he finds

introduces the concept of interface as point of connection and articulation.

“It is important to notice that interface is not an object, it is a space where interaction

between the human body, the tool (artifact understood as object o as communicative

artifact) and the object of the action converge. ... the interface makes the instrumental

character of objects and the communicative content of information accessible.” (Bonsiepe,

1998).

While the interface faces the challenge of developing a unity from different components, in the

Augmented Reality this challenge grows in front of the need of joining physical and virtual as sine

qua non condition for existence.

The role of the interface in the development of interactive experience is of high importance since

it models users’ behaviors and defines what can and cannot be done. As David Rokeby observes:

If culture, in the context of interactive media, becomes something we “do”, it is the interface

that defines how we do it and how the “doing” feels. (David Rokeby, 1990)

The relevance of the interface arises when observing the way in which subtle configuration

changes tend to substantially modify the experience proposed to the user.

2.2. METAPHOR

The definition of metaphor according to the Real Academia Española includes two different

senses:

1. female noun (rhetoric) A figure of speech which consists in transferring the literal meaning of a word to

a figurative one by means of a tacit comparison; e.g. The pearls of dew. The spring of life. To hold back

passion.

2. female noun The use of a word or expression to refer to an object or concept not literally denoted in

order to suggest a comparison -with another object or concept- and allow an easier understanding; e.g. the

atom is a miniature solar system.

The metaphor as figure of speech has been used widely in the field of Arts, just think about the

place it has had in literature, movies, paintings, etc. In the interactive art area, the metaphor is

used as a fundamental resource in the construction of sense. In front of the heterogeneity of the

elements involved in interactive experience, the metaphor acts as a common substance that joins

and dissolves ontological differences.

In relation to our object of study, we take the notion of analogy associated to the metaphor as a

connection to access an undeclared level. In Augmented Realities, the virtual tier is composed of a

substratum with a high degree of abstraction (binary codification), inaccessible in the first place to

the user’s perceptive field. The metaphor acts as a bridge to give substance to the intangible, it

turns abstract into concrete. As a consequence, the representative universe becomes accessible to

the perceptive system while stimulating associations for cognitive processes of the interactive act.

Xavier Berenguer exemplifies the place of the metaphor pointing that "the metaphor receives

interactive experience and makes it available for the spectator…”. (Berenguer, 1997)

Thinking the metaphor as a principle guiding the development of the whole experience, we might

think that its semantic effects extend to the interface, establishing a deep relationship between

both instances. We may even understand the interface as a metaphor:

“… An interface in the work of art can add new levels of information and reading, turning into

not only a medium allowing interaction but also a reflex and even a complement of the idea

o set of esthetical values we want to communicate.” (Eugenio Tiselli, 2004)

2.3. IMMERSION

The third and last concept refers to immersive processes. Janet Murray describes the immersion

state as an experience where the person involved –his/her corporal, cognitive and emotional

sensations- is moved to another habitat. “…We seek the same feeling from a psychologically

immersive experience that we do from a plunge in the ocean or swimming pool: the sensation of

being surrounded by a completely other reality, as different as water is from air, that takes over all

of our attention, our whole perceptual apparatus.”

For immersion to take place, it is necessary that certain conditions are met. According to Oliver

Grau, the immersion phenomenon arises when the work of art and its appliance converge in an

inseparable unit. In other words, the medium has to become transparent. An illusory atmosphere

is also necessary, a realistic atmosphere generating the user’s faith and his/her belief in the

modulated universe. An emotional commitment and a reduction of critical distance are necessary

requirements for illusion to emerge. While analyzing the panorama’s immersive effects, Grau

points the following aspects as inductive for the totally immersive illusion “The impossibility of

comparing the panorama's objects with extraneous objects, and being surrounded entirely by a

frameless, all-embracing image, the spectator is subjected to a deception that is complete.” In

addition to these formal operations, he proposes to add the time factor to the immersive process:

the longer the user stays in the environment, the more the immersion sensation is intensified. The

validity of this statement could derive from the possibilities of apprehending the code and

understanding the logic. The longer the user stays in the environment, the better understanding

s/he would have to operate in such environment efficiently, i.e. his/her behaviors would be

probably more significant.

Some dimensions to take into account for an immersive effect:

- Representation limits: Diffuse limits between representation space and surrounding

reality (frame function) promote the illusory effect.

- Scale modeling: Work with real scale regarding the subject and its surrounding

environment.

- Sensitive stimulation: The more senses involved, the more likely the user will feel inside

the environment.

- Interactivity levels: The possibility of performing actions in the environment and that the

environment reacts to them promotes immersive sensations.

- Behavior scope: The degree of freedom and the rules operating in the environment

influence the suggestion proposed by the immersion.

3. ANALYSIS

Below the three concepts are analyzed in their concrete manifestation, basically exploring the way

in which they are linked and related with the aim of determining how they build augmentation

operations.

3.1. DELICATE BOUNDARIES

Delicate Boundaries is an interactive work by Chris Sugrue created in 2007 in a Medialab Prado –

Madrid’s Workshop, under the title “Magic and technology”. The work explores the subtle limits

between physical and digital worlds. It consists in small bugs made of light contained in the frame

of a touch screen, which “crawl out” of the frame and are transported to the user body when he

places his/her hand in the screen. Once the insects are over the body, they move along the user’s

extremities. With the change of medium, the work acquires other attributes and the relation of

the user with these organisms varies significantly. If the user moves, the bugs move with him

producing the illusion of being integrated to his/her skin.

Figure 1. Multiple views of the work "Delicate Boundaries" by Chris Sugrue. 2007.

Interface

Regarding interface, this work articulates efficiently the three components proposed by Bonsiepe

(body-action-instrument), making up a unified experience. In this case, interface becomes

transparent, as it relies in the user’s body rather than in a specific object or instrument. We can

say the body is the interface. Far from visible circuits and bits, the medium allowing interaction is

basically organic, which introduces a substantial difference in the articulation of the already

mentioned components: body and instrument join and become the same thing. Therefore, the

unity of both components is not something to develop: it comes integrated in the user’s sensitive

system. In this triad, the action absorbs the logic of the user’s apprehended and incorporated

behaviors in his/her vital experience: the link with the environment is mostly performed through

the sense of touch.

Figure 2. Analogy between a real bug un the human body and the user-virtual bug interaction in "Delicate

Boundaries".

Metaphor

The level of metaphor is based mainly in the behavior (action level), in the possibility of seizing the

bugs and transferring them to different surfaces/mediums. Behavior design observes human

action in everyday environment. From analogical processes –where representational space and

what is conceived as real are related-, experience acquires an intuitive character. Both a kid and an

adult will understand how to be linked without specific knowledge.

The work title is another hint of the author’s semantic intentions, and it acts as a guide for

concrete experience. The word “boundaries” is a mental image of two contiguous spaces and

“delicate” supposes evanescent limits. The link with Augmented Reality definition as genre is

evident and explicit. In the interstices of interface and metaphor, the user’s hand appears as a

bridge between two worlds -physical reality and virtual instance.

Immersive effects

These characteristics cause immersive effects by combination of different factors:

- Representation limits: Ambiguity in the limits of representational space and experience arouses,

a work’s poetical center is developed and resolved according to articulations described above.

- Scale modeling: The work takes place in two scales. On the one hand, a scale regarding space

representation in the screen, and on the other hand, a scale supporting the body’s physical-

biological aspect at the time the experience moves to the dermis surface. The last stimulates

immersion; the virtual literally surrounds the user and integrates to him.

- Sensitive stimulation: There are two senses involved: vision and touch. The stress on the touch

sense and in the bugs’ movement over the skin creates an illusion, a realistic sensation of tactile

apprehension of the virtual instance.

- Interactivity and behavior: The work presents high degrees of analogy regarding the laws of the

physical world and the behaviors of live systems, which are reflected in the system’s design and in

the possibilities proposed to the user. Regarding the bugs: the possibility of congregation in the

point where the user makes contact. And regarding the grammar of the user’s possible actions:

the way in which the transfer from the screen to the body occurs and the subsequent movement

of bugs over the skin.

This work shows the possibilities of mixture of different nature instances –physical and virtual.

Fusing both territories, ontological differences disappear, causing the effect of an augmented

experience perceived as one (an augmented reality).

3.2. I/O BRUSH

Work developed by Kimiko Ryokai in “Tangible Bits” project of Massachussets Institute of

Technology (MIT), consisting in the construction of an appliance through which the users can make

a plastic work of art. The experience is articulated around a technological paintbrush that allows to

take samples of different textures and use them as pictorial material for the elaboration of a work

of art. The innovative I/O Brush offers the capacity of picking up different types of materiality,

such as textures, colors and movements. As it slogan points -The World as the Palette- the whole

world becomes the palette for the artist/user. The experience generates an effect of

augmentation of the paintbrush characteristics, through technology and the insertion of a virtual

instance: we can paint with moving images, thus enabling what would be an impossible

phenomenon in analogical terms.

Interface

As opposed to “Delicate Boundaries”, the triad that articulates the interface is clearly

differentiated. In this case, experience is based in an instrument (paintbrush) and the user’s

possible field of action is predetermined by one’s own possibilities and by the restrictions of the

object. The body and the organic come to background and the technological appliance and its

possibilities acquire importance.

Figure 3. Kimiko Ryokai´s "I/O BRUSH" 2004.

The paintbrush instrument is made up of a small video camera, touch sensors and optical fibers in

one of its ends and, in the other, by a handle that allows to grab the object. These elements allow

to capture the attributes of any kind of surface for later use in the digital canvas.

Figure 4. Paintbrush interface in Kimiko Ryokai´s "I/O BRUSH". 2004.

In this case, a strict association is produced between instrument and action. Now, a question

arises: how is the user inserted in the experience in order to produce the unity of all three

interface constitutive components? With the aim of finding the answer it is necessary to

investigate other conceptual axis in this analysis.

Metaphor

In “Delicate boundaries”, the user’s capacity of acting efficiently in this environment relied in

innate knowledge, with a biological mark. In “I/O Brush” this level is missing, but it relies in the

user’s culturally acquired knowledge to guarantee an efficient action: the paintbrush as tool to

perform the actual action of painting. This action involves at least three instances:

instrument/paintbrush, raw material/paint and the representation surface/canvas. The work

seems to focus on these instances at the time of making the experience a semantic one: a

technological appliance/paintbrush; patterns of the surrounding world/paint and a screen/canvas.

The metaphor and the intention of comparing the creative processes involved in the pictorial act,

function as design strategies that link and join the component's heterogeneity, making the range

of possibilities in the work cognizable to the user.

The metaphorical operation is present, for example, in the decision of hiding technical appliances

that act as medium to the paintbrush –camera, sensors, etc.- inside the head and its brushes; or in

the use of a screen/canvas with a blank surface (far from GUI parameters); or in the behavior’s

plane, i. e. the way in which material is spread through the surface.

Immersive effects

In this work, immersive effects are based on the object’s configuration and the user’s behavior

with that paintbrush object.

- Representation limits: On the one hand, the immersive effect is caused by respecting the

conventional space representation for these type of experiences (canvas) an on the other hand, by

the analogous procedure of absorbing a material (paint) with an appliance (paintbrush), although

in this case the object’s attributes are absorbed (e.g. movement), not its material component.

In other sense, fluency is observed in the limits between representation space and physical

environment, the paintbrush acting as medium of conversion between physical and virtual. The

title I/O Brush reflects this conversion.

- Scale modeling: Both the painting appliance as well as the screen attributes design are closely

related to the analogical experience. The paintbrush has a handle especially prepared for the user

to grab it and paint; the screen has a rectangular format and a portrait orientation prepared for

frontal painting.

- Sensitive stimulation: There are two senses involved: vision and touch, with a special emphasis

on kinesthesia.

- Interactivity and behavior: Strong analogies are built through metaphorical processes regarding

behaviors. Particularly, the user’s body language promotes limits dissolution and the consequent

sensation of immersion.

In this work, augmentation comes from the incorporation of attributes of the world to be

represented, which are absent in analogical terms: there is no pictorial art palette integrating

images in movement. The physical and virtual instances transparently fit together in the

paintbrush for the user, and the fusion is stronger in the actions offered by the paintbrush. En I/O

Brush, augmentation occurs in the user/artist’s palette, making the plastic experience expand in

the context of a mixed reality.

To end the analysis, it is interesting to compare the directions in which physical and virtual meet.

In “Delicate Boundaries” initial state begins with activity in the virtual instance exceeding the

screen to the outside, crossing the frontier to the real environment. On the contrary, in “I/O

BRUSH” an inverse movement is produced. Through the capture of attributes from the physical

world that are transformed into data, the virtual instance augments.

4. CONCEPTUALIZATION

In this stage, we will establish –using the above analyzed works- general principles that support

augmentation operations and also the role metaphor, interface and immersion play in the

constitution of a unified mixed reality.

4.1. The World as the Palette metaphor

Which is the place of the metaphor in the configuration of mixed realities? Which is their impact

on augmentation operations?

Although the metaphor is present in other configurations such as GUI (Graphic User Interface), in

Mixed Realities their function is vital. Virtual rests in a numerical materiality, its essential

components characterized by abstraction and intangibility. The metaphor, with its capacity to

establish analogies or resemblances, allows to make abstract concrete.

Mixed realities aim to produce an expansion of the real experience and it is precisely the

metaphor which guarantees mixture efficiency. Its capacity to absolve the heterogeneous and mix

it with what it makes reference to –i. e. making it semantic- is functional to this paradigm. In this

sense the metaphor brings a symbiosis between real and symbolic production, stimulating limits

dissolution between these two instances.

Variables subject to semantization in a mixed environment involve some of the following aspects:

- Elements morphology

- Actions interface and grammar

- Space-time configuration

The scopes of the metaphorical principle can be recognized by the design of the object/interface in

I/O Brush. The choice of semantizing the instrument acting as interface for the translation of

analogical phenomena in virtual environments strengthens the intention of making transit

between physical and virtual worlds more fluent. Its constitution as a paintbrush brings associated

a series of actions that promote the user’s intuitive interaction. It uses user’s experience in

everyday environment, stimulating in this way naturalized competencies at the time of operating

in the mixed environment.

4.2. The interface as bridge for taking actions in the world

As well as the metaphor, the interface is a concept present in all interactive communication,

whether it belongs or not to the mixed realities paradigm. Now, we can reflect upon its important

role in the generation of augmentation experiences.

Using an analogy principle, we are able to make the following observation: in everyday experience,

the human being has the capacity to act in different ways upon the physical world. Analogically,

the interface allows the user to act upon the mixed environment. In this resemblance, we can

recognize the interface central place in the articulation of a mixed reality. Thanks to the

incorporated capacity of acting over the environment, experience gains points of contact with

daily practices in the physical world. The bigger the analogy between the interface design and the

possible actions grammar of a specific phenomenon and its relation to the physical environment,

the bigger the probabilities of fusion of both instances and the consequent perception of being in

the presence of a real phenomenon with new properties.

In this sense, the figure promoting the union between daily acting and the grammar of actions

designed ad hoc for the environment is the metaphor.

Figure 5. Schema about the role of the metaphor in mixed environments. Andrea Sosa & Laura Maiori 2009.

This schema illustrates the analogy proposed between the human being and his/her actions in

daily life and the user who acts over the mixed environment through I/O appliances. The

metaphor nurtures from the logic of actions in daily life to semantize appliances and behaviors in

the built environment.

4.3. Bits and atoms: “essentially” mixed reality

The material component is constituted by a reflection axis essential to establish the mixed nature

of these types of environments. The way the physical and the virtual fit together and communicate

is of fundamental importance to understand the possibilities and restrictions of each

configuration. Therefore, physical and virtual may fuse in different ways.

The research group “Tangible Bits” members differentiate different ways of linking physical and

virtual. On the one hand, the most usual type of mixed realities, where a visual overlap is

produced in the real world image, through STD (See Through Display) or through conventional

video projections. On the other hand, a more complex instance, where mixture is produced at a

deeper level corresponding to the essence of the matter, its conformation. Such matter is

articulated around atoms and information bits. In this case, the proposal is radical since the limit

distinction has an ontological basis. The atom expands as a result of numerical arbitration. The

atom becomes multishaped, variable and inconstant, keeping physical properties but increasing

the possibilities offered by the digital medium. In this sense, we are in the presence of an

essentially mixed reality. This line supposes the expansion of action fields in this paradigm: any

matter is susceptible to intervention and expansion of its capacities. A continuously developing

genre responding to this line is wearable computing.

4.4. The immersion or illusion of being inside a World

If technological appliance transparency supporting the experience and total illusion caused by

frameless work are conditions for immersion to emerge, it is interesting to analyze how this level

behaves in “Delicate Boundaries”, which expressly proposes to explore the boundaries between

different spaces.

In this work, we observe a fundamental operation: the bugs transfer from the screen limits to the

user’s body. This produces a break in representational space. Experience is transferred to a new

space which limits are mobile and which does not have a default format –as opposed to the screen

case, with its rectangular format and its standard dimensions. It is true that laws governing each of

these spaces are basically different.

In this state passage, medium becomes transparent due to the metaphorical assistance in the

design of behaviors, both of the user and the system. The action of moving the hand towards the

screen so that bugs gather around the hand and begin crossing the boundary to keep their way

over the user’s body, is an action directly related to phenomena happening in daily life, behaviors

already incorporated by the user at the time of interacting. These characteristics cause immersion.

Another aspect favoring the distinction of spaces and mixture illusion is the fact that bugs are

projected over the skin and not at a specific distance from the user. Having in mind that skin is the

immediate boundary between I and the World, the virtual in this limit generates the subjective

sensation of experimenting an integrated phenomenon. This belief experienced by the user is

backed up by the choice of scaling these bugs, which establishes a realistic proportion between

boby and organisms.

Regarding behaviors, metaphor arises when dermis surfaces make contact, acting as bridges so

that the bugs are transferred from one extension to another. This behavior is analogical to the

laws of the physical world. The user experiences the sensation of being immerse in a new world,

as Queau says: half image, half substance.

4.5. Augmentation theory

In the augmentation process we have established four main variables: matter, metaphor,

interface, immersion. Now, apart from the independent analysis of each concept, it is necessary to

add links and mutual influences to explain the augmentation process. We must therefore think

these variables in a system, interrelated.

Figure 5. Schema representing a proposed theory about the links between metaphor, matter, interface, immersion

and mixed realities augmentation development. Andrea Sosa & Laura Maiori 2009.

For augmentation to take place, we must enter the illusion of a unified space with new properties

(immersion level). The immersive effect comes from a precise articulation between matter (mixed

in this case) and interface (with its three components). Precision comes from the metaphor,

particularly from the degrees of analogy absorbed by the metaphor from real daily life, and its

subsequent transfer to other levels of the work. The bigger the level of semantization in the

mixture of matter and interface, the bigger the probabilities of the appliance becoming

transparent and, therefore, the bigger the possibilities of augmentation.

5. CONCLUSION

For some time, the bit has been attempting to enter into the substance of things and to expand

towards daily life. Facing this panorama of basically mixed realities, the encounter between atoms

and bits represents a design challenge.

In the definition of mixed realities –and in order to explain different existing configurations in the

mixture of physical and virtual instances- a special emphasis is made in the higher or lower degree

of presence in one instance or the other. If physical is predominant over virtual, it is called

“augmented reality”; otherwise, if virtual is predominant over physical, it is called “augmented

virtuality”. This criteria responds to a a quantitative principle of the phenomenon and focuses in

the study of the degree of presence of physical and virtual. In this context, augmentation is

understood as an effect coming naturally from a total composed by different elements. From our

perspective, augmentation operation goes beyond the simple addition of different elements: it

exceeds the level of gradualness. Even if mixture is a fundamental operation, augmentation is

produced in the combination of other factors of the articulation: interface as a bridge between

two worlds, metaphor as a link between concrete (atom) and abstract (bit) and immersion as the

illusion of being in a unified environment.

It is important to mention that all levels must be present and interrelated for augmentation to

emerge. Without atoms and bits, there is no possible mixed reality, even when other levels are

present. In the same way, without a metaphorical mediation joining different components, the

simple joining of physical and virtual instances does not guarantee the emergence of

augmentation and the perception of an exclusive space.

The elaboration of this conceptual frame proposes a possible way to travel in the worlds of

delicate boundaries, its diffuse limits emerging in new fields for artistic creation.

6. BIBLIOGRAPHY

- Manovich, Lev. 2002. Poetics of Augmented Space: Learning from Prada.[www.manovich.net]

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- Maldonado, Tomás. 1999. Lo real y lo virtual. Ed. Gedisa. España.

- Queau, Philippe. 1995. Lo virtual. Virtudes y Vértigos. Paidós. Barcelona.

- Murray, Janet. 1999. Hamlet en la holocubierta. Paidós. Barcelona.

- Bonsiepe, Gui.1998. Del objeto a la interfase. Ed. Infinito. Buenos Aires.

- Grau, Oliver; Custance, Gloria. 2004. Virtual Art: From Illusion to Immersion. Mit Press.

- Ishii, Hiroshi; Ullmer, Brygg. 1997. Tangible Bits: Towards Seamless Interfaces between People, Bits and

Atoms. [http://tangible.media.mit.edu/papers/Tangible_Bits_CHI97.php]

- Rokeby, David.1990. Los armónicos de la Interacción.

[http://homepage.mac.com/davidrokeby/articles.html]

- Tisselli, Eugenio. 2004. Interactivity and Physical Interfaces.

[http://portal.unesco.org/culture/en/ev.php

URL_ID=35962&URL_DO=DO_TOPIC&URL_SECTION=201.html]

- Berenguer, Xavier. 1997. Escribir programas interactivos.

[http://www.iua.upf.es/formats/formats1/a01et.htm]

Visited websites:

- http://tangible.media.mit.edu/

- http://tangible.media.mit.edu/projects/iobrush/

- http://www.csugrue.com/delicateBoundaries/

- http://www.askoxford.com/

Note: This work was carried out within the framework of the Investigation Project “Realidad

Aumentada y los nuevos entornos del Continuo Realidad-Virtualidad en el Arte Interactivo”

(“Augmented Reality and the new environments in the reality-virtuality continuum in Interactive

Art”)- Departamento de Diseño Multimedial – (Multimedia Design Department) – Facultad de

Bellas Artes (Fine Arts Faculty) – Universidad Nacional de La Plata (National University of La Plata).

Argentina.

Translator: V F