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There were 3 modes for accessing the content - AR mode, map mode and list mode. The 3 modes assisted the user experience by providing alternate pathways to the content.

Some of the challenges

• Site safety challenges – unfenced cliffs, dangerous 3-4 metre drops onto sandstone and concrete- therefore genuine safety concerns.

The 13 notes were clustered around 4 key locations on the site. The overall area of site- and project- was around 1.5 to 2 square km's.

The project was delivered as a dedicated standalone iOS app, using Junaio and BuildAR platforms, and as a Junaio channel for Android devices. It attracted an estimated 3,000-4,000 visitors to Middle Head during January 2013, and was downloaded to over 2,600 unique devices.

• Impacts on design - clustering of the notes, multiple access modes, GPS limitations, video & audio optimised for outdoor/daylight. eg We couldn't just have people wandering around site staring constantly through their phones, due to safety concerns. Clustering the 13 notes around the 4 x POI's minimised this issue.

The January figures break down as:-

1,227 iOS app downloads and 1,468 unique Junaio channel users (likely to be primarily Android users)

•Notes initially to be completely GPS triggered (eg autoplay on proximity), but modified due to safety considerations to be clustered around POI's. Proximity sound triggers were also considered but again safety concerns re GPS specificity and cliff / danger proximity led to modifications ( we didn't want to lead people off a cliff or to break their neck falling onsite).

•Sydney Festival involvement meant that it had to be accessable by a large general audience, and across iPhone and Android. This turned out to be challenging!!!

• No on-site volunteers due to length of project ( from January 5-27) & long hours (open daylight hours) & outdoors. ie impossible to cover.

People at Outer Fort using various modes (AR, list, MAP)

Each Note is a short 20-30 second video of moving image, sound and ultra short text, framing the location in a way that is meditative, contemplative, and has resonances with the earlier research.

AR mode screengrabs show Notes floating onscreen

There were no on-site volunteers, and minimal on-site support

( via signage ). Social media (Facebook, Twitter, Instagram) was used to monitor, share audience generated contents, and provide support in lieu of on-site volunteers.

Approaching sound:-

Notes for Walking staged as a locative artwork at Middle Head National Park and Mosman Art Gallery during throughout January 2013 as part of the Sydney Festival, 2013. In it, thirteen short video / audio/ textual notes were annotated to an abandoned naval fort overlooking Sydney Harbour, asking audiences to contemplate notions of waiting, impermanence and time as they explored the site.

• Palette of sounds relating to site

• Location recordings- water, birds, ELF

• Using inbuilt phone speakers, not headphones due to both safety and sociability factors

• Working with short (20-30 sec) fragments which allowed sociability

• Optimising audio for iPhone delivery- frequency response & Apple audio architecture

• Bells and birds as trigger sounds at beginning of many Notes.

• Sound design as a 'live' mix of realtime outdoor sounds plus screen based audio.

Notes for Walking

(the space in between time)

Made in association with Mosman Art Gallery, CMAI and CPCE at UTS, National Parks & Wildlife Service, and Sydney Festival.

Audience feedback

Some Twitter comments

media arts and augmented landscapes

ISEA creator session, 2013

The research has explored a range of pilgrimage practices, in particular the 88 Temple Buddhist pilgrimage of Shikoku, Japan, in which 88 temples ringing the coastline of Shikoku act as sites layered or “augmented” with site-specific contents, and the island itself operates as a kind of sacred mandala.

Through the pilgrimage itself, the oral histories associated with the temples, and the use of goeika- poetic, haiku-like instructions or poems, often written in second person, present tense - landscape and narrative are creatively aligned on Shikoku in the form of a large scale spatialised narrative.

Megan Heyward and Michael Finucan

At the same time, the research has explored locative and augmented reality technologies and platforms concerning ways to deliver site-specific contents to audiences using their existing, personal smartphones via light footprint, low impact approaches with minimal on-site support.

“Locative artworks, based on digital mobile technologies are a relatively new phenomenon. Yet art practice based in site-specific works and nomadic strategies is not just old, but ancient".

What have we learned?

Martin Reiser -The Mobile Audience: Media Art and

Mobile Technologies, 2011, p127

Notes for Walking emerges from doctoral research into narrative and landscape, spatial narrative, and cultural practices involving the walking of a ‘meaningful landscape’.

It is an exploration of landscape as interface, and of the echoes between earlier cultural practices involving walking landscape – particularly pilgrimage – and its possible resonances with contemporary locative practices, spatial narrative and annotated and augmented location.

• People are very keen to use their own personal mobile devices to engage with artwork and cultural contents in outdoor environments.

• Essential to provide multiple ways of accessing content ( eg supplement augmented reality modes with more robust, highly intuitive modes. Not all users want to use AR mode!)

• On-site volunteers would have been great, but impossible in this case.

• Android delivery remains somewhat problematic , mainly because so much variability across devices makes it difficult to manage on all devices.

• Leave plenty of time for Apple / iOS approval. Can't emphasise this enough!!

• Online and social media engagement and support is critical, particularly for standalone projects.

• Having a really unusual or striking location to explore was a great bonus and gave a real reason for audiences to venture out.

• Never underestimate the power of marketing / PR / social media & Festival and Gallery support to help drive people to your location/ project. But you must also promote and manage via social.

“In the ancient city of Llasa it is common to see a throng of people circumambulating the sacred precincts... I have followed the circular flow of the pilgrim’s movements …While walking and praying in the yak-butter-lit, mystical space, the pilgrims appeared transported into an enhanced, symbolic world – an augmented reality.”

Nina Czegledy, On Spatial Perception, Proboscis, 2005.

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