PURE LAND AR 人间净土——扩增实境版

Sarah Kenderdine, Jeffrey Shaw

莎若肯徳丁邵志飞

PURE LAND AR

人间净土——扩增实境版

Approx. 600cm x 400cm x 300cm

尺寸:600cm x 400cm x 300cm

2012

 

With the participation of the Dunhuang Academy and City University of Hong Kong

敦煌研究院与香港城市大学联合制作

 

Pure Land AR is an ‘augmented reality’ installation that allow visitors to interact with a full scale digital facsimile of cave 220, located at the UNESCO World Heritage site of the Mogao Grottoes, Gansu Province, northwestern China. It integrates an immersive interactive display system with high-resolution digital archaeological datasets consisting of high-resolution photographs and a laser scanned architectural model provided by the Dunhuang Academy

《人间净土——扩增实境版》是一件与现实融合的装置作品,观者可以全方位沉浸在互动的数字空间,并体验中国甘肃省的敦煌莫高窟220号洞窟。借助敦煌研究院所提供的激光扫描模型及高清晰照片等考古研究资料,这个作品以沉浸式的互动装置展示了被誉为世界文化遗产的敦煌莫高窟。

Pure Land AR employs iPad screens that visitors use as augmented reality mobile viewing devices to explore the early Tang Buddhist wall paintings inside cave 220. The paintings and sculptures of the caves are rendered virtually within the architecture of a simply constructed rectangular room that shares the same dimensions to those of cave 220 itself. Walking around inside this room with tablet screens in hand, visitors are thus able to view the architecture of the cave and to explore its sculptures and wall paintings as they appear on their mobile displays.

《人间净土——扩增实境版》通过iPad让观者探索220洞窟内早期唐代佛教壁画。220洞窟的壁画和内部构造都按照原尺寸被转化成一个虚拟矩形空间,观者可在展览空间中自由探索,通过手持设备欣赏洞窟全貌。

The technical rendering of cave 220 in this work is facilitated by the use of infrared cameras that accurately track the position and orientation of the two iPads. Computers then create the appropriately rendered views of the actual Dunhuang cave, which are transmitted to the iPads via WiFi. In this way the iPad shifts from being an object in and of itself to functioning as a mobile framing device for the staging of a virtual rendering of the real cave – an interactive performance where cave 220 is being exactly mapped between real space and the digital model. Pure Land AR also incorporates the dynamics of a single-user, multi-spectator interface that is so important to the notion of museums and galleries as places of socialization.

220洞窟的虚拟重构,是通过红外线摄像头去追踪来自两个iPad的位置和方向,再由电脑通过WIFI直接把与敦煌现场一样的洞窟图景传输到iPad上,这个iPad就成了一个可移动的展示框,展出虚拟生成的洞窟,因此iPad的交互模式完美地把洞窟220的真实空间和虚拟模型连系起来。《人间净土——扩增实境版》的界面为单一用户及多观者而设,实现了画廊和美术馆的交流化概念。

The conjunction between the empty exhibition walls and the life-like cave rendering seen on those walls via the iPad display operates in a border zone between the indexically real and the phantasmatically virtual, between re-embodiment and dis-embodiment. Pure Land AR thus weaves a set of subtle paradoxes into its web of virtualization and actualization, which align with the technologies of telepresence that virtually transport the viewer between their actual location and another place – in this case between an exhibition space and Dunhuang.  

展览墙面上的线体画和iPad内的虚拟洞窟内景,提供了真实和幻想之间的线索,介于重现和非现之间的临界区域。《人间净土——扩增实境版》罗织了一个微妙的悖论,在虚拟化和真实化的网络中,电脑技术将观者的现实位置与另一空间通过虚拟传输的方式连接一致,在作品中这两个地方正是展览的场地和敦煌莫高窟。

The media historian Oliver Grau points out that images have always been subject to the media technologies of spatial illusion, immersion and display, and ‘every epoch uses whatever means available to create maximum illusion’. Pure Land AR is an ‘apparatus-situation’ for the conjunction between real and virtual formations that gives transacted aesthetic expression to Dunhuang’s Buddhist art treasury of mural paintings and sculptures. It projects a technical and optical strategy for the digital rendering of cultural content and heritage landscapes that goes beyond mimetic representation. By stimulating a palpable sense of ‘being there’ and co-presence with the past, Pure Land operates as a theatre of embodied experience that transforms simple documentation into a kinesthetic and phenomenological encounter with place.

根据媒体历史学家奥列弗·格劳,图像是媒体科技之空间幻象、沉浸和展示的主体,而‘任何时代都会使用其所有来扩展最大幻象的可能性’。《人间净土——扩增实境版》穿梭于真实和幻境,把敦煌佛教艺术中的雕刻和壁画转化成对美学的表达。这个项目超越片面的模仿,以交互的方式柔合数字技术和视觉化的世界遗产,利用可感知的现场感与模拟的过去联系起来。《人间净土——扩增实境版》如同剧场一般,将简单的文献转化为机动的空间及现象。

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