Rewa Wright

Rewa Wright
The University of the Sunshine Coast Queensland Australia · Design

Doctor of Philosophy

About

15
Publications
2,067
Reads
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31
Citations
Introduction
Rewa is a media artist and intra-action designer working with plant signals, human bodies, and self-organising data. She has presented her research in augmented and mixed reality art (by herself and others) in Australia, Colombia, Portugal, Canada, Hong Kong, United Kingdom, Spain and Aotearoa/New Zealand, and the United States. She received her PhD in Art, Design and Media from the University of New South Wales, and is currently Lecturer in Design at the University of the Sunshine Coast.
Additional affiliations
March 2019 - March 2019
UNSW Sydney
Position
  • Alumni

Publications

Publications (15)
Conference Paper
Full-text available
Through the Contact Projects an iterative series of three artworks (Contact Zone, Contact/Sense and Signaletic Flow 2.0) we experiment with performance techniques within the medium of head-mounted Mixed Reality (MR). Combining gestural, computer vision, tactile and sonic instruments with physical bodies (human and plant) the concept is to generate...
Chapter
Full-text available
We propose a new method, technique, and practices for performing with mixed reality environments and technologies, informed by embodiment and electro acoustics, and critically underscored by new materialism and posthumanism. Through the Contact projects, Wright and Howden explore a practice-based approach to live performance in mixed reality, throu...
Conference Paper
When we feel and sense through machines, are we still ourselves? In a mixed reality where embodied actions and blinding visions are part woman/part machine, the tactile surface of plants is a portal that conjures augmented materialities into existence.
Chapter
Full-text available
This chapter examines gamification through selected artworks that deploy augmented reality (AR) techniques. Gamification is approached as a form of ‘algorithmic culture’ in which algorithms can be, to varying degrees, both positively guiding or negatively coercing a user. After analyzing examples of gamification in the mobile entertainment industry...
Thesis
In certain paradigms from commercial and engineering practice, migrated to media art, Mixed Reality (MR) is often encountered as augments viewed through a screen display. Understood as both informatic and digital, augments are supplementary content that enhance a human experience of 'reality'. My project cultivates a contrasting view of augments as...
Chapter
Full-text available
This chapter explores the emergent field of mobile augmented reality (AR) art as articulated on smartphones and tablets, and the impact of these new technologies on participatory art practices. Examples for analysis are drawn from recent geo-located mobile art by influential practitioners J. C. Freeman, J. Cardiff and G. B. Miller, W. Pappenheimer...
Chapter
Full-text available
Experimental art deployed in the AR medium is contributing to a distinctly twenty-first-century reconfiguration of traditional perceptions of art, audience participation, and technological experience. This chapter examines an influential selection of experimental mobile augmented reality Art [ARt] in order to explore the progressive conceptual and...
Conference Paper
Full-text available
A growing number of artists are experimenting with 3D motion and gestural interfaces such as the Leap Motion, however there is a paucity of non-technical literature available. The aim of this paper is to explore the Leap Motion from the perspective of experimental digital art practice, in order to develop a theoretical conception of the gestural in...
Conference Paper
Full-text available
In a general technical sense, Augmented Reality (AR) is considered as primarily a virtual overlay, a datafied window that situates visual or textual information in the physical world. In contradistinction, AR as experimental art practice activates critical inquiry, collective participation, and multimodal perception. Experimental art deployed in th...
Conference Paper
Full-text available
Experimental art deployed in the Augmented Reality (AR) medium is contributing to a reconfiguration of traditional perceptions of interface, audience participation, and perceptual experience. Artists, critical engineers, and programmers, have developed AR in an experimental topology that diverges from both industrial and commercial uses of the medi...
Conference Paper
Full-text available
Art deployed using the augmented reality medium is doing so from a micropolitics that distances itself from the uses of these same technologies elsewhere, such as in gaming, advertising, or entertainment paradigms. However, the current terms used to describe this type of artwork do not adequately engage the relational and material specificities of...
Article
Full-text available
The 21st century presents us with a new paradigm for current art practices. In the context of a post-gallery milieu, interactive topologies have emerged, deploying Augmented Reality (hereafter, AR) on handheld devices to create site-specific artwork. My purpose in this paper is to explore key mobile AR Artworks, relating these to site-specific inst...
Article
Full-text available
Ko Maungawhau ki runga [1] is a performative research project by the author on the site of a former 17th century Maori Pa (fortified village) in Auckland, New Zealand. It is a subset of the long-term project Do we see in algorithms? and uses location aware technology to deploy augments at precise nodes in a meaningful location. Accessed on foot, th...
Article
A study of Native portraits n. 19897 (1997), Digital marae (2001) and Tauira (1991). Thesis (MLitt--Art History)--University of Auckland, 2003.

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Cited By

Projects

Projects (2)
Project
In certain paradigms from commercial and engineering practice, migrated to media art, Mixed Reality (MR) is often encountered as augments viewed through a screen display. Dually understood as informatic and digital, augments are supplementary content that enhance a human experience of 'reality'. My project cultivates a contrasting view of augments as emergent via human and nonhuman processes that entangle digital as well as physical spaces. Through a practice-based approach located in media art, this research contributes an artistic formulation - the software assemblage - supported by a suite of techniques and methods that attempt to re-assemble MR as an expanded practice that occurs both on and off screen. The software assemblages produced in this research, draw upon Gilles Deleuze and Felix Guattari's machinic assemblage, a relational ecology of material elements organized by movement, as well as Karen Barad's concept of agential realism, where nonhuman matter enacts situated modes of agency. Thinking with Donna Haraway, the software assemblage takes a diffractive approach, exploring patterns of interference in MR spaces. An analysis of selected media art practices operates in tandem with this trajectory, investigating influential work by Golan Levin and collaborators, OpenEndedGroup, Yvonne Rainer, Miya Masaoka, Adam Nash and Stefan Greuter, as well as Christa Sommerer and Laurent Mignonneau. Developing a re-figured version of MR, augments become performative as they co-emerge with my body, in media environments that assemble living plants, hardware devices, and computational networks. Augments will be apprehended not only as screen objects, but also as a mode of materiality. Emerging from this research, are techniques and methods that investigate: the performative potential of augments outside of the informatic; the Leap Motion gestural controller as a performative interface; the generation of augmented audio from the bio-electrical signals of plants; and, the extended senses of embodiment that embroil the performer. Here, signals, augments, and bodies are manifest as relational forces that diffract and modulate through the software assemblage. An alternative MR emerges that ripples through physical as well as digital space. And that's when augments exceed the informatic.