Lily & Honglei 杨熙瑛,李宏磊

How AR works on mobile devices

Technical Requirements:

1. Hardware: iPhone/iPad or Android Phone

2. Software: Layar, free download at http://layar.com

Audience Experience:
Once the audience downloads the Layar Augmented Reality Browser to their Android or iPhone, he or she could point their device's camera towards the physical surrounding. The application uses geolocation software to superimpose a computer generated graphic at the precise GPS coordinates of the original, enabling audience to see the augmentation integrated into the physical location as if it existed in the real world.


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Quick Links to AR Project

I. Butterfly Lovers

II. Crystal Coffin - Virtual China Pavilion

III.Great Firewall of China

IV.Three Wise Monkeys: ‘Hear no evil, see no evil, and speak no evil’

V.Southeast Flies the Peacock

VI.Statue of Democracy & Tank Man

VII.Chinese Take Out

VIII.From Lewisburg to Silicon Valley

IX. Shadow Play: Tales of Urbanization of China

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More About Augmented Reality Art

Manifest.AR: The Manifesto

Manifest.AR Blog

Members of Manifest.AR
Founding Members:

Associate Members

_________________________________Overview___________________________________

Since the beginning of 2011, as associate memebers of Manifest.AR, a pioneer new media artist collective, we have created a series of Augmented Reality (AR) art projects concerning Chinese cultural identity, as well as social issues in this Global Era,


Will Pappenheimer presenting ManifestAR's project at Whitney Museum of American Art, New York, 2014

Some images of our Augmented Reality work are derived from our earlier videos and virtual reality projects. The images, superimposed onto physical reality by mobile phone software, now function as ‘site-specific-virtual-sculpture’ that become part of a particular environment. Perceived through the mobile phone screen, the relationships between the imagery we create and the physical surroundings generate new implications. We specially thank John Craig Freeman, the Boston-based new media artist who provides long-term, generous technological support essential to the materialization of our AR projects.

___________________________________Projects__________________________________

Augmented Reality I:

Butterfly Lovers at Times Square

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Visualization of Butterfly Lovers augmented reality at Times Square, NYC

Credit: Painting by Lily & Honglei, Augmented Reality by John Craig Freeman, Documentation by Will Pappenheimer and John Craig Freeman
Year of Production: 2009-2011
Medium: Oil on paper, Augmented Reality application for mobile phone
Augmented Reality Installation Locations:
1) Times Square in New York, U.S.
2) Boston Institute of Contemporary Art (ICA), U.S, during Boston Cyberart Festival 2011.
3) Unseen Sculptures exhibition at Surry Hills, Sydney (as part of the Surry Hill Festival) and around the Melbourne CBD, Australia.
4) Mediating Place exhibition at Harbor Gallery, University of Massachusetts Boston, U.S.

Work Description: Derived from a popular Chinese folktale Butterfly Lovers (梁山伯与祝英台)regarded as the equivalent of Romeo and Juliet, the painted figures in traditional costumes are placed at Times Square in New York City. The site-specific Augment Reality installation addresses issues of Chinese diaspora and cultural identity, and visualizes the restless, roaming cultural spirit of the East hidden in western metropolis.

Integrating painting and mobile phone augmented-reality application, artists weave storytelling of Chinese folklore into a contemporary, global circumstance. The two layers are contradictory yet interpenetrated: while the Butterfly Lovers symbolizes perpetual repression of humanity and resistance in Chinese culture, the night scene of Times Square in Manhattan is an emblem of Americanism and consumerism. As Chinese immigrant artists, we have witnessed many tragic stories of our friends pursuing American dreams. Although being surrounded by crowds and dazzling material world, they live in isolation, and struggle to survive. Our own life experience and the fate of immigrants urge us to expose the situation through artworks. What is the real relationship between cultural spirit and material reality? This is  the question raised by Butterfly Lovers.

Butterfly Lovers AR has been exhibited around the world, recent shows including SIGGRAPH Asia 2013 in Honglei Kong.


Butterfly Lovers AR at SIGGRAPH Asia 2013 in Honglei Kong. Mobile phone screenshots by Arthur Clay.

** Launch Butterfly Lovers Layar application on mobile phone: http://www.layar.com/layers/butterflylovers

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Augmented Reality II:

Crystal Coffin - Virtual China Pavilion at Giardini, 54th.Venice Biennale

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Mobile Phone Screenshot of Crystal Coffin - The Virtual China Pavilion
at St. Mark Square, AR Intervention at 54th. Venice Biennial

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Visualization of Crystal Coffin - Virtual China Pavilion at Piazza San Marco, by John Craig Freeman

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Visualization of Crystal Coffin - Virtual China Pavilion at Gardini, 54th. Venice Biennale, by Lily & Honglei

Credit:  Concept by Lily & Honglei, 3D modeling and augmented reality by John Craig Freeman
Year of Completion: 2011
Medium: Computer 3D Models, Augmented Reality application for mobile phone
Augmented Reality Installation Locations:
1) Gardini at Venice Biennale 2011, Italy
2) Not Here, The Samek Art Gallery at Bucknell University, PA
3) Not ThereISEA 2011 (International Symposium on Electronic Art) &12th Istanbul Biennial, Turkey
4) DUMBO Art Festival 2011, Brooklyn NY

Work Description: The augmentation is inspired by the crystal coffin displayed in Mausoleum of Mao Zedong on Tiananmen Square since 1977, a year after Mao’s death. In the twenty first century, while China has been transforming itself into a modern society in many ways and gaining more influences economically and politically around the globe, Mao’s crystal coffin, the immortal-looking shell, remains exist as a symbol of authoritarian ruling system. During spring 2011, a crackdown on dissent – including detaining many intellectuals and members of religious group – followed by distinct signs of revival of Maoist policies, has left people baffled about the future direction of  China. We therefore use Crystal Coffin of Mao as main body of the virtual China Pavilion topped with a tower and roof with ancient Chinese looking,  as regulated by Ministry of Construction of China: architectural ‘designs must reflect traditional Chinese building styles’.

** Launch Crystal Coffin Layar application on mobile phone: http://www.layar.com/layers/crystalcoffin

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Augmented Reality III:

Great Firewall of China at Great Wall

Credit:  4gentlemen
Year of Completion: 2011
Medium: Computer generated 3D Models, Augmented Reality application for mobile phone
Augmented Reality Installation Locations: Great Wall of China

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Inspiration from Great Firewall in virtual world art project 'Land of Illusion,' by Lily & Honglei 2008

Work Description: During the Qin Dynasty, Emperor Qinshihuang began building the Great Wall to keep northern nomads out of China. In the Internet age, China has invented the Great Firewall to block free thinking, to censor messages and images which criticize government policies and draw attention to violations of human rights, and to keep this activity from circulating in the blogosphere. While the ancient Great Wall of China is regarded as a wonder of human civilizations, the Great Firewall in cyberspace becomes the most sophisticated, extensive and notorious project preventing the world’s largest population from expressing themselves with contemporary technologies. How does this invisible wall impact the lives of people within China and beyond in the information era? (continue reading)

** Launch Great Firewall of China Layar application on mobile phone: http://www.layar.com/layers/firewall

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Augmented Reality IV:

Three Wise Monkeys: ‘Hear no evil, see no evil, and speak no evil’

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Three Wise Monkeys at Sichuan, where earthquake smashed
poorly constructed school buildings to result death of thousands of students

Tibetan Monk Self-immorlation
Three Wise Monkeys at Aba County in Sichuan, where a Tibetan monk set himself ablaze

Qian Yunhui
Three Wise Monkeys at eastern Zhejiang Province, where the popular village head  
Qian Yunhui killed by a 'traffic accident'

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Three Wise Monkeys at the scene subway trains crashed in Shanghai

Credit:  4gentlemen
Year of Completion: 2011
Medium: Computer generated images, Augmented Reality application for mobile phone
Augmented Reality Installation Locations:
1) Sichuan, Shanghai, Tibet, Zhejiang
2) The Art Of Placebo exhibition in association with Digital Arts Weeks 2011. Victoria Canada.

Work Description: Portraying Chinese dissent artist Ai Weiwei, the work ironically refers to principles of Three Wise Monkeys: ‘hear no evil, see no evil, and speak no evil,’ that arguably originates from Analects of Confucius: "Look not at what is contrary to propriety; listen not to what is contrary to propriety; speak not what is contrary to propriety; make no movement which is contrary to propriety" (非禮勿視,非禮勿聽,非禮勿言非禮勿動). Instead of reviving its original teaching of moral value, the authorities adopt Confucianism in order to constrain freedom of speech in China in the 21st century. (continue reading)

** Launch Great Firewall of China Layar application on mobile phone: http://www.layar.com/layers/threewisemonkeys

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Augmented Reality V:

Southeast Flies the Peacock at Chinatown, Los Angles

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Visualization of Southeast Flies the Peacock & Mad Drummer Mi Heng, in Chinatown Los Angles, CA

Credit:  paintings by Lily & Honglei, Augmented Reality by John Craig Freeman
Year of Completion: 2011
Medium: Computer generated images, Augmented Reality application for mobile phone
Augmented Reality Installation Locations: Chinatown in Log Angles, for College Art Association 2011, U.S

Work Description: The work assembles images of some most influential folktale of China, including Southeast Flies the PeacockThe Peony Pavilion, Lady White Snake, Death of General Yang Zaixing,and Cowherd and Weaving Maid, featuring tragic romances as well as epic heroes/heroines admired by Chinese people from generation to generation. In contrast to the the spiritual, legendary figures in the foreground, which are designed as ‘virtual sculptures’ through Augmented Reality application on mobile phone, the background is set at a highly commercial area of a metropolitan city – China Town. By comparing virtual and physical, ancient and modern, east and west, we question the longevity of Chinese culture’s spiritual traditions in the process of capitalization. (continue reading)

** Launch Great Firewall of China Layar application on mobile phone: http://www.layar.com/layers/southeastfliesthepeacock

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Augmented Reality VI:

Statue of Democracy & Tank Man at Tiananmen Square

Credit:  4gentlemen
Year of Completion: 2011
Medium: Computer 3D Models, Augmented Reality application for mobile phone
Augmented Reality Installation Locations:
1) Tiananmen Square, Beijing, China
2) Tahrir Square, Cairo, Egypt
3) Saint Mark Square, 2011 Venice Biennale (June 4th - November 27th), Italy
4) AR Occupy Wall Street, New York City, U.S
5) Boston Institute of Contemporary Art (ICA), U.S.

Work Description: Although it has been more than twenty years since Tiananman Protest took place in 1989, the authority persistently uses all means erasing the facts that Chinese people pursued democracy in this democratic and anti-corruption movement. In China, nowadays, young people are not aware the courageous actions, such as 'Tank Man' and erecting 'Statue of Democracy' facing Mao's portrait on Tiananman Tower, emerged during student movement of 1989. Nonetheless, history should not be forgotten. 

Information and communication technologies have inspired people to express their thoughts freely. We as artists, taking advantages of the development  of mobile phone technology and smartphone applications, have revived the history of 1989 Tiananman Protest that  has tremendous implications waiting  for further examinations by our contemporaries. (continue reading)

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Augmented Reality VII:

Chinese Take Out

Credit: 4gentlemen
Year of Completion: 2012
Medium: Computer 3D Models, Augmented Reality application for mobile phone
Augmented Reality Installation Locations:
1) Presidio overlook, Golden Gate, San Francisco
2) Powell Street Cable Car Turntable at Market Street, San Francisco
3) Gates of San Francisco’s Chinatown at Bush Street and Grand Avenue, San Francisco

Visualization of Chinese Take Out at Golden Gate, CA

Work Description: Collaborating with John Craig Freeman, Lily & Honglei’s project Chinese Take Out is presented at ZERO1 Biennial Seeking Silicon Valley in San Francisco CA. Chinese Take Out visualizes the gruesome reality that the Chinese government has been systematically harvesting organs from imprisoned Falun Gong practitioners for profit. For more info, click here.

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Augmented Reality VIII:

From Lewisburg to Silicon Valley

Credit: paintings by Lily & Honglei, Augmented Reality by John Craig Freeman
Year of Completion: 2012
Medium: Computer 3D Models, Augmented Reality application for mobile phone
Augmented Reality Installation Locations:
NYC, Lewisburg Pennsylvania, and San Francisco CA

Work Description: The connection from Lewisburg Pennsylvania to the high-tech corporate campuses of Silicon Valley can be traced in the migration of the worlds manufacturing on its never ending quest for the least expensive, least regulated labor force and the trail of economic devastation it leaves in its wake. Viewed through their own mobile device, the “From Lewisburg, PA to Silicon Valley” augmented reality public art projects asks the audience to consider their own implications in this global history. - John Craig Freeman

More info click here.

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Augmented Reality IX

Shadow Play: Tales of Urbanization of China (by Lily X Yang, He Li and Honglei Li)

Commissioned by New Radio and Performing Art INC (NRPA), the AR installation of Shadow Play: Tales of Urbanization of China portrays a society undergoing an unprecedented process of urbanization. The narrative of the 'Family of the Village Head' is based upon a series of real-life incidents that have taken place during this time of tumult; clashes over land eviction, kidnapping of children, suicides of migrant workers, and man-made environmental catastrophes are among them.

'Fighting the Bulldozer' - Shadow Play, Chapter I. The Land: Death of the Village Head

'The Four Demons' - Shadow Play, Chapter I. The Land: Death of the Village Head

In executing the piece, Lily & Honglei created a number of characters whose visual forms draw inspiration from traditional Chinese shadow play. Utilizing the capabilities of augmented reality technology, the audience may then experience the installation in real time and space through their mobile phones. The classically-inspired shadow-puppet characters are superimposed upon real-world locations in the rural and urbanizing regions in northern China. Through phone cameras, two layers of imagery are merged; the foreground comes to life in a digital application atop the background of reality. It is this dynamic between the new and the traditional, between modern realities and the age-old human condition that embodies the implications of the work.


Shadow Play, Chapter III. The City: Into the Void

Shadow Play became part of the Rose Goldsen Archive of New Media Art at Cornell University in 2014. For more info, please visit the project that is on view via NRPA website: http://turbulence.org/Works/shadowplay/

 

_______________About International Artist Collective 'Manifest.AR' _______________
http://www.manifestar.info

Manifest.AR is an international artists’ collective working with emergent forms of augmented reality as interventionist public art. The group sees this medium as a way of transforming public space and institutions by installing virtual objects, which respond to and overlay the configuration of located physical meaning. Utilizing this technology as artwork is an entirely new proposition and explores all that we know and experience as the mixture of the real and the hyper-real.’ Physically, nothing changes, the audience can simply download and launch an Augmented Reality Browser app on their iPhone or Android and aim the devices’ camera to view the world around them. The application uses geolocation, marker tracking and image recognition software to superimpose computer generated three-dimensional art objects, enabling the public to see the work integrated into the physical location as if it existed in the real world.’

The Manifest.AR collective and individual members have produced projects, exhibitions and interventions worldwide, including in New York, Venice, Istanbul, Beijing, Cairo, Copenhagen, Tokyo and Berlin. For more information, please visit: http://www.manifestar.info/, and http://manifestarblog.wordpress.com

 

©2011 - 2013 LILY & HONGLEI. All rights reserved. For further inquiries, please contact artists.