Remediating Collective Memory or Just a Moving Image: Augmented Reality in Contemporary Southeast Asian Art
With Asia forecasted to lead in augmented and virtual reality by 2020, Southeast Asia included in the mix is also pushing boundaries to make the cut. Artists within the region are employing Augmented Reality as a post-convergence medium to bring the physical and digital world in unity. This paper looks at how two groups of contemporary artists from Southeast Asia are putting AR to use, to address their issues. Artist in this new era are faced with a challenge to fully embody the existence of this new world into art, which requires more than just a moving image.
Introduction to Augmented Reality in Southeast Asia
In recent years, augmented reality has gained much traction regionally in Southeast Asia.
With the introduction of the augmented reality driven game Pokemon Go taking the world by storm in 2016, the craze too extended to Southeast Asia with commercial entities and government boards seeing potential in capitalizing on Pokemon Go by adding more stops and gyms to drive footfall (Bob “The Rapid Rise of Augmented Reality in Southeast Asia”). Such a phenomenon saw a rapid rise of interest in augmented reality to be integrated, to enable improved productivity, interchangeable digital information to create an interactive experience for users or clients. According to Tech in Asia, Asia is forecasted to lead $120 billion in augmented and virtual reality by 2020 with significant concentration from the Chinese market and others including Southeast Asia (Merel “Asia forecasted to lead $120b augmented and virtual reality by 2020”). Within Asia, China takes obvious lead in the tech race as they work towards the goal of Made in China 2025 to combat the insidious trade wars with the United States. China’s embracement of technology in museums like The Palace Museum which adopted AR and VR capabilities to provide access to renowned paintings, allow visitors to have a glimpse of the work without compromising on conservation work. Such use of technology allows as well inaccessible parts of the palace to be augmented for visitors to reimagine what it would have been like standing within the space without putting their safety at stake.
Within the arts industry in China, artist collective Lily Honglei Art Studio whose primary use of VR and AR in their works presents a unique convergence of western and non-western visual traditions, as such have exhibited globally, extensively and sits as associate members of Manifest.AR. In 2011 as part of Manifest.AR, they created a series of Augmented Reality (AR) art projects concerning Chinese cultural identity, as well as social issues in this Global Era. With such a good stronghold in VR and AR technology embodied in art represented by Chinese nationals, it inadvertently places Asia on the map as strong competitors in the field of technology compared to other western countries.
The increased use of AR for fashion, real-estate, travel and edutainment have proved that the real and the virtual can co-exist together, that such technology can have a niche or supplemental role in a physical and visceral space (Greengard 58). As AR forms part of the foundation for the coming virtual revolution, the users are not exempt from this orchestration, because such a technology is defined by what users see and do with it (Greengard 64).
As such, AR art seems to offer a well-encompassing experience, one that is capable of taxonomy for art and culture, as an artistic medium and expression of self. With museums, fairs, artists and collectives pushing the boundaries of art making and ways of seeing art to remain relevant to the modern-day tech-savvy visitors, the sector is now presented with a tableau that is capable of presenting the past and the future. In the recent Singapore Art Week 2020, The MeshMinds Foundation augmented six sculptures by local pioneer artists using digital-placemaking technology to rediscover cultural and historical narratives and also to reconnect with stories hidden in the urban landscape. This trail was made in collaboration with fellow artists, Chua Boon Kee, Grace Tan, Han Sai Por, Kumari Nahappan, Robert Zhao and Yeo Chee Kiong. Each work draws inspiration from past landscapes to remind us of its former context in contrast with the urbanized state it is now. But how has an immersive experience like AR alter our collective memory about a certain subject in question? And what are the uses of AR in Contemporary Southeast Asian art?
Augmented Reality with Collective Memory
Collective memory in sociology is defined by Christina Simko as a framework that contains both “individual” or “personal” memories and representations of the past sui generis. It draws from Émile Durkheim’s focus on commemoration and Maurice Halbwachs’ interest in how the past is reconstructed in the present, in the service of present needs, interests, and desires (Simko “Collective Memory”). As such, collective memory may face “difficult pasts” that threatens to taint national identity. AR in this aspect is able to mediate such pasts as though treating a phobia (G. Riva et al 10).
Previous research into the potential effects of augmented reality on human minds show that it helps people learn assembly routines faster and are more effective than three-dimensional manuals (Hou and Wang 43). More specifically in a museum setting, Nofal et al wrote about how augmented reality positively affects the memorability of visitors, their findings show that augmented reality experience enabled participants to perceive and accurately estimate the dimensions of a particular room that was augmented. Augmented reality seems to be a variable tool to help with the spatial memory of visitors, but does not outline how it develops from representation to mental representation. Stafford highlights a dilemma worth considering, “the conundrum of relating what we see –variable surfaces directly visible to us together with their outline, orientation, colour, texture, movement –which become collected into a sketchy representation that is additionally processed by the brain into a three-dimensional representation of which we are probably not visually aware– is intimately tied to what Francis Crick and Christof Koch call “the overwhelming question in neurobiology today” (453).
The idea of memory in art is dealt with in two ways, one as a way of documentation, the other as a way of framing an alternate reality to a past history. To preserve a memory the way it was meant to be can be difficult because there will be tension between “an object invented by a subjective mind and the objective fact or event it is meant to depict” (Tate “What roles does memory play in art?”). Therefore many artists are veered towards telling stories about personal and cultural memory that is more open-ended, allowing viewers to pick up diverse points of view. Such work urges us to rethink history, how it is shaped and how we can better document it. As such, augmented reality art exists in a grey fluid space, a space that exists and does not exist, it also seemingly disappears when the augmented graphic is not present. An augmented reality art with its ephemeral nature somehow strengthens its connection with memory, which is where it resides.
In application of such a multifaceted memory in Southeast Asian art especially in media art, David Teh reminds of the complexity of defining the backdrop for Southeast Asian media art. According to Teh, the region in itself is “a creature of World War II and the Cold War” and is encumbered with diverse configurations of indigenes that had hosted multi-racial visitors even before the arrival of the Europeans and hence left the region with already a “strong cultural imprints and a deep hybridity that make pre-modern Southeast Asia incomparable to pre-modern Europe or Japan” (Teh 26). He further argues that Southeast Asian media art may escape the predicament of “chronology” and “geographical” enquiry and be seen as a more recent phenomenon, “but a quick, regional survey proves otherwise, revealing how closely media artists are tied in to their local cultural matrices” (Teh 26). Teh highlights that to avoid the pitfalls of Southeast Asian media art being subjected to “colonial chronologies, Cold War geographies, or Western fine art hierarchies,” it (as in content) should be more “reflexive and locally inflected” and to read it within the “social-technical parameters”.
He provides three proposition theories that build the unique nature of Southeast Asian media art history; the remediation and rechannelling of performance tradition in media art; oral capacities of such media shaping the use; and the longstanding dialogue with authoritarianism. He maintains that specifically in Southeast Asian media art history, “cultural specificity will be at least as important as medium specificity” (Teh 31). It does beg the question if Southeast Asian media art will constantly be subjected to addressing the nation’s memory. Teh’s statement aligns with Schumpeter’s remarks that “Nothing is so retentive as a nation’s memory” (93). Though Schumpeter’s remarks were in the context of American inability to get the ‘American dream’ of their minds, it addresses the same issues that Teh referred to in Southeast Asian media art conundrum. Ngoc Nau in her investigation of the Vietnamese folk religion len dong alludes to the propositions as highlighted by Teh, this will be further analysed in the essay.
Remediation of Collective Memory: Ngoc Nau and Jirawut Ueasungkomsate
Ngoc’s latest installation at the Singapore Biennale 2019 displayed two-part augmented works that respond to either a painting or the era specific vignette in National Gallery Singapore. In detail, the two works, Chapter 1: The Legend of Lieu Hanh (2019) and Chapter 2: The Blessed Child (2019) explores different narratives of memory and questions the relevance of len dong (spiritual mediumship) in contemporary Vietnamese context. As part of her long-term research project titled ‘Deep in the Forest, a Night Song’, she studies the concept of belief and spiritualism in the context of French colonial Vietnam and the memorial building process of such rituals in the digital age we live in today. The premise for her research is based on northern Vietnam province of Thai Nguyen where she was born. In a video interview with Post Vadai, she recounts her childhood memories of the birthplace, as a place that acted as a war refuge for her family and as well her playground where she collected and played with scattered coals on the main road. It was only years later that she found out about Thai Nguyen being one of the first key industrial zones, helped rebuild the country during the economic reform Doi Moi era. During her time as a student, Ngoc witnessed first-hand the urban degeneration of her Thai Nguyen and was taken aback that such a developed and wealthy city could deteriorate to ruins so quickly. This for her encapsulated the daunting reality that overdevelopment can bring along destruction if not careful. Humans are not exempt from this inevitable destruction. As such, she brings life to these stories by integrating it into her body of works that embraces and celebrates being human. She believes that bodies act as a conduit to the world, and is capable of containing many phenomenon and are able to project the inside-out.
Her apt inception of bodies as channels can be seen in her focus on spiritual mediumship as a way of bodies opening up a portal to receive gods and goddesses– to worship, to seek guidance and blessings. With the ever evolving technological climate in the world, her work questions: What will rituals like len dong become? Would it have the same effect digitally?
Ngoc through this AR installation, rechannels a traditional ritual practice into the digital realm, the performance as encapsulated in AR brings in a new line of enquiry into worshipping. In such a ritual practice, it employs an analogy that it takes ‘two-hands to clap’, that without the worshipper onsite, the ritual accounts to just a performance with no ‘divine’ experience or blessings to takeaway. If such a ritual practice succumbs to the digital experience through AR, goddesses in this case, would need to transcend beyond earthly realm to the cyberworld to ensure she receives her ‘digital offerings’ and gives her ‘digital’ blessings to her ‘online’ worshippers. Such remediation of the ritual practice, pushes the boundaries of worship practice, reshaping worshippers view of such rituals into something that is in the process of change due to changing times. Through this rechannelling, Ngoc is also proposing a way to translate the ritual practice of len dong into different mediums much like an example Teh highlights of how wayang (puppet theatre) has many iterations throughout Southeast Asia, that though all fall under the same category, it is performed different, with different materials with different outcomes (30). A ritual like len dong is also practiced in other parts of Asia, such as Southern China, Myanmar and some communities in India. It is also a Vietnamese version East Asian mediumship that is practiced in places like Taiwan, Singapore and Hong Kong. Such mediumship in the future, in Ngoc’s interpretation, may consider the use of technology like AR, to practice spirit mediumship in their own fashion, that with digital placemaking made available through handheld devices, one can participate in the ‘live’ worship session. In this investigation, Ngoc provides a solution to the practice of folk tradition with new age technology to avoid government’s opposition to practice, which still happens today.
Early this year (2020), Thai filmmaker and video artist Jirawut Ueasungkomsate organized an exhibition titled I am not allowed to exist in your reality (2020) to question the state of ‘oblivion’ affixed to refugees through the use of both virtual reality (VR) and augmented reality (AR) technology (Amnesty International “I am not allowed to exist in your reality”). In this exhibition, visitors are able to experience what urban refugees go through emotionally, something that is not visible to the naked eye of an onlooker looking from the outside. With the use of VR and AR in this installation, viewers are able to engulf themselves into the reality of such urban refugees, it is able to perform the “oblivion” that surrounds society as they see these refugees as the ‘other’ and a troublemaker in Thailand.
Ueasungkomsate highlights the problems faced by 6,500 refugees who are living in urban areas in Thailand. Due to weak refugee policies in Thailand, these urban refugees are regarded as ‘aliens’ in the society and are arbitrarily arrested and are subjected to violence from brutish enforcers in the police and army. Ueasungkomsate in his exhibition, wishes to address the deep-seated loathe of such urban refugees by making the invisible invisible through VR and AR in his works. Such use of technology like AR for the purpose of raising ingrained problems that are resulted in indifferent policies, are repurposed for the use of activism.
Such a use of VR and AR in Ueasungkomsate’s case, replaces the physical presence of protesters in streets and becomes a tool for “activists” like the artist to place messages at specific location on the surface and share those messages with others either physically at the site or online (Skwarek 3). This tool used to create social change, as well presents remediation between the law and the marginalised, creates a dialogue that Teh highlights in his third thesis on “The long shadow of authoritarianism”, a dialogue directly or indirectly with authoritarianism. In this act of acknowledging and accepting these urban refugees, it allows this discrimination fact to permeate into our mind in seeing and viewing such subjects. AR as an experiential learning tool offers real-time interactivity improving concentration and motivation, G. Riva et al highlights in their paper that on top of helping individuals develop skills and knowledge, “AR can be used in the actual places where the subject encounters his difficulties, facilitating the transfer of the acquired skills to the real world”(10). As such using AR to change people’s perception of urban refugees can potentially help in their acceptance of these persons in the community.
This remediation of the urban refugees though differs from Ngoc’s remediation of folk tradition as a process, is an example, of utilizing AR to change collective memories about how one perceives the ‘other’ in the society. With remediation, it is able to alter, therefore remediate, the single perspective on urban refugees, to relook and reconsider their past biases specific to the group (Roediger and Abel 359).
AR for Just Moving Images: I Putu Adi “Kencut” Suanjaya and Eugene Soh
In 2019, Yogyakarta-based artist I Putu Adi “Kencut” Suanjaya debuted his solo exhibition in collaboration with Ars. app titled Kaum Mata Kancing (button-eyed people) to allow visitors to witness live versions of characters in Kencut’s paintings. Curated by Ary Indra and shown at Kopi Kalyan in South Jakarta, Kencut’s paintings brings visitors through different periods of his life, through Kelahiran (birth), Explorasi (exploration), Repetisi (repetition) and Guardian (Wira, “With buttons as eyes, ‘Kaum Mata Kancing’ exhibition explores people’s lives”).
Inspired by fantasy film Coraline (2009) and a sanskrit epic Mahabharata (1157), Kencut wants to highlight the internal war that entangles people, even in familial settings. As the title of the exhibition suggests, “button-eyed people” are incapable of showing feelings due to their “button-eyes” but are able to plot a scheme to gain benefit from. As such, people are a walking double-edged sword. Curator Ary in an interview with The Jakarta Post explains about Kencut’s work Green Snake (2017) that the figures may seem like they are embracing one another tightly but one is backstabbing the other, “Because their eyes are made from buttons, we cannot understand their true hearts,” he said on the same occasion.”
Kencut compares his dolls to Balinese masks, and just as Balinese masks are “awakened” for ritual purposes, his figuration of dolls in the paintings can be “revived” to act like humans, especially so with the help of AR. In such an attempt, paintings like Kencut can act as mirrors to help viewers become better versions of themselves. Kencut remediation of “humans” through the use of dolls in his paintings are made possible with the help of AR. It re-examines the collective memory as an attribute to the image of people. Through Kencut’s personal experience, allows for an alternate narration of people that is devoid of the generic heroic depiction that we so romanticise on.
Kencut’s work differs greatly to Ueasungkomsate and Ngoc’s works as his primary works start with his paintings and then AR applied to enhance experience. It wasn’t an early integration at the very start of conceiving the works. A lot of such application can be seen throughout AR artworks in the region, that it wasn’t the first thought of creating an AR artwork but more so, how can the existing work be further enhanced with AR so that, they gain an edge with the use of technology. This is observed in a lot of museums and galleries around the region that wishes to capitalize on the use of edgy technology like AR to gain younger audience within their pool of demographics.
Closer to home, Eugene Soh, a Singaporean AR artist was part of a Singapore Tourism Board (STB) initiative travelling exhibition titled Atypical Singapore (2018). As one of the seven Singaporeans selected to represent Singapore on this art and AR showcase, Soh used his parodic works of Singapore and augmented them so that the figures move when viewed with AR technology. Some of his works consist of Sunday Afternoon on the Island of Singapore (2014) and Food for Thought (2014). Both works are modelled after famous impressionist and renaissance masterpieces to expresses a tongue-in-cheek commentary of re-situating them in Singapore (Chai “Meet the local AR artist who says he can do whatever TeamLab does”). Though originally a static piece, the opportunity with STB allowed him to formally merge the two mediums together. Content used for such a commercial project/ exhibition for tourism use is hence more veered towards a work that comments more on Singapore’s landscape and are able to transport visitors to ‘digital’ Singapore.
Kencut and Soh’s works though are dubbed as AR artworks, lacks the reflexivity of the medium itself. The original works without implementation of AR though talks about compelling issues concerning human relations and nation’s social development respectively, its only use of AR was to create movements augmented on the work itself. In creating such movements, the artist are subjecting ‘moving’ as a sort of parergon to explain the works to the audience, this questions the need for such parergon as such integration can make the work seem overcompensated for. There are therefore many layers to the use of AR in artworks, but only few in contemporary Southeast Asia fulfils the artistic intellect that should come with the use of AR technology.
Conclusion
The decision to include Ngoc’s works within the Singapore Biennale 2019 is a timely reminder of the capabilities of AR as a piece of art. On top being able to ‘revive’ an otherwise static work, it can be used as a tool for remembrance and remediation. In detail, Ngoc’s Chapter 1: The Legend of Lieu Hanh (2019) and Chapter 2: The Blessed Child (2019) brings visitors through the historical to contemporary accounts of len dong. The first chapter was displayed at Gallery 10, which is a permanent vignette of the gallery that covers the Vietnam War. Within this exhibit, a famous illustration of the tiger attack on the Marquis de Barthlemy is placed as the “main target on which the AR app will showcase the concept of belief and spiritualism in the context of French colonial Vietnam” (Ngoc “Chapter 1: The Legend of Lieu Hanh”). Ngoc through her interviews and inference from archives about the perspective of this spiritual and social life, tells the tale of the mother goddesses, also she unveils different viewpoints of such a folk religion through looking at intellects of their time who deprecates spiritual mediumship. Ngoc’s use of AR in this gallery, looks at where folk religion history sits within the backdrop of Vietnam War, a narrative that represents normative Vietnam’s history.
To give a contemporaneous context to len dong, the second chapter focuses on the “blessed child” as a ‘selected’ follower of the mother goddesses. The second chapter of the work is displayed in Gallery B, which unlike Gallery 10, is a gallery that houses other biennale works. The painting that is displayed in front of the AR tablets was a painting of a beast that was drawn by a mother goddesses follower as a premonition before his possession as seen on the AR tablets. According to Ngoc, his actions during the possession seemed to be related to the portrait of the beast he had painted. She questions the approach to such an “illusional experience (Ngoc “Chapter 2: The Blessed Child”), and if the possession even happened since his brainwaves scan showed that he was conscious throughout the possession.
In this AR artwork, we see clearly the mode it is used for, that instead of giving “life” to a work, it operates as a form of a storytelling mechanism, as AR pioneer Ronald Azuma discusses in his talk at The Stanford Center for Image System Engineering in May 2017, he mentions two storytelling strategies; reinforcing and remembering. Reinforcing as honoring the reality and the “aura” and Remembering as memories and stories with real location where they actually happened (Papagiannis 73). Though the site for the two chapters were in a gallery setting, it allows the process to be transferred into AR as a way of remediation of the folk religion in the ever evolving technological landscape.
This remediation of the collective memory of folk religion applies as well to the spaces in which the artwork is displayed as well as its use as an artistic medium. In Ngoc’s works, she as well purports the future of such a ritual in a digital era, where digital worship might be a reality, which then leads to questions of mediumship and whether it would work in new media. Within the spectrum of Ngoc’s works, we see the transcendence of different times, from early performative folk rituals to painting to AR. As the mode of artmaking changes over time, concepts behind each work has to involve technology like AR, at the very early stages. The idea of AR needs to move beyond just a moving image, if a work is to be an AR artwork, the use of technology as an artistic medium needs to be incorporated into the play to successfully enable “the very existence of a new world that is a mixture of the real and the digital”(Geroimenko 383).
Works Cited
Bob. “The Rapid Rise of Augmented Reality in Southeast Asia.” Appsynth, 21 Dec. 2018, appsynth.net/blog/augmented-reality-southeast-asia-thailand/.
Chai, Amanda. “Meet the local AR artist who says he can do whatever TeamLab does.”SG Magazine, 2018, www.sgmagazine.com/arts-city-living/news/meet-local-ar-artist-who-says-he-can-do-whatever-teamlab-does.
Eslam Nofal et al. 2018. Architectural contextualization of heritage museum artifacts using augmented reality. SDH, 2, 1, 42–67. DOI: 10.14434/sdh.v2i1.24500.
Geroimenko, Vladimir. Augmented Reality Art: From an Emerging Technology to a Novel Creative Medium. Springer, 2014.
Greengard, Samuel. Virtual Reality . MIT Press, 2019.
Hou, Lei, and Xiangyu Wang. “A Study on the Benefits of Augmented Reality in Retaining Working Memory in Assembly Tasks: A Focus on Differences in Gender.” Automation in Construction, vol. 32, Elsevier B.V, July 2013, pp. 38–45, doi:10.1016/j.autcon.2012.12.007.
International, Amnesty. “I Am Not Allowed to Exist in Your Reality.” I Am Not Allowed to Exist in Your Reality, 19 Feb. 2020, prachatai.com/english/node/8372.
Merel, Tim. “Asia Forecasted to Lead $120b Augmented and Virtual Reality Markets by 2020.” Tech in Asia — Connecting Asia’s Startup Ecosystem, 4 Feb. 2016, www.techinasia.com/talk/augmentedvirtual-reality-revenue-forecast-revised-hit-120-billion-asia-leading-2020.
Ngoc, Nau. Chapter 1: The Legend of Lieu Han. 2019. National Gallery, Singapore. Accessed onsite via iPad on 20 February 2020.
Ngoc, Nau. Chapter 2: The Blessed Child. 2019. National Gallery, Singapore. Accessed onsite via iPad on 20 February 2020.
“Ngoc Nau (Nguyen Hong Ngoc).” Postvidai, 2017, postvidai.com/ngoc-nau/.
Papagiannis, Helen. Augmented Human. 1st edition, O’Reilly Media, Inc., 2017.
Riva G, Baños RM, Botella C, Mantovani F and Gaggioli A (2016) Transforming Experience: The Potential of Augmented Reality and Virtual Reality for Enhancing Personal and Clinical Change. Front. Psychiatry 7:164. DOI: 10.3389/fpsyt.2016.00164.
Simko, Christina. “Collective Memory.” Oxford Bibliographies, 2019, www.oxfordbibliographies.com/view/document/obo-9780199756384/obo-9780199756384-0215.xml.
Skwarek, Mark. “Augmented Reality Activism.”Augmented Reality Art: From an Emerging Technology to a Novel Creative Medium, edited by Vladimir Geroimenko, Springer, 2014, pp.3–40.
Stafford, Barbara Maria. Echo Objects : the Cognitive Work of Images . University of Chicago Press, 2007.
Teh, David. Recalibrating Media: Three Theses on Video and Media Art in Southeast Asia. 2011,www.academia.edu/20863800/Recalibrating_Media_Three_Theses_on_Video_and_Media_Art_in_Southeast_Asia.
Tate. “What Role Does Memory Play in Art? (Article).” Khan Academy, Khan Academy, 2015, www.khanacademy.org/partner-content/tate/archives-memory/art-and-memory/a/what-role-does-memory-play-in-art.
Wira, Ni Nyoman. “With buttons as eyes, ‘Kaum Mata Kancing’ exhibition explores people’s lives.” The Jakarta Post, 2019, www.thejakartapost.com/life/2019/01/26/with-buttons-as-eyes-kaum-mata-kancing-exhibition-explores-peoples-lives.html.
Bibliography
Flores, Patrick and Toh, Joyce. Every Step in the Right Direction. Singapore Art Museum, 2019.
Geroimenko, V. Augmented Reality Art: From an Emerging Technology to a Novel Creative Medium. Springer International Publishing, 2014.
Greengard, Samuel. Virtual Reality . MIT Press, 2019.
Grau, Oliver. MediaArtHistories . MIT Press, 2007.
Hinterwaldner, Inge. The Systemic Image : a New Theory of Interactive Real-Time Simulations . The MIT Press, 2017.
Hou, Lei, and Xiangyu Wang. “A Study on the Benefits of Augmented Reality in Retaining Working Memory in Assembly Tasks: A Focus on Differences in Gender.” Automation in Construction, vol. 32, Elsevier B.V, July 2013, pp. 38–45, doi:10.1016/j.autcon.2012.12.007.
Lee, Sarah and Nguyen, Nhu Huy. Essays on Modern and Contemporary Vietnamese Art. Singapore Art Museum, 2009. Modern and Contemporary Vietnamese Art.
McCraw, Thomas K. Prophet of Innovation. Harvard University Press, 2010.
Ngoc, Nau. Chapter 1: The Legend of Lieu Han. 2019. National Gallery, Singapore. Accessed onsite via iPad on 20 February 2020.
Ngoc, Nau. Chapter 2: The Blessed Child. 2019. National Gallery, Singapore. Accessed onsite via iPad on 20 February 2020.
“Ngoc Nau (Nguyen Hong Ngoc).” Postvidai, 2017, postvidai.com/ngoc-nau/.
Papagiannis, Helen. Augmented Human. 1st edition, O’Reilly Media, Inc., 2017.
Riva, Giuseppe et al. “Transforming Experience: The Potential of Augmented Reality and Virtual Reality for Enhancing Personal and Clinical Change.” Frontiers in Psychiatry, vol. 7, 2016, doi:10.3389/fpsyt.2016.00164.
Roediger, Henry L. and Magdalena Abel. “Collective Memory: A New Arena of Cognitive Study.” Trends in Cognitive Sciences, vol. 19, no. 7, 2015, pp. 359–361, doi:10.1016/j.tics.2015.04.003.
Vertov, Dziga. Kino-Eye : The Writings of Dziga Vertov. Univ. Of California Press, 1984. Annette Michelson.
