Steenson's AR work "The Deep Listener" emphasises the artificiality of metropolitan green spaces.
Artists have long enjoyed playing on the Serpentine Galleries position at the heart of Kensington Gardens in Londons Hyde Park. Many shows here have barely resisted an urge to fling open the doors and welcome nature in, to co-opt the world outside the Serpentine Gallerys gridded windows as an extension of the building itself. Now, at last, nature and art are fully integrated in Jakob Kudsk Steensens The Deep Listener, an augmented reality (AR) work that takes you on a sci-fi-geographical journey into the flora, fauna and landscaping of Kensington Gardens.
It was perhaps an inevitable development, given that the Serpentines have made the most headlong plunge into the alternative realities presented by new technologies, being early adopters of virtual reality (VR) and artificial intelligence (AI). But thats not to say that this inaugural commission for the gallery's Augmented Architecture programme, developed with Google Arts & Culture, is predictable—far from it. The Danish artist has created a rich and compelling work after having spent many months “embedded” in the park, observing and recording its inhabitants and environments. He worked with biologists and naturalists in museums before creating visual and sonic experiences in five locations around the park, accessible through an app made for iOS and Android. In each spot, he focuses on one species: the London plane tree, bats, reedbeds, parakeets and damselflies.
Steensen describes what he does as remixing a landscape to create simulations—what we see on our screens are like apparitions amid the real landscape, forms which evoke the natural world but are made alien through the digital interface. Bats swarm in murmurations in the daytime sky as their echolocation communication is synthesised in ricocheting rhythms; near a tree filled with parakeets, a monstrous form bearing the birds vivid green and yellow colours stretches out like a ribbon, punctuated by unravelling orbs in the same hues, while the parakeets repetitive screech is slowed to menacing squawk. At times, the AR elements seem to latch on to your body—as I moved at one point, it was as if I was entangled in the reedbed, yet stepping in another direction, I could witness the same form hovering over the banks of the Serpentine like a UFO.
The idea of augmenting reality has multiple meanings here. The most obvious is that Steensen is adding digital presences to the existing landscape. More subtly, by drawing us into the parks spaces and species, he forces us to observe them with an unusual closeness. Rather than divorcing us from reality, our smartphones are employed as a tool to amplify our senses. Steensen emphasises the peculiarities of the parks natural experience, making its everyday occupants strange, but also emphasising the artificiality of metropolitan green spaces. It is an urban arRead More – Source