Nina Czegledy

Biography

Nina Czegledy, media artist, curator and writer, has collaborated on international projects, produced digital works and has lead and participated in workshops, forums and festivals worldwide. Resonance the Electromagenticbodies, Digitized Bodies Virtual Spectacles and the Aurora projects reflect her art&science interest. She exhibited as part of ICOLS at ISEA2004 and showed at the Girls and Guns Collective European tour. Czegledy curated over 35 media programs presented internationally, Points of Entry an Australian/New Zealand digital arts collaboration was initiated by Czegledy. Her academic lectures lead to numerous publications in books and journals in Europe, North and South America and Asia. Czegledy is the president of Critical Media, Senior Fellow of KMDI, University of Toronto, Assooiate Professor, Studio Arts, Concordia University, curator of Circuit4.ca culturbase, member of LEA auhors and Leonardo SpaceArt Network. She has been appointed by the UNESCO DigiArts Portal as a Key Advisor to the African Network and is member of Unesco's Arab States DigiArts group as well as Leonardo''s Jasmin group. Nina Czegledy is the current Chair of the Inter Society for the Electronic.

Conference

" Augmented Reality "

Our fascination with space and spatial experience dates back to a long and complex history. Lately however, due to the increased use of communication and visualization devices, our spatial existence, as we have formerly known it, became altered. Space - while having an external, physical aspect -presents a narrative encounter. Within this frame of reference, the expression "augmented space" frequently evokes a ritualized, sacred experience. According to traditional reading the term sacred, would imply an enriched spiritual event and indeed from time immemorial sounds and images have enhanced the sites of rites and rituals. Extensive contemporary market research and the emerging theory of "concept shopping" blurred the
distinction between religious and commercial activities. Corporations such Walt Disney or Prada are marketing ritualistic or religious symbolism. frequently in the form of multi-layered electronic tableaus In 2002, Lev Manovich proposed contemporary spatial interpretations in The Poetics of Augmented Space: Learning from Prada. His speculations might be pertinent in the industrialized world, yet a recent visit to a Buddhist Monastery in Tibet reminded me, that while scientific discoveries on spatial perception have expanded our knowledge of augmentation beyond expectation, it remains essential to note that beyond these systematic findings we are also shaped and changed by a variety of other factors. This paper explores ways in which discourses of augmented reality are articulated from different (albeit interrelated) perspectives.