When was the last time you picked up a newspaper? Maybe there was one laying around on the train during your morning commute, but this day and age, a physical print newspaper is a form of media being consumed less and less.

With the countless number of better ways to receive up-to-the-minute news and information, newspapers just don’t stand a chance. The problem for most news organizations is that newspaper subscriptions and advertising have made up a significant chunk of their revenue, and those two areas have been struggling with the rise of new media.

So it makes sense that those interested in preserving journalism are concerned with finding ways for it to connect with readers through new media. Enter Adriano Farano, who spoke at Augmented Reality Event earlier this month about the topic of augmented reality and journalism.

To hear how Adriano thinks these two industries can come together, check out the video of his talk embedded below!

We’re churning out videos from Augmented Reality Event 2011 like a machine, and today we have a rather special one for you. ARE opened again with a keynote from sci-fi author and futurist Bruce Sterling, but this year, things didn’t exactly go as planned (or did they?).

Before Bruce could begin his speech, he was interrupted by an organization calling themselves the Space Liberation Front. Their origins are, shall we say, mysterious. The group rushed the stage dressed in white hazmat suits and preceded to dramatically read their manifesto for the freeing of space.

Sounds eerily familiar, doesn’t it?

It’s all quite entertaining to witness, so have a look in the video embedded below. Following their brief interruption, of course, is Bruce’s keynote to open the festivities at ARE, so enjoy that as well! We’ll be back with even more ARE 2011 videos as the week continues!

Photo by akihitok1973 on Flickr.

Can’t get enough of our video coverage from Augmented Reality Event 2011? Then you’re in luck because we’ve got another great video to share with you today.Ben Cerveny gave a rather intriguing talk at ARE about ambient information displays that you’re sure to enjoy. Catch it embedded below.

Ben is a veteran UI/UX designer, prototyper and strategist, working with the likes of Flickr and Revver. Ben is currently the founder of the Amsterdam-based research foundation VURB as well as president and founder of Bloom.

In his presentation, Ben discusses how environments can become social, and how ad hoc networks can be created around those environments. It’s certainly inspiring, so check it out below and let us know what you think!

At the beginning of the year, we introduced a big step forward in mobile augmented reality development - the Layar Player. This easy-to-use SDK allows those with a basic understanding of iPhone development to add fully-functional Layar AR into their very own apps by simply copying and pasting some code. Now layers don’t need to live within the Layar app itself, but can exist as their own app specially tailored to a specific purpose and experience.

Since then we’ve continued to expand our platform and enhance the functionality of Layar, and so it’s time to bring some of these improvements to the Layar Player.

The release of Layar 5.0 in April introduced several new features that help make augmented reality more interactive and social. These improvements are important for augmented reality as a whole because it helps the technology become more user-friendly. Now, with our latest iteration of the Layar Player SDK, developers can incorporate new Layar 5.0 features, including animation, into their own apps.

We still receive questions about the new functionality of Layar 5.0, so we wanted to use this opportunity to take an in-depth look at how developers can best take advantage of the Layar platform.

To show how current layers are using these features, we will showcase these features in the context of how one in particular - the Conquar game layer - has utilized them.

Social Sharing

With Layar 5.0, users can now connect with their friends and followers on Facebook and Twitter. A few simple authentications and Layar users can begin sharing all kinds of Layar content with the world. Users can even connect their Layar account with Facebook and Twitter, allowing them to log in with these networks.

When browsing layers in the catalogue, users can quickly share a layer in their Twitter feed or on their Facebook wall. Users also have the option to simply email details of a layer to their contacts, or to copy a short-link to the layer for any other social use.

Inside of a layer, clicking on a spot or POI will allow users to share that point on their social networks. As with layers, a personalized tweet-style message can be added to the item when it is shared, allowing users to add their personal touch.

With Conquar - a massively multiplayer AR game of territorial control - users can “attack” spots belonging to enemy teams in order to challenge that zone’s control. As they do so, they can also share their actions with Facebook and Twitter, encouraging others to join the fight. Screenshots can also be grabbed from directly within the layer and shared just as easily.

For users, these sharing capabilities enhance the interactivity of layers by allowing them to display their exploits to the world. It also attracts others to begin using these layers, creating buzz and generating growth of usage and content of a particular layer.

For developers, social sharing makes it possible to harness the viral nature of the social web in promoting content online. By encouraging users to share layers and content, developers can quickly and easily get their name out to public and to people who might be interested in using their layers.

Developers themselves can also promote their own layers by using the sharing functionality built directly into Layar. It is also possible to grab the data being shared, like screenshots, and aggregate it on a third-party website, creating a portal for your layer’s users to save, comment, rate, and explore items they’ve shared.

Animation

Another key component of Layar 5.0 is the inclusion of animation. Previously, 3D and 2D objects within layers were relegated to a life of paralysis. They simply sat in their position in the real world, limiting their ability to catch your eye and encourage interaction.

Now, however, any object in layer can come alive with animation. When spots appear in your vision as you experience the world through augmented reality, they can now drop into the screen, or grow in size or spin around. It’s a small change, but it goes a long way for creating a smooth blend between the real and digital worlds.

Users can also trigger animations by interacting with objects on the screen. Icons and 3D models - which can already have their own inherent animation by default - can be triggered to perform a secondary animation (such as growing, moving, rotating, etc.) as well. Additional attributes can be programmed into animations, such as changing speeds or positions over time.

These animation features have been intelligently incorporated into the Conquar game layer. The game shows icons representing locations to be conquered, and these icons grow in size when you focus on one. It’s almost as if the enemy icon is bearing down on your location, prompting you to attack it! It is also far easier to determine which icon you are currently viewing in the bottom info bar. Upon clicking one of the icons, it will spin in a slow circle as you view its info.

Putting it all together…

We’ve put together a video that sums up all of the great features of Layar 5.0, including the implementation in the Conquar game layer. You can see that video embedded below.

Developers can use these new features to create engaging and interactive augmented reality experiences for users on the Layar platform, but if you’d rather host your own app, the updated Layar Player SDK lets you do just that.

For more information and to download the SDK, visit our Layar Player page.

Layar’s AR Strategist Gene Becker penned this blog after attending Augmented Reality Event 2011 in Santa Clara, California, last week.

At the end of his otherwise lovely keynote at ARE2011, Microsoft’s Blaise Aguera y Arcas proposes a distinction between “strong AR” and “weak AR”. Aguera’s obviously a very talented technologist, but in my opinion he’s done the AR industry a disservice by framing his argument in a narrow, divisive way:

“I’ll leave you with just one or two more thoughts. One is that, consider, there’s been a lot of so called augmented reality on mobile devices over the…past couple of years, but most of it really sucks. And most of it is what I would call weak augmented reality, meaning it’s based on the compass and the GPS and some vague sense of how stuff out there in the world might relate to your device, based on those rather crude sensors. Strong AR is when you, when some little gremlin is actually looking through the viewfinder at what you’re seeing, and it’s saying ah yeah that’s, this is that, that’s that and that’s the other and everything is stable and visual, that’s strong AR. Of course the technical requirements are so much greater than just using the compass and the GPS, but the potential is so much greater as well.”

Aguera’s choice of words invokes the old cognitive / computer science argument about “strong AI” and “weak AI” which was first posed by John Searle in the early heyday of 1980’s artificial intelligence research [Searle 1980: Minds, Brains and Programs (pdf)]. However, Searle’s formulation was a philosophical statement intended to tease out the distinction between an artificially intelligent system simulating a mind, or actually having a mind. Searle’s interest had nothing to do with how impressive the algorithms were, or how much computational power was required to produce AI. Instead, he was focused on the question of whether a computational system could ever achieve consciousness and true understanding, and Searle believed the concept of strong AI was fundamentally misguided.

In contrast, Aguera’s framing is fueled by technical machismo. He uses strong and weak in the common schoolyard sense, and calls out “so-called augmented reality” that is “vague”, “crude”, and “sucks” in comparison to AR that is based on (gremlins, presumably shorthand for) sophisticated machine vision algorithms backed with terabytes of image data and banks of servers in the cloud. “Strong AR is on the way”, he says, with the unspoken promise that it will save the day from the weak AR we’ve had to endure until now.

OK, I get it. Smart technology people are competitive, they have egos, and they like to toss out some red meat now and then to keep the corporate execs salivating and the funding rolling in. Been there, done that, understand completely. And honestly, I love to see good technical work happen, as it obviously is happening in Blaise’s group (check out minute 17:20 in the video to hear the entire ARE crowd gasp at his demo).

But here’s where I think this kind of thinking goes off the rails. The most impressive technical solution does not equate to the best user experience; locative precision does not equal emotional resonance; smoothly blended desktop flythroughs are not the same as a compelling human experience. I don’t care if your system has centimeter-level camera pose estimation or a 20 meter uncertainty zone; if you’re doing AR from a technology-centered agenda instead of a human-centered motivation, you’re doing it wrong.

Bruce Sterling said it well at ARE2010: “You are the world’s first pure play experience designers.” We are creating experiences for people in the real world, in their real lives, in a time when reality itself is sprouting a new, digital dimension, and we really should try to get it right. That’s a huge opportunity and a humbling responsibility, and personally I’d love to see the creative energies of every person in our industry focused on enabling great human experiences, rather than posturing about who has stronger algorithms and more significant digits. And if you really want to have an argument, let’s make it about “human AR” vs. “machine AR”. I think Searle might like that.