For good or for ill, that will also open up the medium to commercial exploitation. Imagine looking around a mall with your cell phone’s camera, trying to take a picture to remember your holiday, only to have a Coca Cola add pop up on your screen.
While the idea of an ad-ridden virtual reality can be a bit bothersome, I still find the concept exiting and interesting.
Similar endeavors
Now, artists aren’t the only ones that care about location. The GPS has quickly become a very popular toy. Anyone who drives a car into unknown territory knows how valuable it can be, but it’s used for more creative things as well.
Like a game where a number of random GPS-points is set globally and whoever can get to the most of them wins. Or playing poker where you need to get close to a moving container that holds a random virtual card (or a virtual container).
While our world is growing smaller and smaller, location becomes more
important than ever. The “where” in “how, what, where, when” is starting to be the most significant question. Now out to virtually paint the city hall pink.
Hollis approached the body. That wasn’t there. But was. Alberto was following her with the laptop, careful of the cable. She felt as if he were holding his breath. She was holding hers.
The boy seemed birdlike, in death, the arch of his cheekbone, as she bent forward, casting it’s own small shadow. His hair was very dark. He wore dark, pin-striped trousers and a dark shirt. “Who?” she asked, finding her breath.
“River Phoenix,” said Alberto, quietly.
She looked up, toward the marquee of the Whiskey, then down again, struck by the fragility of the white neck. “River Phoenix was blond,” she said.
He’d dyed it,” Alberto said. “Dyed it for a role.”
William Gibson, Spook Country