This thesis resituates AR as an artistic medium for interactive and expressive works by musicians and sound artists, through a DIY approach to sound ARt. Three experiences — area~, polaris~, and polygons~ — lead to the propositions of augmented materiality, augmented embodiment, and augmented space, and to design guidelines for sound ARt.

A workshop to co-construct a narrative around mixed reality as NIMEs, and to build community through panel talks, demos, and theory-generating discussions.

Development and evaluation of polaris~, an audiovisual AR experience on Project North Star and bone-conduction headphones, with Unity and Pure Data. Ten participants spent about 30 minutes in the scene; interview remarks were coded into Sentiment, Learning, Adoption, Expression, and Immersion.

We explore the potential of sound within broader multisensory AR, and its value in creating coherent, immersive, and embodied experiences in computational art, through two practical accounts. We argue that DIY approaches to AR are essential for creative work.

This paper resituates multisensory augmented reality as an artistic medium. It proposes a practice-led compositional approach for developing MSAR experiences, and outlines the study methods used to evaluate them.

area~ lets people record, manipulate, and spatialise virtual audio nodes around their immediate environment through ambisonics and hand-gesture tracking, as a non-visual audio AR system.

A research proposal for multi-sensory AR as a way to address visual bias in AR development, through iterative design of instruments, installation studies, and a mix of survey and grounded-theory analysis.