The Aesthetics of Liminality: Augmentation as an Art Form - Augmented Reality Art - page 114

Fig. 5.20 Occupy wall street AR (Image Courtesy Mark Skwarek 2012 )

prestigious museums without actually sneaking into the space and nailing the work
to the wall. Figure 5.20 Occupy Wall Street AR (Holmes 2012 ), organized by Mark
Skwarek for the collective ManifestAR, inserted technically illegal content over the
Stock Exchange. The illegality of the gesture is marked by the fact that during the
Occupy Wall Street campaign, intervention was only permitted in Zucotti Park, as
it private property. So, collective members, (Mark Skwarek, Alan Sondheim, et al.)
“docented” the work to passers by, which included flaming bulls, Space Invaders,
the Monopoly game plutocrat, and slot-machine wheels between the columns of
the Exchange, playing on Brian Holmes assertion of “Market as Casino” (Holmes
2012 ). What I feel was unique was that the Occupy AR interventions are an art
intervention where the “infopower” is not constrained by material or as I call it,
“atomic” power (Lichty 2013a , b , c , 53). As mentioned in a 2013 panel on AR as
Activism at the festival South by Southwest, the question was posed as to whether
law enforcement could demand the reorientation of a locative database if it was
representing protest in a restricted space. This question was revisited as this author
also penetrated controlled airspace with Love Bombers, in which Fig. 5.21 depicts
NATO A-10 Warthog Ground Support Bombers, dropping video game 8-bit hearts
on the NATO summit in Chicago and the corresponding protesting mobs.
The Occupy metaphor was carried a step further when the team involved with
Occupy Wall Street AR created OccupyAR May Day , in solidarity with International
Workers' Day. Where Wall Street AR concentrated content in a specific place, May