The Aesthetics of Liminality: Augmentation as an Art Form - Augmented Reality Art - page 115

Fig. 5.21 Love bombers (Image Courtesy Patrick Lichty and Mark Skwarek 2012 )

Day located POIs with Space Invaders, hearts, coins, a 3D model of “All you Need is
Love” as shown in Fig. 5.22 , and scattered them across the Americas, Asia, Europe,
Australia, and Africa (Tunisia). The images on the blog depict images from most
of the 40 POIs in the geolocative database, and represent the complexity of gesture
between a mobile interactor and a global database, as the relations involve global
grand arcs and multiple cultural contexts.
Two other AR augment works that overlay historical content onto geographical
environments are Annette Barbier & Drew Browning group collaborative project
2012 Expose, Intervene, Occupy (EIO) (Tripp 2012 ) .EIO used locative and
recognition technologies to insert critical narratives into the downtown Chicago
landscape. Examples of the eight AR collaborations include Barbier's 2070 as
seen in Fig. 5.23 , exploring the progressive invasion of the Asian Carp into the
North American Great Lakes through the Chicago River, an alternate historical
street sign narrative, and a Mario-Bros. romp by Mat Rappoport that invites the
interactor to chase coins through Chicago's Financial Sector in Fig. 5.24 .Two
other conversational pieces are PolyCopRiotNode by Adam Trowbridge and Jessica
Westbrook that features an ominous cybercop, commenting on the law enforcement
culture of Chicago, and WeathervaneAR by John Marshall and Cezanne Charles
that has many instances of a “robotically-driven” chicken head, playing of post-
Millennial paranoia. Where the Occupy AR series had more of a unitary format,
EIO creates an “anthology” of works describing how AR can be used as a tool of
psychogrographic inquiry. Of note is the unfortunate fact that due to the change in