A panoramic and essayistic portrait of the new global economy and a compelling…
Electric Signs
- Description
- Reviews
- Citation
- Cataloging
- Transcript
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New screen-based sign systems are putting TV-style advertising into the public domain in cities around the globe. These electronic signs are re-shaping urban environments and re-defining areas of public space by intensifying the commercialization of the public sphere.
In addition to the explosion of screens in public spaces, screens are ubiquitous in work spaces and in people's daily life activities. These seamless, illuminated electronic surfaces are becoming the devices through which we frame our experiences. ELECTRIC SIGNS explores this new screen culture as it unfolds in the global city.
The film's narrator, a city observer modeled on the critic Walter Benjamin, takes us on a journey through a variety of urban landscapes, examining public spaces and making connections between light, perception and the culture of attractions in today's consumer society.
The film is structured as a documentary essay in the spirit of city symphony films, and features footage in Hong Kong, Los Angeles, New York, and other cities around the world. Also featured are interviews with prominent lighting designers; advertising and marketing professionals; urban sociologists and visual culture experts; and community activists.
The filmmakers traveled around the world to collect footage of electronic signs and media facades from cities on four continents. The film captures the beauty and excitement of these illuminated signs while examining their messages, and looks at city life from many perspectives, so as to capture the intensification of urban life amidst the vast spaces beneath the skyscrapers.
“Electric Signs provides an incisive guide to the seductive blight of the increasingly ubiquitous intrusions of public space by blinding private media. This hallucinatory landscape is at once a terrible sublime and a numbingly coercive condition that affects us all in ways we only begin to understand. The film lucidly unpacks the transformation of the city by this synesthetic tsumami and points to grave dangers ahead.” —Michael Sorkin, Director of the Graduate Urban Design Program at the City College of New York
“Alice Arnold take us on a fascinating journey to urban screens around the world and asks us to see this dynamic electronic landscape through new eyes. The film mixes striking footage of screens large and small with the voices of diverse stakeholders - advertisers, artists, designers, citizens, consumers, activists - and invites us to rethink how we manage public space in contemporary media cities.” —Scott McQuire, Associate Professor, School of Culture and Communication, University of Melbourne and author of 'The Media City: Media, Architecture and Urban Space' (2008).
“The documentary is an ideal introduction for understanding the complexities for contemporary media architecture and media facades in global cities. Through showcasing various examples from cities around the world the viewer understands that large screens in the public domain are perceived by the public in very different ways. Age, cultural background play an important role here. Further the documentary also outlines the risks and challenges for cities, governance and citizens when transforming cities from the pre- and post-industrial age into 21st century cities through digital technology. Arnold captures all these aspects in the documentary and make this film a must for critics and campaigners for large screens in cities.” —Dr. M. Hank Haeusler, Media Architecture Institute
“Lyrical and timely." —Susan Awe, Educational Media Reviews Online (EMRO)
“Beautiful and well explored.” —Martha Patricia Niño Mojica, Leonardo Reviews
“An excellent exploration of the reigning empire of commercial design and the dynamics of an interdisciplinary issue.” —Yves Laberge, Anthropology Database
“Striking! ELECTRIC SIGNS inspires a critical re-examination of our urban environment.” —Kurt Iveson, Antipode Journal of Geography
Citation
Main credits
Arnold, Alice (Director)
Arnold, Alice (Producer)
Arnold, Alice (Film editor)
Other credits
Camera: Alice Arnold, Gary Griffin; composer, Genji Siraisi.
Distributor subjects
Advertising and Marketing; Architecture; China; Communications; Cultural Studies; Environment; Environmental Film Festivals; Geography; Science and Technology; Science/Technology; Urban Planning and Design; Urban StudiesKeywords
WEBVTT
00:00:02.033 --> 00:00:05.032
[upbeat music]
00:00:05.033 --> 00:00:13.033
♪ ♪
00:00:24.333 --> 00:00:26.099
female narrator:
WALKING THROUGH THE CITY,
00:00:26.100 --> 00:00:28.732
I WAS REMINDED
OF THE WORDS OF WALTER BENJAMIN,
00:00:28.733 --> 00:00:32.833
WHO WROTE ABOUT CITY LIFE
IN THE 1920s AND \'30s.
00:00:34.200 --> 00:00:37.332
HE DESCRIBED THE EXPLOSION
OF ADVERTISING
00:00:37.333 --> 00:00:40.932
AS SOMETHING THAT HITS US
BETWEEN THE EYES WITH THINGS,
00:00:40.933 --> 00:00:43.999
AS A CAR,
GROWING TO GIGANTIC PROPORTIONS,
00:00:44.000 --> 00:00:47.233
CAREENING AT US
OUT OF A FILM SCREEN.
00:00:49.200 --> 00:00:51.566
NOW AT THE BEGINNING
OF THE 21ST CENTURY,
00:00:51.567 --> 00:00:53.332
I WONDER
WHAT WOULD HE THINK
00:00:53.333 --> 00:00:56.800
ABOUT THE ELECTRIC LANDSCAPES
THAT I INHABIT TODAY.
00:01:00.433 --> 00:01:03.732
THESE NEW SIGN SYSTEMS
ARE TRANSFORMING THE CITYSCAPE
00:01:03.733 --> 00:01:07.599
INTO A JUMBLE OF BRIGHTLY LIT,
SEMIOTIC DISPLAYS
00:01:07.600 --> 00:01:09.266
WITH BETTER-THAN-REAL COLORS
00:01:09.267 --> 00:01:12.600
THAT SIMULTANEOUSLY DISTRACTS
AND CHARMS ME.
00:01:17.333 --> 00:01:20.332
[ambient music]
00:01:20.333 --> 00:01:27.499
♪ ♪
00:01:27.500 --> 00:01:29.632
BUT AS MORE AND MORE SCREENS
LIGHT UP,
00:01:29.633 --> 00:01:31.599
THE PUBLIC SPACES
OF OUR CITIES
00:01:31.600 --> 00:01:34.932
ARE STARTING TO RESEMBLE
A TV SCREEN,
00:01:34.933 --> 00:01:36.832
BUT THE CHANNELS ARE FULL
OF COMMERCIALS,
00:01:36.833 --> 00:01:39.167
AND WE CAN\'T CHANGE THEM.
00:01:42.267 --> 00:01:44.832
- ON THE ONE HAND,
I\'M ALMOST IN AWE OF THEM.
00:01:44.833 --> 00:01:48.266
I MEAN, THEY\'RE SO
INCREDIBLY BEAUTIFUL AND LARGE.
00:01:48.267 --> 00:01:51.066
THEY\'RE ALMOST ADDICTIVE
IN A WAY,
00:01:51.067 --> 00:01:53.832
BUT ON THE OTHER HAND,
I\'M KIND OF HORRIFIED AS WELL,
00:01:53.833 --> 00:01:56.632
BECAUSE WHENEVER I THINK
ABOUT TIMES SQUARE,
00:01:56.633 --> 00:01:58.866
I THINK ABOUT
ALL THOSE CRAZY SCREENS
00:01:58.867 --> 00:02:02.199
AND, YOU KNOW, IT\'S SO CROWDED,
AND IT\'S FULL OF TOURISTS.
00:02:02.200 --> 00:02:04.466
- THE MAGNITUDE OF THE IMAGES,
00:02:04.467 --> 00:02:06.832
IT\'S A LOT OF, YOU KNOW,
EAR CANDY AND EYE CANDY,
00:02:06.833 --> 00:02:09.399
A LOT OF SOUND BITES
THAT ARE GOING OFF AND ON,
00:02:09.400 --> 00:02:10.666
AND SO EVERYTHING\'S FLASHY,
00:02:10.667 --> 00:02:12.799
SO MY ATTENTION SPAN\'S,
YOU KNOW,
00:02:12.800 --> 00:02:15.632
LIMITED TO FIVE SECONDS
AROUND HERE.
00:02:15.633 --> 00:02:18.732
- WITH INFORMATION BEING
SO READILY AVAILABLE,
00:02:18.733 --> 00:02:20.366
I\'M NOT GONNA LOOK
AT ONE OF THESE SIGNS
00:02:20.367 --> 00:02:23.566
AND IMMEDIATELY GO MAKE
A PURCHASE.
00:02:23.567 --> 00:02:26.866
BUT IT MIGHT MAKE ME GO,
\"WELL, WHAT IS THAT?
00:02:26.867 --> 00:02:29.032
I WANT TO GO FIND OUT.\"
00:02:29.033 --> 00:02:30.866
AND IF THEY\'RE DOING
THAT CORRECTLY,
00:02:30.867 --> 00:02:33.532
THEN THEY\'VE DONE THEIR JOB,
I THINK.
00:02:33.533 --> 00:02:35.266
- I GUESS IT\'S
THE UNITED STATES.
00:02:35.267 --> 00:02:36.267
IT\'S THE ECONOMY.
00:02:36.268 --> 00:02:37.666
YOU CAN MAKE MONEY
OFF OF ANYTHING,
00:02:37.667 --> 00:02:40.166
SO I GUESS THAT\'S WHAT
THEY PROJECT INTO THE WORLD.
00:02:40.167 --> 00:02:42.532
THIS IS THE LAND OF OPPORTUNITY,
00:02:42.533 --> 00:02:44.499
SO THIS IS WHERE THE MONEY\'S AT,
00:02:44.500 --> 00:02:46.099
AND WE\'RE GONNA SELL YOU
ANYTHING WE CAN.
00:02:46.100 --> 00:02:48.566
WE\'RE GONNA POST BILLBOARDS
WHEREVER WE CAN.
00:02:48.567 --> 00:02:51.832
AND WE\'RE GONNA ADVERTISE
WHATEVER WE CAN
00:02:51.833 --> 00:02:53.699
TO THE PEOPLE,
TO THE CONSUMER.
00:02:53.700 --> 00:02:56.799
- THERE\'S A LOT OF COMPETITION
FOR PEOPLE\'S ATTENTION,
00:02:56.800 --> 00:02:59.199
AND I\'M AS GUILTY
AS EVERYONE ELSE.
00:02:59.200 --> 00:03:02.366
YOU KNOW, THE MORE
ATTENTION-GRABBING IT IS,
00:03:02.367 --> 00:03:04.932
THE MORE I PAY ATTENTION TO IT,
SO IT\'S ALWAYS...
00:03:04.933 --> 00:03:07.199
IT\'S LIKE A, YOU KNOW,
ONE-UPMANSHIP.
00:03:07.200 --> 00:03:09.166
WHAT\'S THE NEXT BIGGEST SCREEN
00:03:09.167 --> 00:03:12.132
OR THE NEXT
MOST VISUALLY APPEALING SCREEN?
00:03:12.133 --> 00:03:13.832
- I FIND THEM VERY OBTRUSIVE.
00:03:13.833 --> 00:03:15.366
I KIND OF...
I HATE THEM,
00:03:15.367 --> 00:03:17.499
BUT I\'VE ALSO SORT OF LEARNED
IN THE PAST YEAR AND A HALF
00:03:17.500 --> 00:03:18.932
TO KIND OF SHUT THEM OUT.
00:03:18.933 --> 00:03:23.932
SO AS THESE SIGNS
HAVE INCREASED IN CONCENTRATION,
00:03:23.933 --> 00:03:26.099
AND YES, I\'VE NOTICED THEM
ALL OVER THE PLACE,
00:03:26.100 --> 00:03:29.332
NOT JUST MIDTOWN, BUT ALSO
PLACES YOU WOULDN\'T EXPECT THEM,
00:03:29.333 --> 00:03:30.866
THAT THEY\'RE
JUST SORT OF EVERYWHERE,
00:03:30.867 --> 00:03:33.932
SO YOU HAVE TO SORT OF DEVELOP
A CERTAIN SORT OF BLINDERS,
00:03:33.933 --> 00:03:35.067
YOU MIGHT SAY.
00:03:41.767 --> 00:03:43.132
Narrator:
INCREASINGLY,
00:03:43.133 --> 00:03:45.599
OUR SOCIETY IS ABOUT IMAGES.
00:03:45.600 --> 00:03:48.832
SCREENS, FROM VIDEO BILLBOARDS
TO MOBILE PHONES,
00:03:48.833 --> 00:03:51.266
HAVE BECOME OUR LINK
TO COMMUNICATIONS,
00:03:51.267 --> 00:03:52.766
INFORMATION,
00:03:52.767 --> 00:03:54.432
SHOPPING,
00:03:54.433 --> 00:03:57.199
AND ENTERTAINMENT.
00:03:57.200 --> 00:04:00.899
THESE SEAMLESS, ILLUMINATED,
ELECTRONIC SURFACES
00:04:00.900 --> 00:04:02.632
ARE BECOMING THE DEVICES
00:04:02.633 --> 00:04:05.666
THROUGH WHICH WE FRAME
OUR EXPERIENCES.
00:04:05.667 --> 00:04:08.666
[mellow electronic music]
00:04:08.667 --> 00:04:13.966
♪ ♪
00:04:13.967 --> 00:04:16.932
[horns honking]
00:04:16.933 --> 00:04:19.066
♪ ♪
00:04:19.067 --> 00:04:21.432
WITH WALTER BENJAMIN\'S
WORK AS A GUIDE,
00:04:21.433 --> 00:04:24.066
I STARTED TO INVESTIGATE
THIS ECONOMY OF SIGNS
00:04:24.067 --> 00:04:26.999
AND THE NEW URBAN SPACE
OF THE MEDIA CITY.
00:04:27.000 --> 00:04:29.999
[upbeat jazz music]
00:04:30.000 --> 00:04:36.899
♪ ♪
00:04:36.900 --> 00:04:39.499
MY JOURNEY TOOK ME FIRST
TO THE BRIGHTLY-LIT CITIES
00:04:39.500 --> 00:04:41.199
OF TOKYO
AND HONG KONG
00:04:41.200 --> 00:04:42.932
AND TO MAINLAND CHINA,
00:04:42.933 --> 00:04:44.966
WHERE THE MAJORITY
OF THE WORLD\'S L.E.D.s
00:04:44.967 --> 00:04:48.566
AND FLAT-PANEL DISPLAYS
ARE MANUFACTURED.
00:04:48.567 --> 00:04:50.932
THIS TECHNOLOGY IS ALLOWING
THE VISUAL IMAGE
00:04:50.933 --> 00:04:52.566
TO BE EVERYWHERE.
00:04:52.567 --> 00:04:55.566
[ambient music]
00:04:55.567 --> 00:05:03.567
♪ ♪
00:05:11.733 --> 00:05:12.899
- THERE\'S A STUDY.
00:05:12.900 --> 00:05:15.266
IF YOU GO OUT EACH DAY
WITHOUT NOTICING,
00:05:15.267 --> 00:05:16.666
ACTUALLY THERE ARE...
00:05:16.667 --> 00:05:18.799
UNCONSCIOUSLY,
YOU\'D BE COMING ACROSS
00:05:18.800 --> 00:05:21.899
MORE THAN 2,000,
OR EVEN MORE MESSAGES, EACH DAY,
00:05:21.900 --> 00:05:24.566
AND ALL THIS BRANDING,
ALL THIS ADVERTISING IDEA,
00:05:24.567 --> 00:05:27.632
TRYING TO GRAB OUR ATTENTION.
00:05:27.633 --> 00:05:30.266
IF YOU WERE TO COMPARE
A STATIC ADVERTISING POSTER
00:05:30.267 --> 00:05:32.532
TO A L.E.D. SCREEN,
00:05:32.533 --> 00:05:34.099
WHICH HAS MOTION GRAPHICS
00:05:34.100 --> 00:05:36.132
THAT DOES THE SAME
BRANDING DESIGN,
00:05:36.133 --> 00:05:38.132
YOU KNOW THAT THE PLATFORM
THAT HAS THE MOTION
00:05:38.133 --> 00:05:40.766
IS A LOT MORE ATTRACTIVE
THAN A STATIC SIGN,
00:05:40.767 --> 00:05:43.332
SO I GUESS A LOT OF MEDIA
AND ADVERTISING PEOPLE
00:05:43.333 --> 00:05:45.132
REALIZE THIS
AND REALLY TRY
00:05:45.133 --> 00:05:47.666
TO PUSH THIS PROJECTION
TECHNOLOGY TO THE MASS.
00:05:47.667 --> 00:05:50.667
[whooshing tones]
00:05:52.533 --> 00:05:54.366
- THE DIGITAL SIGNAGE
DID NOT REALLY TAKE OFF
00:05:54.367 --> 00:05:56.299
UNTIL THREE YEARS AGO,
00:05:56.300 --> 00:05:58.399
WE PUT ON THE SITE
AT CHUNGKING.
00:05:58.400 --> 00:06:01.066
THAT SCREEN ACTUALLY INFLUENCED
00:06:01.067 --> 00:06:03.532
A LOT OF REAL ESTATE DEVELOPERS.
00:06:03.533 --> 00:06:05.732
THAT 90 SQUARE METER OF SIGN
00:06:05.733 --> 00:06:08.366
WAS THE...
ONE OF THE MAIN FEATURE
00:06:08.367 --> 00:06:11.832
FOR THEM TO SELL
THEIR PROPERTY.
00:06:11.833 --> 00:06:15.332
THAT PARTICULAR PROPERTY
SOLD AT A VERY HIGH PRICE,
00:06:15.333 --> 00:06:18.932
SO A LOT OF OTHER DEVELOPERS
ACTUALLY PICKED THAT UP
00:06:18.933 --> 00:06:22.299
AND TRIED TO DO IT
IN OTHER AREAS OF HONG KONG.
00:06:22.300 --> 00:06:25.199
SO RIGHT AFTER
THAT INSTALLATION,
00:06:25.200 --> 00:06:26.399
THERE WERE, I THINK,
00:06:26.400 --> 00:06:29.099
AT LEAST 15 OR 20 SCREENS
BUILT AFTERWARDS.
00:06:29.100 --> 00:06:32.099
[upbeat music]
00:06:32.100 --> 00:06:40.100
♪ ♪
00:06:44.000 --> 00:06:45.532
THERE GOT TO BE MORE
AND MORE NEW MEDIA,
00:06:45.533 --> 00:06:48.466
LIKE A BUS NETWORK
OF L.C.D. SCREENS,
00:06:48.467 --> 00:06:51.466
OR LIKE A RESTAURANT NETWORK
OF L.C.D. SCREENS.
00:06:51.467 --> 00:06:53.932
AND THEN THERE ARE ALSO
THE WIRELESS TECHNOLOGIES,
00:06:53.933 --> 00:06:55.266
SO ALL OF THIS TOGETHER,
00:06:55.267 --> 00:06:57.932
THEY ARE ALL OUT-OF-HOME MEDIA.
00:06:57.933 --> 00:07:00.232
INSTEAD OF JUST PUTTING
ALL THE BUDGET
00:07:00.233 --> 00:07:02.099
INTO ONE BASKET,
IN THE TV,
00:07:02.100 --> 00:07:04.766
ADVERTISERS KIND OF HAVE
MORE AND MORE CHOICE
00:07:04.767 --> 00:07:06.700
IN DIFFERENT MEDIA BUYS.
00:07:08.400 --> 00:07:09.499
- \"OUT-OF-HOME,\"
00:07:09.500 --> 00:07:10.932
IT\'S A TERM THAT\'S BEING USED
00:07:10.933 --> 00:07:14.532
TO DESCRIBE ALL THESE MONITORS
THAT ARE ALL OVER THE PLACE,
00:07:14.533 --> 00:07:16.666
IN MALLS OR PUBLIC SPACES,
00:07:16.667 --> 00:07:19.299
LIKE PUBLIC TRANSPORTATION,
OUTSIDE THEATERS.
00:07:19.300 --> 00:07:20.466
THEY\'RE EVERYWHERE.
00:07:20.467 --> 00:07:22.999
THEY\'RE JUST SO PROLIFIC
OUT HERE,
00:07:23.000 --> 00:07:24.599
AND THAT\'S SOMETHING
THAT\'S NEW.
00:07:24.600 --> 00:07:27.232
AND THAT\'S WHEN IT MEANS
NEW BUSINESS OPPORTUNITIES,
00:07:27.233 --> 00:07:31.233
BUT ALSO NEW WAYS TO INTERACT
OR AFFECT THE PUBLIC.
00:07:35.867 --> 00:07:38.066
Narrator:
IF YOU SPEND ENOUGH TIME HERE,
00:07:38.067 --> 00:07:39.599
YOU MIGHT GET USED TO THE FACT
00:07:39.600 --> 00:07:43.532
THAT EVERY SPACE SEEMS
TO BE FILLED WITH SOMETHING.
00:07:43.533 --> 00:07:46.099
HONG KONG\'S DENSE URBANIZATION
00:07:46.100 --> 00:07:48.866
IS A RESULT OF ITS GEOGRAPHY,
ITS HISTORY,
00:07:48.867 --> 00:07:52.799
AND ITS DESIRE
TO BE ASIA\'S WORLD CITY.
00:07:52.800 --> 00:07:55.566
IT IS A COMPLEX,
SPECULATIVE SPACE,
00:07:55.567 --> 00:07:59.132
CONSTANTLY CHANGING,
REBUILDING AND EXPANDING,
00:07:59.133 --> 00:08:02.632
AND DOMINATED BY IMAGES.
00:08:02.633 --> 00:08:05.132
PERCEPTION AND IDENTITY
BECOMES ELUSIVE
00:08:05.133 --> 00:08:07.667
IN THIS MEDIA-SATURATED
ENVIRONMENT.
00:08:10.267 --> 00:08:12.766
- PEOPLE ARE REALLY THINKING
ABOUT MOBILE DEVICES
00:08:12.767 --> 00:08:15.232
AND THE WEB
AND THESE PUBLIC SCREENS
00:08:15.233 --> 00:08:16.932
AND HOW THEY\'RE GONNA
ALL WORK TOGETHER.
00:08:16.933 --> 00:08:18.566
HOW DO WE USE THESE?
00:08:18.567 --> 00:08:21.132
PEOPLE WHO HAVE THESE
PORTABLE COMPUTERS, ESSENTIALLY,
00:08:21.133 --> 00:08:23.499
AND TRY TO GET THEM INVOLVED
IN SOMETHING
00:08:23.500 --> 00:08:26.132
THAT THE CLIENT WANTS TO SELL.
00:08:26.133 --> 00:08:27.766
- IT\'S BECOMING MORE
AND MORE IMPORTANT
00:08:27.767 --> 00:08:32.599
HOW THESE SCREENS ARE DESIGNED
FOR HUMAN INTERACTION,
00:08:32.600 --> 00:08:35.132
HOW IT COULD BE MORE
JUST INTUITIVE FOR PEOPLE.
00:08:35.133 --> 00:08:37.266
JUST, WHEN THEY SEE THE SCREEN,
THEY KNOW,
00:08:37.267 --> 00:08:39.433
\"OH, I COULD, YOU KNOW,
SPEND MORE TIME THERE.\"
00:08:41.167 --> 00:08:43.032
- WE\'RE IN MONG KOK RIGHT NOW.
00:08:43.033 --> 00:08:45.532
WE HAVE THREE SCREENS
IN MONG KOK.
00:08:45.533 --> 00:08:48.566
THIS AREA IS CATERED
FOR TEENAGERS,
00:08:48.567 --> 00:08:51.532
AND IF YOU\'RE LOOKING
FOR ANY SPORTS GOODS
00:08:51.533 --> 00:08:53.632
OR ANY ELECTRONICS,
ANY GAMES,
00:08:53.633 --> 00:08:55.199
YOU JUST COME TO MONG KOK.
00:08:55.200 --> 00:08:58.466
SO IT\'S A VERY FUN AREA
TO HANG OUT.
00:08:58.467 --> 00:09:00.299
THIS IS ACTUALLY
A PEDESTRIAN AREA
00:09:00.300 --> 00:09:02.766
AFTER 4:00 EVERY DAY,
00:09:02.767 --> 00:09:05.599
SO PEOPLE CAN STAND AROUND
AND LOOK AT TRAILERS,
00:09:05.600 --> 00:09:08.766
SPEND A LITTLE MORE TIME
WITH THE SCREEN.
00:09:08.767 --> 00:09:11.766
[upbeat music]
00:09:11.767 --> 00:09:19.767
♪ ♪
00:09:27.700 --> 00:09:29.999
- WELL, FOR ME, IT\'S REALLY
A LOVE/HATE RELATIONSHIP.
00:09:30.000 --> 00:09:31.599
THE GOOD THING
ABOUT THESE SIGNS
00:09:31.600 --> 00:09:34.232
IS THAT WHENEVER I WALK
AROUND HONG KONG,
00:09:34.233 --> 00:09:37.032
IT ALWAYS SEEMS THAT
THERE\'S SOMETHING HAPPENING.
00:09:37.033 --> 00:09:39.666
YOU\'RE NEVER ALONE, AND...
00:09:39.667 --> 00:09:42.366
IT\'S KIND OF LIKE A GIANT CLUB,
BASICALLY.
00:09:42.367 --> 00:09:45.999
YOU GOT TONS OF LIGHTS
AND NEON SIGNS EVERYWHERE.
00:09:46.000 --> 00:09:47.566
YOU\'VE GOT LOUD NOISES,
00:09:47.567 --> 00:09:49.032
PEOPLE\'S MOBILE PHONES
GOING OFF,
00:09:49.033 --> 00:09:51.099
AND YOU DON\'T FEEL ALONE.
00:09:51.100 --> 00:09:54.232
YOU FEEL SOMETHING
IS CONSTANTLY HAPPENING.
00:09:54.233 --> 00:09:56.732
- YOU KNOW, WHEN YOU\'RE WAITING
FOR THE TRAIN,
00:09:56.733 --> 00:10:00.266
I TRY TO STAND
IN FRONT OF THOSE SCREENS,
00:10:00.267 --> 00:10:02.566
YOU KNOW, THE MOVING ONES.
00:10:02.567 --> 00:10:04.699
- BEAUTIFUL ADVERTISING.
00:10:04.700 --> 00:10:06.599
VERY AMAZING.
00:10:06.600 --> 00:10:09.832
WHAT... BE CHARMING,
THAT\'S WHAT WE LIKE TO SEE,
00:10:09.833 --> 00:10:12.899
AND PROBABLY SOME NEWS.
00:10:12.900 --> 00:10:14.999
SOMETIMES THE NEWS
IS VERY IMPORTANT.
00:10:15.000 --> 00:10:18.132
YOU CAN SAVE YOUR TIME
WHEN YOU CROSS THE ROAD
00:10:18.133 --> 00:10:19.999
AND YOU CAN HEAR SOME NEWS.
00:10:20.000 --> 00:10:25.199
- HERE, IT MAGICALLY BLENDS
INTO THIS FLOW OF THIS TRAFFIC
00:10:25.200 --> 00:10:26.666
AND, YOU KNOW...
LOOK AT THIS.
00:10:26.667 --> 00:10:29.932
I MEAN THIS WHOLE PLACE
IS LIKE A...
00:10:29.933 --> 00:10:31.532
LIKE A...
THERE\'S A MAGNITUDE.
00:10:31.533 --> 00:10:35.566
IT\'S LIKE A FLOOD OF COLORS
AND INFORMATIONS
00:10:35.567 --> 00:10:38.766
AND SO MUCH ACTIVITIES,
AND IT\'S SO EMOTIONAL.
00:10:38.767 --> 00:10:41.232
IT\'S A CHAOS,
BUT THEN AGAIN,
00:10:41.233 --> 00:10:44.366
SOMEHOW THERE\'S A HARMONY HERE.
00:10:44.367 --> 00:10:46.866
THE GOVERNMENT SHOULD REQUIRE
THEM TO, LET\'S SAY,
00:10:46.867 --> 00:10:49.932
HAVE 10% OR 20% OF THE TIME,
00:10:49.933 --> 00:10:52.266
THAT THEY SHOULD GIVE THAT TIME
00:10:52.267 --> 00:10:57.232
TO EITHER FOR PUBLIC MESSAGES,
00:10:57.233 --> 00:10:59.499
EITHER TO THE GOVERNMENT
OR, BETTER STILL,
00:10:59.500 --> 00:11:04.266
HAVE A PORTION OF THAT MADE
AVAILABLE TO CITIZEN GROUPS,
00:11:04.267 --> 00:11:07.166
WHICH NORMALLY WOULD NOT HAVE
THE RESOURCES
00:11:07.167 --> 00:11:09.466
TO HAVE ACCESS
TO THIS KIND OF MEDIUM
00:11:09.467 --> 00:11:12.433
BECAUSE IT\'S JUST SO EXPENSIVE
AND OUT OF REACH TO THEM.
00:11:16.967 --> 00:11:19.532
- WHO\'S BEING TARGETED
BY THESE SCREENS?
00:11:19.533 --> 00:11:21.966
ANYBODY WHO HAPPENS
TO WALK BY THEM.
00:11:21.967 --> 00:11:24.366
IN A BROAD SENSE,
YOU WANT TO GET EVERYBODY.
00:11:24.367 --> 00:11:26.566
BUT ON A MORE NARROW SENSE,
00:11:26.567 --> 00:11:28.432
NOW YOU DO HAVE
SOME MORE CONTEXT
00:11:28.433 --> 00:11:30.299
IN TERMS OF THE ENVIRONMENT
00:11:30.300 --> 00:11:34.232
SO THAT YOU CAN BE EVEN MORE
FINE-TUNED IN YOUR MESSAGE.
00:11:34.233 --> 00:11:37.099
- WE\'RE TRYING TO TARGET
THE ON-THE-GO CROWD
00:11:37.100 --> 00:11:39.832
FROM 14 YEARS OLD
TO 38 YEARS OLD,
00:11:39.833 --> 00:11:43.099
BECAUSE THOSE ARE PEOPLE
THAT GOES OUT THE MOST.
00:11:43.100 --> 00:11:46.166
BUT EVEN IF YOU COUNT
ALL THE DEMOGRAPHICS,
00:11:46.167 --> 00:11:48.332
YOU CAN\'T REALLY CLAIM THAT,
YEAH, WE...
00:11:48.333 --> 00:11:51.766
WE HAVE 25% OF TEENAGERS.
00:11:51.767 --> 00:11:52.932
BUT IN THE LONG RUN,
00:11:52.933 --> 00:11:54.866
WITH THE ADVANCEMENTS
OF TECHNOLOGY,
00:11:54.867 --> 00:11:58.266
WE COULD UTILIZE BLUETOOTH
OR S.M.S.
00:11:58.267 --> 00:12:00.232
THEN ALL THESE CAMPAIGNS
COULD BE VALIDATED.
00:12:00.233 --> 00:12:01.299
LIKE, OH, WE\'RE ACTUALLY...
00:12:01.300 --> 00:12:03.132
HOW MANY PEOPLE
ACTUALLY ENGAGE
00:12:03.133 --> 00:12:05.433
AND CONNECTED
WITH THIS CAMPAIGN.
00:12:09.200 --> 00:12:10.499
- A LOT OF THESE SCREENS
00:12:10.500 --> 00:12:12.432
AREN\'T JUST SCREENS
IN THE TRADITIONAL SENSE.
00:12:12.433 --> 00:12:13.866
THEY\'RE NOT
BROADCAST TELEVISION,
00:12:13.867 --> 00:12:15.832
SO IT\'S NOT TRULY MASS MARKET,
00:12:15.833 --> 00:12:18.866
BUT THEY\'RE ALSO NETWORKED,
TIED IN BY THE WEB,
00:12:18.867 --> 00:12:21.999
SO THAT ALLOWS YOU TO USE
WEB TECHNOLOGY
00:12:22.000 --> 00:12:25.499
TO GIVE YOU A LEVEL OF CONTROL
OF YOUR NARROWCAST TO SAY,
00:12:25.500 --> 00:12:28.132
\"AT THIS TIME OF DAY,
LET\'S PLAY THIS SPECIFIC CLIP
00:12:28.133 --> 00:12:30.199
\"BECAUSE WE EXPECT PEOPLE
GETTING OFF OF WORK
00:12:30.200 --> 00:12:32.499
TO BE A CERTAIN DEMOGRAPHIC.\"
00:12:32.500 --> 00:12:34.866
SO WHO\'S BEING TARGETED?
EVERYBODY.
00:12:34.867 --> 00:12:36.299
EVERYONE\'S FAIR GAME.
00:12:36.300 --> 00:12:39.699
IT\'S PUBLIC SPACES, BROAD
AND NARROW AT THE SAME TIME.
00:12:39.700 --> 00:12:42.099
NOW WE\'RE GETTING
TO THIS LEVEL OF CONTROL
00:12:42.100 --> 00:12:43.632
THAT WE\'VE NEVER HAD BEFORE,
00:12:43.633 --> 00:12:45.932
AND THAT IS
A VERY DIFFERENT DYNAMIC.
00:12:45.933 --> 00:12:48.932
[fun accordion music]
00:12:48.933 --> 00:12:55.932
♪ ♪
00:12:55.933 --> 00:12:58.166
- THIS CITY IS VERY COMPACT,
VERY TINY
00:12:58.167 --> 00:13:00.699
WITH A POPULATION MUCH LARGER
THAN IT CAN HOLD,
00:13:00.700 --> 00:13:03.399
SO IT\'S A VERY
DENSELY BUILT CITY.
00:13:03.400 --> 00:13:06.666
CLASS... ECONOMIC CLASS...
IS VERY, VERY OBVIOUS,
00:13:06.667 --> 00:13:09.166
AND WHAT PART OF THE CITY
YOU LIVE
00:13:09.167 --> 00:13:12.232
AND ACTUALLY WHAT FLOOR
OF THE BUILDING YOU LIVE
00:13:12.233 --> 00:13:16.332
AND WHICH SIDE OF THE CITY
YOUR WINDOW FACES...
00:13:16.333 --> 00:13:19.999
THIS KIND OF SOCIAL STRUCTURING
AND ECONOMIC STRUCTURING
00:13:20.000 --> 00:13:23.466
IS ACTUALLY VERY SUBTLE
BUT IMPORTANT
00:13:23.467 --> 00:13:26.032
IN THE WAY PEOPLE
PROFILE YOU
00:13:26.033 --> 00:13:28.866
BECAUSE IT\'S A CITY OF PEOPLE
COMING FROM EVERYWHERE.
00:13:28.867 --> 00:13:31.266
AND PEOPLE HAVE
A VERY GOOD INSTINCT
00:13:31.267 --> 00:13:33.499
AND SENSE OF PROFILING
EACH OTHER
00:13:33.500 --> 00:13:36.332
IN TERMS OF HOW YOU LOOK,
HOW YOU SPEAK,
00:13:36.333 --> 00:13:37.766
WHERE YOU LIVE,
WHERE YOU WORK,
00:13:37.767 --> 00:13:38.967
EVERYTHING ELSE.
00:13:50.300 --> 00:13:52.932
- WHAT\'S HAPPENING IN HONG KONG
IS VERY CRITICAL.
00:13:52.933 --> 00:13:54.632
WE HAVE LOTS
OF ECONOMY HERE.
00:13:54.633 --> 00:13:57.099
AND ALL THIS MONEY,
THEY HAVE THE ONE CHANNEL
00:13:57.100 --> 00:13:59.866
TO REACH THEIR TARGET,
TO REACH THEIR CONSUMER,
00:13:59.867 --> 00:14:02.566
AND STREET IS THEIR TARGET.
00:14:02.567 --> 00:14:06.332
SO THIS IS A WAR FOR THEM
TO TAKING OVER THE WHOLE WORLD.
00:14:06.333 --> 00:14:07.833
IT\'S BASICALLY...
00:14:09.633 --> 00:14:12.599
PUBLIC SPACE IS
NO LONGER PUBLIC SPACE ANYMORE,
00:14:12.600 --> 00:14:14.499
IT\'S A MEDIA CHANNEL.
00:14:14.500 --> 00:14:22.500
♪ ♪
00:14:28.967 --> 00:14:32.632
THE CITY IS
VERY SUBTLY CONTROLLED,
00:14:32.633 --> 00:14:37.066
DEPENDANT ON SEVERAL INDUSTRIES,
LIKE REAL ESTATE AND FINANCING.
00:14:37.067 --> 00:14:39.666
AND THESE INDUSTRIES
ARE THE BACKBONE
00:14:39.667 --> 00:14:43.166
OF THE MEDIA BECAUSE THEIR
ADVERTISEMENT IS MOST EXPENSIVE.
00:14:43.167 --> 00:14:45.866
AND MEDIA, IN ORDER TO SURVIVE,
00:14:45.867 --> 00:14:48.199
REALLY CANNOT ANTAGONIZE
THEIR OPINIONS,
00:14:48.200 --> 00:14:50.966
A CONSORTIUM OF THIS KIND
OF FINANCE.
00:14:50.967 --> 00:14:54.132
SO THEY PRETTY MUCH SELF-CENSOR,
00:14:54.133 --> 00:14:56.899
AND THIS DEVELOPMENT
IS QUITE RECENT
00:14:56.900 --> 00:14:59.699
IN THE PAST 15 TO 20 YEARS.
00:14:59.700 --> 00:15:02.966
BEFORE THAT, WE HAVE MORE
THAN 100 CHINESE NEWSPAPERS...
00:15:02.967 --> 00:15:06.066
A LOT OF OTHER CHANNELS WHERE
YOU CAN SAY SOMETHING DIFFERENT
00:15:06.067 --> 00:15:07.466
OR ALTERNATIVE,
00:15:07.467 --> 00:15:11.466
BUT THE MEDIA IS NOW
SO COORDINATED
00:15:11.467 --> 00:15:14.199
EVEN WITHOUT HAVING
TO SIT TOGETHER IN A MEETING.
00:15:14.200 --> 00:15:16.699
AND I THINK THE WHOLE THEORY
OF MANUFACTURING CONSENT
00:15:16.700 --> 00:15:18.299
WORKS EXTREMELY WELL
00:15:18.300 --> 00:15:21.632
IN EXPLAINING THE SITUATION
IN HONG KONG.
00:15:21.633 --> 00:15:24.466
SO IT ISN\'T THAT
THERE IS NOTHING HAPPENING
00:15:24.467 --> 00:15:25.932
IN CIVIL SOCIETY,
00:15:25.933 --> 00:15:29.200
BUT IT IS NOT RECORDED
IN THE MAINSTREAM MEDIA.
00:15:31.233 --> 00:15:35.499
SO MEDIA IS REALLY VERY HIGHLY
AND SUBTLY CONTROLLED
00:15:35.500 --> 00:15:37.700
ON ALL LEVELS
OF ITS PRODUCTION.
00:15:38.700 --> 00:15:41.699
[ambient music]
00:15:41.700 --> 00:15:48.399
♪ ♪
00:15:48.400 --> 00:15:50.599
narrator: THESE CHANGES
IN THE URBAN ENVIRONMENT
00:15:50.600 --> 00:15:53.432
ARE TAKING ROOT IN CITIES
AROUND THE WORLD.
00:15:53.433 --> 00:15:55.632
BUT NOT ALL RESIDENTS
ARE EMBRACING
00:15:55.633 --> 00:15:58.199
THIS NEW DIGITAL SIGNAGE.
00:15:58.200 --> 00:15:59.832
IN LOS ANGELES,
00:15:59.833 --> 00:16:02.499
WHICH IS THE BILLBOARD CAPITAL
OF THE UNITED STATES,
00:16:02.500 --> 00:16:04.266
A SIGN WAR HAS ERUPTED
00:16:04.267 --> 00:16:07.732
OVER THE WAY THESE SIGNS
PRIVATIZE PUBLIC SPACE
00:16:07.733 --> 00:16:09.666
AND THE CHANGES THEY CREATE
00:16:09.667 --> 00:16:12.100
IN THE VISUAL LANDSCAPE
OF THE CITY.
00:16:15.367 --> 00:16:17.066
- THIS IS A CITY OF BILLBOARD.
00:16:17.067 --> 00:16:18.532
THERE ARE THOUSANDS OF THEM,
00:16:18.533 --> 00:16:20.666
BUT MANY OF THEM
HAVE BEEN REPLACED
00:16:20.667 --> 00:16:25.199
BY NEW ONES THAT USE
SUPER BRIGHT L.E.D. SIGNS.
00:16:25.200 --> 00:16:27.666
THESE THINGS WERE MARKETED
AS IMPROVEMENT
00:16:27.667 --> 00:16:29.566
ON THE EXISTING ONES.
00:16:29.567 --> 00:16:32.366
AND IT TOOK WHILE TO NOTICE
THAT WHAT PEOPLE GOT
00:16:32.367 --> 00:16:34.299
IS A COMPLETELY NEW MEDIUM.
00:16:34.300 --> 00:16:37.766
AND THIS HAS LED TO QUITE A BIT
OF DEBATE AND STRUGGLE
00:16:37.767 --> 00:16:40.433
TO REGULATE THOSE NEW FORMS.
00:16:41.633 --> 00:16:43.399
I\'M NOT AGAINST ADVERTISING.
00:16:43.400 --> 00:16:47.799
I THINK THAT ADVERTISING
IS A KEY TO OUR ECONOMY.
00:16:47.800 --> 00:16:49.732
PEOPLE PRODUCE GOODS
AND SERVICES.
00:16:49.733 --> 00:16:51.799
THEY NEED TO BE ABLE
TO ADVERTISE THOSE.
00:16:51.800 --> 00:16:55.032
SO I\'M NOT TRYING TO GET RID
OF ADVERTISING.
00:16:55.033 --> 00:16:57.566
BUT THE VISUAL ENVIRONMENT
OF THIS CITY
00:16:57.567 --> 00:16:59.099
IS JUST AS IMPORTANT
00:16:59.100 --> 00:17:02.199
AS ANY OTHER PART
OF THE NATURAL ENVIRONMENT,
00:17:02.200 --> 00:17:03.832
OUR WATER,
OUR AIR WE BREATHE,
00:17:03.833 --> 00:17:07.166
AND JUST GIVING
THAT ENVIRONMENT OVER,
00:17:07.167 --> 00:17:09.232
CONCEDING IT TO ADVERTISING
00:17:09.233 --> 00:17:12.666
AS JUST A BIG, BLANK CANVAS
TO BE FILLED
00:17:12.667 --> 00:17:15.799
REALLY DIMINISHES US
AS CITIZENS.
00:17:15.800 --> 00:17:17.599
AND WE\'VE GOT A SITUATION NOW
00:17:17.600 --> 00:17:21.332
WHERE ADVERTISING IS MORE
AND MORE AND MORE DOMINATING
00:17:21.333 --> 00:17:23.832
THE VISUAL ENVIRONMENT.
00:17:23.833 --> 00:17:25.866
Narrator:
THE FILM BLADE RUNNER
00:17:25.867 --> 00:17:29.566
DEPICTS A FUTURISTIC,
DYSTOPIAN LOS ANGELES.
00:17:29.567 --> 00:17:32.199
DIRECTOR RIDLEY SCOTT\'S VISION
FOR THE FILM
00:17:32.200 --> 00:17:36.799
WAS INFLUENCED BY HIS EXPERIENCE
LIVING AND WORKING IN HONG KONG.
00:17:36.800 --> 00:17:40.399
AND NOW HIS IMAGE OF THE CITY,
CREATED MORE THAN 30 YEARS AGO,
00:17:40.400 --> 00:17:43.367
IS CATCHING UP
TO PRESENT-DAY REALITY.
00:17:46.667 --> 00:17:48.899
- ONE NIGHT BACK IN MAY,
00:17:48.900 --> 00:17:50.966
I LOOKED OUT MY WINDOW
AT AROUND 11:00
00:17:50.967 --> 00:17:53.766
AND NOTICED THAT THE BILLBOARD
THAT YOU SEE BEHIND ME,
00:17:53.767 --> 00:17:55.666
WHICH HAS ALWAYS BEEN
A DISNEYLAND BILLBOARD...
00:17:55.667 --> 00:17:58.299
IT\'S RIGHT AT THE OFF-RAMP
OF UNIVERSAL STUDIOS,
00:17:58.300 --> 00:18:00.966
SO WHEN FAMILIES LEAVE
UNIVERSAL CITY,
00:18:00.967 --> 00:18:02.699
THEY SEE A BILLBOARD
FOR DISNEYLAND,
00:18:02.700 --> 00:18:04.266
AND THE LITTLE KID
IN THE BACK SEAT GOES,
00:18:04.267 --> 00:18:05.666
\"OH, DADDY,
TAKE ME TO DISNEYLAND.
00:18:05.667 --> 00:18:07.399
TAKE ME TO DISNEYLAND.\"
00:18:07.400 --> 00:18:10.399
ONE DAY IT BECAME
THIS DIGITAL VIDEO BILLBOARD
00:18:10.400 --> 00:18:12.966
AND NO NEIGHBORS WERE INFORMED
OF ANYTHING.
00:18:12.967 --> 00:18:15.999
IT JUST CAME UP,
AND IT SHINED LIGHT
00:18:16.000 --> 00:18:19.066
THROUGH MY BEDROOM WINDOW
ONTO THE WALL BEHIND IT,
00:18:19.067 --> 00:18:21.366
AND EVERY NIGHT WHEN I WOULD GET
UP IN THE MIDDLE OF THE NIGHT
00:18:21.367 --> 00:18:22.632
TO CHECK ON MY BABY,
00:18:22.633 --> 00:18:26.533
I WOULD BE BLINDED
BY THE VIDEO BILLBOARD LIGHT.
00:18:28.633 --> 00:18:29.799
Narrator:
COMMUNITY GROUPS
00:18:29.800 --> 00:18:31.999
HAVE BEEN WORKING
SINCE THE 1980s
00:18:32.000 --> 00:18:34.599
TO REDUCE THE AMOUNT
OF BILLBOARDS IN L.A.,
00:18:34.600 --> 00:18:37.699
MANY OF WHICH
WERE PUT UP ILLEGALLY.
00:18:37.700 --> 00:18:41.066
AND IN 2002,
THE CITY COUNCIL PASSED A BAN
00:18:41.067 --> 00:18:43.166
ON ALL NEW BILLBOARDS.
00:18:43.167 --> 00:18:46.266
BUT THE BILLBOARD COMPANIES
FOUGHT BACK WITH LAWSUITS,
00:18:46.267 --> 00:18:50.666
CITING FIRST AMENDMENT RIGHTS
FOR COMMERCIAL SPEECH.
00:18:50.667 --> 00:18:53.332
THE CITY ENDED UP SETTLING
ONE OF THESE LAWSUITS
00:18:53.333 --> 00:18:55.732
BY ALLOWING THREE
OF THE BILLBOARD COMPANIES
00:18:55.733 --> 00:18:59.667
TO CONVERT OVER 800 BILLBOARDS
TO DIGITAL BILLBOARDS.
00:19:01.800 --> 00:19:03.799
- AS SOON AS THESE THINGS
STARTED APPEARING
00:19:03.800 --> 00:19:05.166
WITHOUT ANY NOTICE
00:19:05.167 --> 00:19:08.199
BECAUSE THEY WERE EXEMPTED
FROM ANY ZONING REGULATIONS,
00:19:08.200 --> 00:19:09.932
PEOPLE STARTED GETTING OUTRAGED
00:19:09.933 --> 00:19:12.466
BECAUSE SUDDENLY
ON THE HORIZON AT NIGHT
00:19:12.467 --> 00:19:14.100
THERE WAS THIS BRIGHT BILLBOARD.
00:19:15.633 --> 00:19:17.899
Narrator:
SINCE THE EARLY 2000s,
00:19:17.900 --> 00:19:21.566
THERE\'S BEEN AN INTENSIFICATION
AND EXPANSION OF SIGNS
00:19:21.567 --> 00:19:23.266
AS CASH-STRAPPED CITIES
00:19:23.267 --> 00:19:25.766
HAVE SOLD OFF MORE
AND MORE SPACE
00:19:25.767 --> 00:19:29.466
IN THE PUBLIC LANDSCAPE
FOR ADVERTISING.
00:19:29.467 --> 00:19:32.166
BUT IN LOS ANGELES,
COLLUSION BETWEEN THE CITY
00:19:32.167 --> 00:19:33.866
AND THE BILLBOARD COMPANIES
00:19:33.867 --> 00:19:37.566
HAS FINANCIALLY BENEFITTED
THE OUTDOOR ADVERTISING INDUSTRY
00:19:37.567 --> 00:19:39.733
MORE THAN THE PUBLIC.
00:19:42.700 --> 00:19:45.299
- THE ISSUE WITH SIGNS
IS ABOUT MONEY.
00:19:45.300 --> 00:19:48.799
THESE BILLBOARDS ARE LIKE
SLOT MACHINES FOR THE INDUSTRY.
00:19:48.800 --> 00:19:50.266
A SINGLE DIGITAL BILLBOARD
00:19:50.267 --> 00:19:55.099
CAN MAKE UP TO $800,000 A YEAR
IN REVENUE.
00:19:55.100 --> 00:19:58.899
A BIG SUPERGRAPHIC SIGN
IN A HIGH TRAFFIC LOCATION
00:19:58.900 --> 00:20:02.766
CAN MAKE UP TO $50,000
TO $100,000 A MONTH.
00:20:02.767 --> 00:20:05.766
[mellow music]
00:20:05.767 --> 00:20:07.132
♪ ♪
00:20:07.133 --> 00:20:09.832
THE SIGN COMPANIES,
THE ADVERTISERS,
00:20:09.833 --> 00:20:11.866
ARE MAKING HUGE AMOUNTS
OF MONEY
00:20:11.867 --> 00:20:13.933
FROM A PUBLIC RESOURCE.
00:20:15.633 --> 00:20:17.199
THE VISUAL ENVIRONMENT
OF THE CITY
00:20:17.200 --> 00:20:18.632
BELONGS TO THE PUBLIC,
00:20:18.633 --> 00:20:22.199
AND IF THAT IS GOING TO BE USED
BY PRIVATE INTERESTS,
00:20:22.200 --> 00:20:25.166
THEN THEY SHOULD HAVE
TO PAY FOR THAT USE.
00:20:25.167 --> 00:20:29.199
♪ ♪
00:20:29.200 --> 00:20:31.066
narrator:
COMMUNITY AND MEDIA PRESSURE
00:20:31.067 --> 00:20:34.599
OVER THE ILLEGAL SIGNS
AND THE DIGITAL SIGNS
00:20:34.600 --> 00:20:38.166
FORCED THE CITY COUNCIL
TO PASS A BILLBOARD MORATORIUM
00:20:38.167 --> 00:20:41.032
SO THAT THEY COULD REWRITE
THE CITY SIGN CODE.
00:20:41.033 --> 00:20:44.666
BUT THE BILLBOARD COMPANIES
RESPONDED WITH MORE LAWSUITS.
00:20:44.667 --> 00:20:46.599
- PARTICIPATING IN DEMOCRACY...
00:20:46.600 --> 00:20:48.799
Narrator: BECAUSE OF
THIS TANGLE OF LAWSUITS,
00:20:48.800 --> 00:20:50.799
PLUS THE NEED FOR MORE REVENUE,
00:20:50.800 --> 00:20:53.132
THE CITY IS NOW CONSIDERING
ALLOWING ADVERTISING
00:20:53.133 --> 00:20:54.599
IN CITY PARKS
00:20:54.600 --> 00:20:58.166
AND CREATING
SPECIAL SIGN DISTRICTS.
00:20:58.167 --> 00:21:00.467
THE SIGN WAR CONTINUES.
00:21:02.300 --> 00:21:06.232
- LOS ANGELES IS THE
POSTMODERN CAPITAL OF URBANISM
00:21:06.233 --> 00:21:10.666
IN THAT ITS DOWNTOWN
DOESN\'T GOVERN ITS EXTENT.
00:21:10.667 --> 00:21:13.432
IT REALLY SPRAWLS
WITH ITS OWN LOGIC.
00:21:13.433 --> 00:21:16.099
YOU KNOW, IT\'S NOT LIKE BOSTON,
WHERE THERE\'S A COMMONS
00:21:16.100 --> 00:21:19.966
THAT ORGANIZES THE CITY FORM.
00:21:19.967 --> 00:21:22.032
WE HAVE SOME PUBLIC SPACES,
00:21:22.033 --> 00:21:24.032
BUT MOST OF OUR PUBLIC SPACES,
YOU KNOW,
00:21:24.033 --> 00:21:25.432
CAME IN THE POSTWAR ERA,
00:21:25.433 --> 00:21:29.299
WHERE SHOPPING MALLS WERE
THE COLLECTORS OF CIVIC LIFE,
00:21:29.300 --> 00:21:30.699
WHICH IS A GOOD INDICATION
00:21:30.700 --> 00:21:33.433
OF THIS BLENDED
PUBLIC-PRIVATE SPHERE.
00:21:37.400 --> 00:21:40.432
THE GREAT DEMOCRATIC SPACE
WE HAVE IS THE BEACH.
00:21:40.433 --> 00:21:43.532
IT\'S THE ONE PLACE
THAT REMAINS OPEN TO EVERYONE.
00:21:43.533 --> 00:21:46.000
IT\'S FREE
AND CAN\'T BE DENIED.
00:21:49.333 --> 00:21:51.132
Narrator: BILLBOARDS EVOLVED
IN LOS ANGELES
00:21:51.133 --> 00:21:54.399
ALONGSIDE THE AUTOMOBILE
AND HOLLYWOOD.
00:21:54.400 --> 00:21:56.132
DRIVING IS PART
OF THE FABRIC OF LIFE HERE,
00:21:56.133 --> 00:21:58.966
AND PEOPLE SPEND A LOT OF TIME
LOOKING OUT AT THE CITY
00:21:58.967 --> 00:22:01.099
THROUGH THEIR WINDSHIELDS,
00:22:01.100 --> 00:22:04.400
WHICH IS A VERY CINEMATIC WAY
TO EXPERIENCE THE CITY.
00:22:06.900 --> 00:22:09.232
AND BECAUSE PEOPLE SPEND
SO MUCH TIME ON THE ROAD,
00:22:09.233 --> 00:22:12.067
THEY ARE A CAPTIVE AUDIENCE
FOR THE BILLBOARDS.
00:22:17.767 --> 00:22:20.832
- MY ATTENTION IS GRABBED
BY THEM WHILE I\'M DRIVING,
00:22:20.833 --> 00:22:23.032
AND WHEN I LOOK TO SEE WHAT FOR,
00:22:23.033 --> 00:22:26.232
I HAVE BEEN DISAPPOINTED
AS TO THE CONTENT.
00:22:26.233 --> 00:22:28.132
I FIND THAT THE CONTENT
IS, YOU KNOW,
00:22:28.133 --> 00:22:30.066
USUALLY ABOUT
A BAD TELEVISION SHOW
00:22:30.067 --> 00:22:31.699
OR SOMETHING
THAT I\'M NOT INTERESTED
00:22:31.700 --> 00:22:33.832
IN BEING INTERRUPTED OVER.
00:22:33.833 --> 00:22:35.532
- YEAH, I THINK THEY\'RE
FORWARD-THINKING.
00:22:35.533 --> 00:22:37.632
I THINK THEY\'RE EXCITING.
THEY\'RE INFORMATIVE.
00:22:37.633 --> 00:22:39.232
AND IT\'S A...
00:22:39.233 --> 00:22:40.466
I THINK IT\'S GREAT
00:22:40.467 --> 00:22:42.232
BECAUSE IT ISN\'T THE SAME THING
ALL THE TIME.
00:22:42.233 --> 00:22:43.699
IT CHANGES AND FLASHES
00:22:43.700 --> 00:22:46.332
AND YOU GET ALL THIS DIFFERENT
INFORMATION WITHIN SECONDS.
00:22:46.333 --> 00:22:48.999
- I DON\'T LIKE THEM
BECAUSE THEY\'RE DISTRACTING,
00:22:49.000 --> 00:22:51.966
AND THEY, YOU KNOW...
WHEN YOU\'RE DRIVING, YOU KNOW,
00:22:51.967 --> 00:22:53.932
PEOPLE JUST START TO LOOK
AT THE SIGNS
00:22:53.933 --> 00:22:55.766
AND THEY FORGET TO DRIVE.
00:22:55.767 --> 00:22:57.733
THEY\'RE JUST, LIKE,
ZONED OUT.
00:22:58.733 --> 00:23:01.299
- I-I DO PAY ATTENTION,
00:23:01.300 --> 00:23:03.632
BUT I DON\'T LIKE THE FACT
THAT THEY\'RE AROUND
00:23:03.633 --> 00:23:07.232
BECAUSE IT\'S JUST
UGLY SIGNAGES ALL AROUND.
00:23:07.233 --> 00:23:10.932
I HEARD THAT IN SANTA MONICA
YOU DON\'T HAVE THESE THINGS,
00:23:10.933 --> 00:23:13.466
SO I DON\'T KNOW WHY IT IS
THAT IN L.A.
00:23:13.467 --> 00:23:16.799
WE JUST HAVE THESE SIGNAGES
ALL OVER THE PLACE.
00:23:16.800 --> 00:23:20.299
- SHOULD I THINK
THAT I SHALL NEVER SEE
00:23:20.300 --> 00:23:23.532
A BILLBOARD
LOVELY AS A TREE?
00:23:23.533 --> 00:23:25.632
INDEED.
00:23:25.633 --> 00:23:31.866
UNLESS THE BILLBOARDS FALL,
I\'LL NEVER SEE A TREE AT ALL.
00:23:31.867 --> 00:23:34.399
- I WAS REALLY HAPPY
WHEN THE CITY OF L.A.
00:23:34.400 --> 00:23:35.999
HAD RESTRICTED THE NUMBER
OF SIGNS
00:23:36.000 --> 00:23:37.699
AND WAS WORKING
ON REDUCING THEM,
00:23:37.700 --> 00:23:39.466
AND NOW THIS IS
A WHOLE NEW LAYER,
00:23:39.467 --> 00:23:40.666
THESE DIGITAL SIGNS.
00:23:40.667 --> 00:23:42.566
I MEAN, IN SOME WAYS,
THEY ARE INTRIGUING,
00:23:42.567 --> 00:23:46.132
BECAUSE THEY DO CHANGE,
AND THEIR QUALITY IS SO AMAZING,
00:23:46.133 --> 00:23:47.632
SO THERE\'S SORT OF
THIS AMBIVALENCE
00:23:47.633 --> 00:23:50.899
THAT I HATE THE CLUTTER,
BUT IT IS INTRIGUING.
00:23:50.900 --> 00:23:52.966
- THE SIGN IS ON OVERLAND
AND WOODBINE,
00:23:52.967 --> 00:23:55.466
AND WHEN I OPEN MY FRONT DOOR,
IT\'S THE FIRST THING THAT I SEE.
00:23:55.467 --> 00:23:56.799
IT\'S HUGE.
00:23:56.800 --> 00:23:58.666
IT\'S... REALLY...
REALLY BIG.
00:23:58.667 --> 00:24:00.499
AND THE COLORS ARE ALWAYS
REALLY BRIGHT TOO.
00:24:00.500 --> 00:24:04.099
HEY, IT WOULD BE REALLY NICE
IF THERE WAS, LIKE, A FLOWER
00:24:04.100 --> 00:24:07.132
OR MAYBE, LIKE, A NATURE SCENE
OR A WATERFALL.
00:24:07.133 --> 00:24:09.466
LIKE, I THINK I\'D GO FOR THAT
A LITTLE BIT BETTER,
00:24:09.467 --> 00:24:11.233
BUT, YOU KNOW, LIKE...
00:24:16.500 --> 00:24:20.666
- WITH DIGITAL BILLBOARDS,
ENERGY USE IS A BIG ISSUE.
00:24:20.667 --> 00:24:23.166
THERE\'S HUNDREDS OF THOUSANDS
OF L.E.D.s
00:24:23.167 --> 00:24:25.266
IN THIS FULL SIZE
DIGITAL BILLBOARD,
00:24:25.267 --> 00:24:30.632
AND THIS PARTICULAR BILLBOARD
IS 33,000 WATTS.
00:24:30.633 --> 00:24:33.199
BUT IF IT JUST RAN
HALF OF THAT WATTAGE,
00:24:33.200 --> 00:24:38.032
IT WOULD BE EQUIVALENT
IN ENERGY USE TO TEN HOUSES.
00:24:38.033 --> 00:24:41.266
SO IT\'S LIKE,
HERE SOMETHING NEW HAS APPEARED,
00:24:41.267 --> 00:24:44.266
AND IT\'S BEING ALLOWED WITHOUT
ANY ENVIRONMENTAL REVIEW,
00:24:44.267 --> 00:24:47.633
WITHOUT ANY DISCUSSION
OF SUSTAINABILITY.
00:24:49.400 --> 00:24:51.232
- THEY\'RE AN INTERESTING POINT
00:24:51.233 --> 00:24:54.466
OF PUBLIC AGREEMENT
AND NEGOTIATION,
00:24:54.467 --> 00:24:56.132
AND THE PHYSICAL ENVIRONMENTS
00:24:56.133 --> 00:24:57.599
ARE REALLY
AN IMPORTANT PART OF THAT,
00:24:57.600 --> 00:25:00.866
BECAUSE IT\'S THE THING
THAT WE SHARE.
00:25:00.867 --> 00:25:03.399
SO UNLIKE ADVERTISEMENTS
ON TELEVISION,
00:25:03.400 --> 00:25:06.799
YOU CAN\'T CHOOSE
NOT TO SEE THEM.
00:25:06.800 --> 00:25:10.232
WITH BILLBOARDS,
THEY ARE IMPOSED UPON YOU.
00:25:10.233 --> 00:25:13.232
[elegant piano music]
00:25:13.233 --> 00:25:15.632
♪ ♪
00:25:15.633 --> 00:25:18.132
- I DON\'T THINK THERE IS
ANY PUBLIC INTEREST INVOLVED
00:25:18.133 --> 00:25:21.166
IN ALLOWING
MULTINATIONAL CORPORATIONS
00:25:21.167 --> 00:25:25.299
TO PUSH THEIR PRODUCTS
IN THE PUBLIC LANDSCAPE.
00:25:25.300 --> 00:25:27.432
AND I WOULD SAY
THERE ARE SOME WAYS
00:25:27.433 --> 00:25:29.532
YOU JUST SHOULDN\'T RAISE MONEY.
00:25:29.533 --> 00:25:32.132
SHOULD WE DO A WRAP
OF CITY HALLS?
00:25:32.133 --> 00:25:34.300
SHOULD WE PUT ADS
ON POLICE CARS?
00:25:35.600 --> 00:25:37.899
THERE ARE A LOT
OF POWERFUL INTERESTS
00:25:37.900 --> 00:25:41.799
WHO WANT THAT PUBLIC SPACE
TO BE AVAILABLE TO THEM,
00:25:41.800 --> 00:25:43.699
AND THEY HAVE THE WHEREWITHAL
00:25:43.700 --> 00:25:46.400
TO PUT A LOT OF PRESSURE
ON THE POLITICIANS.
00:25:48.200 --> 00:25:50.066
- IT\'S ONE OF THE THINGS WE DO
HERE AT CITYLAB
00:25:50.067 --> 00:25:53.032
IS TO TRY AND REINVENT
PLANNING REGULATIONS
00:25:53.033 --> 00:25:55.399
FOR THE 21ST CENTURY.
00:25:55.400 --> 00:25:58.566
LOS ANGELES HAS
A VERY WEAK PLANNING HISTORY,
00:25:58.567 --> 00:26:00.532
AND THAT IS WHAT\'S PERMITTED
00:26:00.533 --> 00:26:04.466
THIS INCREDIBLE, VITAL LANDSCAPE
TO EMERGE.
00:26:04.467 --> 00:26:07.966
ON THE OTHER HAND,
OUR PLANNING REGULATIONS
00:26:07.967 --> 00:26:09.632
ARE MORE SUSCEPTIBLE
00:26:09.633 --> 00:26:12.132
TO INDIVIDUAL
DEVELOPMENT INTERESTS.
00:26:12.133 --> 00:26:14.199
YOU KNOW, WHEN A BIG DEVELOPMENT
COMES ALONG,
00:26:14.200 --> 00:26:15.866
A LOT OF THE PLANNING
GETS SET ASIDE
00:26:15.867 --> 00:26:17.699
SO THAT THE THING CAN HAPPEN,
00:26:17.700 --> 00:26:21.167
AND YOU SEE THAT IN ALL
THE BIG DEVELOPMENTS DOWNTOWN.
00:26:22.567 --> 00:26:23.966
- THE PROBLEM, OF COURSE,
00:26:23.967 --> 00:26:27.199
IS THAT MANY OF THESE SCREENS
OR BILLBOARDS
00:26:27.200 --> 00:26:30.499
ARE CONTROLLED BY CORPORATIONS
FOR WHOM IT IS, OF COURSE,
00:26:30.500 --> 00:26:32.999
A FORM OF BIG BUSINESS.
00:26:33.000 --> 00:26:36.499
SO THE ISSUE OF ACCESS
TO THOSE MESSAGES
00:26:36.500 --> 00:26:38.632
THAT SURROUND US
IN PUBLIC SPACES
00:26:38.633 --> 00:26:41.332
IS ANYTHING BUT SIMPLE.
00:26:41.333 --> 00:26:44.332
PUBLIC SPACE
IS A HIGHLY CONTROLLED SPACE,
00:26:44.333 --> 00:26:46.032
AND IT\'S PROBABLY
EVEN MORE SO NOW
00:26:46.033 --> 00:26:48.332
THAN EVER...
EVER BEFORE.
00:26:48.333 --> 00:26:52.432
SO YOU JUST SIMPLY CANNOT PUT
ANYTHING YOU WANT ON THAT SPACE
00:26:52.433 --> 00:26:55.967
UNLESS YOU CHOOSE TO DO IT
ILLEGALLY.
00:26:58.067 --> 00:26:59.632
- BEING SURROUNDED
BY ALL THOSE SCREENS
00:26:59.633 --> 00:27:02.199
BECOMES A PROBLEM,
BECAUSE IT\'S SENSORY OVERLOAD,
00:27:02.200 --> 00:27:06.666
AND IT JUST KIND OF ROBS YOU
OF ANY ABILITY TO TAKE IN
00:27:06.667 --> 00:27:10.266
AND SENSE
THE LARGER SURROUNDINGS.
00:27:10.267 --> 00:27:12.732
I KNOW THAT SOME PEOPLE
DON\'T REALLY SEE A DISTINCTION
00:27:12.733 --> 00:27:14.666
BETWEEN COMMERCIAL ADVERTISING
00:27:14.667 --> 00:27:17.132
AND, SAY,
A PIECE OF DIGITAL ART.
00:27:17.133 --> 00:27:19.299
YOU KNOW, IT\'S ALL ABOUT
THE GRAPHICS,
00:27:19.300 --> 00:27:21.299
HOW IT LOOKS.
00:27:21.300 --> 00:27:24.532
TO ME, A MAJOR PART OF IT
IS THE MESSAGE.
00:27:24.533 --> 00:27:26.299
THE MESSAGE
FROM THE COMMERCIAL AD
00:27:26.300 --> 00:27:29.699
IS \"BE A CONSUMER;
BUY.\"
00:27:29.700 --> 00:27:32.532
WHEREAS THE SCREEN
WITH A PIECE OF ART
00:27:32.533 --> 00:27:33.766
COULD SAY TO YOU,
00:27:33.767 --> 00:27:36.366
\"LOOK AT THE WAY
THESE COLORS INTERACT.\"
00:27:36.367 --> 00:27:38.166
HAVING A VISUAL EXPERIENCE
00:27:38.167 --> 00:27:41.332
WITHOUT HAVING THE MESSAGE
TO BUY,
00:27:41.333 --> 00:27:42.799
YOU KNOW, CAN BE A GOOD THING.
00:27:42.800 --> 00:27:45.799
[ambient music]
00:27:45.800 --> 00:27:49.532
♪ ♪
00:27:49.533 --> 00:27:51.266
narrator:
WALTER BENJAMIN THOUGHT DEEPLY
00:27:51.267 --> 00:27:54.500
ABOUT MASS MEDIA
AND THE POWER OF IMAGES.
00:27:56.100 --> 00:27:58.532
IN THE ESSAY
\"THIS SPACE FOR RENT\"
00:27:58.533 --> 00:28:02.199
HE OBSERVED THE POWER
THAT ADVERTISING SIGNS HAVE
00:28:02.200 --> 00:28:05.500
TO CAPTURE PEOPLE\'S ATTENTION
AND IMAGINATIONS.
00:28:07.233 --> 00:28:10.799
\"IT IS NOT WHAT
THE MOVING RED NEON SIGN SAYS,\"
00:28:10.800 --> 00:28:15.667
HE WROTE, \"BUT THE FIERY POOL
REFLECTING IT IN THE ASPHALT.\"
00:28:17.667 --> 00:28:19.466
AT THE END OF THE 19TH CENTURY,
00:28:19.467 --> 00:28:21.299
ELECTRIC SIGNS
AND STREET LIGHTING
00:28:21.300 --> 00:28:26.099
BEGAN TO LIGHT UP CITY STREETS
AND SPACES.
00:28:26.100 --> 00:28:28.366
NEW YORK AND HONG KONG
WERE TWO EARLY ADOPTERS
00:28:28.367 --> 00:28:29.966
OF ELECTRIC LIGHTING,
00:28:29.967 --> 00:28:32.366
WHICH HONG KONG LOCALS
POETICALLY DESCRIBED
00:28:32.367 --> 00:28:34.733
AS \"PALE DAYLIGHT.\"
00:28:37.267 --> 00:28:40.266
ELECTRIC LIGHTS
LENGTHENED THE DAY FOR PEOPLE.
00:28:40.267 --> 00:28:42.132
THE WORKDAY WAS EXTENDED
00:28:42.133 --> 00:28:44.366
BECAUSE QUITTING TIME
WAS NO LONGER DEPENDENT
00:28:44.367 --> 00:28:46.732
ON WHEN THE SUN WENT DOWN.
00:28:46.733 --> 00:28:49.166
BUT LEISURE TIME
WAS ALSO EXPANDED
00:28:49.167 --> 00:28:53.499
AS ILLUMINATED STREETS
ANIMATED CITY LIFE.
00:28:53.500 --> 00:28:57.466
- DURING THE 19TH CENTURY WITH
THE EVOLUTION OF CAPITALISM,
00:28:57.467 --> 00:29:00.599
THE STRATEGIES OF ADVERTISING
WERE LINKED
00:29:00.600 --> 00:29:04.532
WITH WHAT WE CALL
\"CULTURE OF ATTRACTIONS.\"
00:29:04.533 --> 00:29:07.899
NOW, THE IDEA OF ATTRACTION
HAS TO DO WITH SOMETHING
00:29:07.900 --> 00:29:10.599
THAT TRIES TO CATCH YOUR EYE,
00:29:10.600 --> 00:29:14.866
TRIES TO CATCH YOUR ATTENTION
BY ANY MEANS NECESSARY.
00:29:14.867 --> 00:29:21.066
SO WHEN THE WALLS OF BUILDINGS
AND ANY IMAGINABLE SPACE
00:29:21.067 --> 00:29:23.932
BECAME COVERED
BY COMMERCIAL MESSAGES,
00:29:23.933 --> 00:29:29.932
THAT LED TO AN INTENSIFICATION
OF A FIGHT FOR THE EYE.
00:29:29.933 --> 00:29:31.732
AT THE SAME TIME,
00:29:31.733 --> 00:29:37.699
ADVERTISING WENT FROM A FAIRLY
WILD, JUNGLE-LIKE SITUATION
00:29:37.700 --> 00:29:40.232
TO A MORE REGULATED CULTURE.
00:29:40.233 --> 00:29:43.999
AND PEOPLE STARTED RENTING
SPACES ON THE WALLS,
00:29:44.000 --> 00:29:46.966
AND THIS OF COURSE LED
TO THE BILLBOARD.
00:29:46.967 --> 00:29:50.966
BUT EVEN THEN, THE SITUATION
WAS HIGHLY CONTROVERSIAL
00:29:50.967 --> 00:29:52.432
IN EARLY 20TH CENTURY.
00:29:52.433 --> 00:29:57.399
THERE WERE SOCIETIES FIGHTING
AGAINST THE ABUSES
00:29:57.400 --> 00:30:00.432
OF THE ADVERTISERS
IN THE PUBLIC\'S SPACE.
00:30:00.433 --> 00:30:05.232
SO THE WHOLE SPACE
OF ADVERTISING AS IT DEVELOPED
00:30:05.233 --> 00:30:09.566
WAS A PLACE OF STRUGGLE,
WAS A PLACE OF TENSION,
00:30:09.567 --> 00:30:11.300
WAS A PLACE OF COMPETITION.
00:30:13.333 --> 00:30:15.532
Narrator: ADVERTISING\'S QUEST
TO CAPTURE THE EYE
00:30:15.533 --> 00:30:18.899
LED TO BIGGER, BRIGHTER,
AND MORE CAPTIVATING SIGNS,
00:30:18.900 --> 00:30:23.166
KNOWN IN THE TRADE
AS SIGN SPECTACULARS.
00:30:23.167 --> 00:30:25.132
AT THE BEGINNING
OF THE 20TH CENTURY,
00:30:25.133 --> 00:30:27.899
ELECTRIC SIGNS
WERE A NEW VISUAL MEDIUM
00:30:27.900 --> 00:30:32.132
LIGHTING UP THE NIGHT SKY
WITH LARGER THAN LIFE IMAGES.
00:30:32.133 --> 00:30:34.299
THESE IMMENSE GLOWING SIGNS
00:30:34.300 --> 00:30:37.399
EXTENDED THE COMMODIFICATION
OF URBAN SPACE
00:30:37.400 --> 00:30:39.433
AND HELPED TO SHAPE
THE MODERN CITY.
00:30:41.533 --> 00:30:45.199
BY THE 1920s,
THESE GIANT ELECTRIC SIGNS
00:30:45.200 --> 00:30:46.766
HAD PUT TIMES SQUARE
ON THE MAP
00:30:46.767 --> 00:30:49.133
AS THE MEDIA CAPITAL
OF THE WORLD.
00:30:50.333 --> 00:30:52.799
TIMES SQUARE
BECAME AN URBAN SPECTACLE
00:30:52.800 --> 00:30:54.766
DRAWING HUGE CROWDS OF PEOPLE
00:30:54.767 --> 00:30:57.899
WHO CAME TO LOOK AT THE SIGNS
AND BE ENTERTAINED.
00:30:57.900 --> 00:31:00.932
[upbeat jazz music]
00:31:00.933 --> 00:31:03.632
- TIMES SQUARE STARTED
WITH INCANDESCENT BULBS AND...
00:31:03.633 --> 00:31:05.166
YOU KNOW,
ALMOST A CENTURY AGO...
00:31:05.167 --> 00:31:07.132
AND HAS EVOLVED
THROUGH THE YEARS
00:31:07.133 --> 00:31:10.132
WITH A NUMBER OF DIFFERENT
ICONIC SIGNS.
00:31:10.133 --> 00:31:13.132
[electronic music]
00:31:13.133 --> 00:31:16.532
♪ ♪
00:31:16.533 --> 00:31:18.299
AND FREQUENTLY
THAT\'S BEEN DRIVEN
00:31:18.300 --> 00:31:21.032
BY ADVERTISERS
WHO ARE TRYING TO CREATE
00:31:21.033 --> 00:31:23.599
SOME TYPE OF IMPRESSION
AMONGST THE, YOU KNOW,
00:31:23.600 --> 00:31:25.532
THOUSANDS AND MILLIONS
OF PEOPLE
00:31:25.533 --> 00:31:28.666
WHO WILL SEE THEIR SIGNS.
00:31:28.667 --> 00:31:32.699
- HISTORICALLY, CITIES HAVE
BEEN FILLED WITH SIGNS.
00:31:32.700 --> 00:31:37.366
IN FACT, SIGNS HAVE BEEN
A MAJOR FORM OF URBAN LITERACY.
00:31:37.367 --> 00:31:42.966
WE ALL LEARN TO READ
FROM THE SIGNS IN PUBLIC SPACES.
00:31:42.967 --> 00:31:46.799
BUT PEOPLE ALSO LIKE SIGNS
PRECISELY BECAUSE
00:31:46.800 --> 00:31:48.066
THEY ARE VISUAL.
00:31:48.067 --> 00:31:49.666
THEY ARE IMMEDIATE.
00:31:49.667 --> 00:31:51.599
THEY ARE IN YOUR FACE.
00:31:51.600 --> 00:31:54.132
AND THEY ARE A FORM
OF PUBLIC ART
00:31:54.133 --> 00:31:57.766
THAT WE ALL GROW UP WITH.
00:31:57.767 --> 00:32:00.432
Narrator:
FROM THE 1920s TO THE 1950s,
00:32:00.433 --> 00:32:01.866
TIMES SQUARE WAS AN EXUBERANT
00:32:01.867 --> 00:32:04.066
AND POPULAR
ENTERTAINMENT CENTER,
00:32:04.067 --> 00:32:09.132
BUT BY THE 1970s, THE LIGHTS
HAD DIMMED IN TIMES SQUARE.
00:32:09.133 --> 00:32:12.266
TV, SHOPPING MALLS,
AND SUBURBAN HOMES
00:32:12.267 --> 00:32:15.199
HAD SHIFTED AFFLUENCE
AND INFLUENCE
00:32:15.200 --> 00:32:18.532
AWAY FROM THE CITY
TO THE SUBURBS.
00:32:18.533 --> 00:32:20.999
NEW YORK CITY
WAS ON THE VERGE OF BANKRUPTCY,
00:32:21.000 --> 00:32:24.066
AND IN TIMES SQUARE THERE
WERE EMPTY BILLBOARD SPACES,
00:32:24.067 --> 00:32:28.399
VACANT BUILDINGS,
AND ILLICIT ACTIVITIES.
00:32:28.400 --> 00:32:30.132
- WHEN I CAME HERE 20 YEARS AGO,
00:32:30.133 --> 00:32:32.199
TIMES SQUARE LOOKED
VERY DIFFERENT,
00:32:32.200 --> 00:32:34.232
AND IT WAS A PLACE
WHICH WAS UNCOMFORTABLE
00:32:34.233 --> 00:32:35.699
AND CONSIDERED DANGEROUS EVEN.
00:32:35.700 --> 00:32:39.166
BUT WITH ALL THE UPGRADES,
AND ALL THE MEDIA,
00:32:39.167 --> 00:32:43.599
AND ALL THE RENOVATIONS,
AND ALL THE SECURITY,
00:32:43.600 --> 00:32:45.032
IT\'S BECOME
A TOURIST DESTINATION
00:32:45.033 --> 00:32:47.399
AND ICONIC TO NEW YORK.
00:32:47.400 --> 00:32:50.899
- THE REDEVELOPMENT PLANS
TO MAKE TIMES SQUARE
00:32:50.900 --> 00:32:52.632
A DIFFERENT SORT
OF DESTINATION,
00:32:52.633 --> 00:32:55.399
A CLEANER SORT
OF DESTINATION
00:32:55.400 --> 00:33:00.799
WERE CONSTANTLY BEING HATCHED
FROM ABOUT THE 1960s ON.
00:33:00.800 --> 00:33:03.399
AND FINALLY, BY THE EARLY 1980s,
00:33:03.400 --> 00:33:07.532
THE DRAWINGS WERE MADE
TO REDEVELOP TIMES SQUARE
00:33:07.533 --> 00:33:11.466
AS A MIDTOWN OFFICE DISTRICT.
00:33:11.467 --> 00:33:12.932
Narrator:
THE REDEVELOPMENT PLANS,
00:33:12.933 --> 00:33:14.732
WHICH FEATURED
BLAND OFFICE TOWERS
00:33:14.733 --> 00:33:18.232
AND LIFELESS STREETS,
WERE WIDELY OPPOSED,
00:33:18.233 --> 00:33:20.099
AND THE MUNICIPAL ART SOCIETY,
00:33:20.100 --> 00:33:21.832
WHICH IN THE EARLY 20TH CENTURY
00:33:21.833 --> 00:33:24.366
HAD FOUGHT
TO REDUCE ADVERTISING SIGNS,
00:33:24.367 --> 00:33:28.499
DEVISED A PLAN TO CREATE
A SIGN DISTRICT IN TIMES SQUARE
00:33:28.500 --> 00:33:30.499
TO RECAPTURE THE FEELING
OF EXCITEMENT
00:33:30.500 --> 00:33:32.533
THAT TIMES SQUARE
WAS KNOWN FOR.
00:33:34.667 --> 00:33:36.732
- THE MUNICIPAL ART SOCIETY
SAID,
00:33:36.733 --> 00:33:39.199
\"WE WANT TO KEEP
THE POPULIST CHARACTER
00:33:39.200 --> 00:33:41.966
\"OF TIMES SQUARE,
AND WE CAN DO THAT
00:33:41.967 --> 00:33:45.099
BY KEEPING
ITS VISUAL CHARACTER\"
00:33:45.100 --> 00:33:51.199
SO THAT TIMES SQUARE WAS MADE
A UNIQUE ZONE IN NEW YORK CITY,
00:33:51.200 --> 00:33:55.899
WHERE ELECTRIC SIGNS
ARE REQUIRED BY LAW.
00:33:55.900 --> 00:34:01.232
EVERY BUILDING IN TIMES SQUARE
MUST BE COVERED ON THE OUTSIDE
00:34:01.233 --> 00:34:04.600
BY GIANT ELECTRIC SIGNS.
00:34:06.333 --> 00:34:07.799
Narrator:
THE SIGN DISTRICT BROUGHT
00:34:07.800 --> 00:34:10.066
SPECTACULARS BACK
TO TIMES SQUARE,
00:34:10.067 --> 00:34:12.966
ALONG WITH NEW INVESTMENTS
AND CROWDS OF PEOPLE.
00:34:12.967 --> 00:34:14.432
THESE SIGNS HAVE BECOME
00:34:14.433 --> 00:34:17.132
A SOPHISTICATED FORM
OF VISUAL CAPITAL.
00:34:17.133 --> 00:34:19.099
THEY ARE WORTH
MILLIONS OF DOLLARS
00:34:19.100 --> 00:34:21.632
TO ADVERTISERS,
REAL ESTATE DEVELOPERS,
00:34:21.633 --> 00:34:23.732
AND TO CITY GOVERNMENT.
00:34:23.733 --> 00:34:25.966
AND THE SIGN DISTRICT CONCEPT
HAS BEEN COPIED
00:34:25.967 --> 00:34:27.666
BY CITIES AROUND THE WORLD
00:34:27.667 --> 00:34:30.632
WHO WANT THEIR OWN VERSION
OF A TIMES SQUARE DISTRICT
00:34:30.633 --> 00:34:32.500
WITH SIGN SPECTACULARS.
00:34:35.167 --> 00:34:37.166
- I\'M CHINESE,
AND I\'M THE ELDEST SON,
00:34:37.167 --> 00:34:38.866
SO IN TRADITIONAL THINKING,
00:34:38.867 --> 00:34:40.866
I SHOULD BE THE ONE
WHO, YOU KNOW...
00:34:40.867 --> 00:34:43.132
WHO FOLLOW MY DAD\'S PATH
00:34:43.133 --> 00:34:46.066
AND GET INTO THE SAME BUSINESS.
00:34:46.067 --> 00:34:47.599
BUT I ACTUALLY FOLLOW MY DREAM
00:34:47.600 --> 00:34:50.866
AND GO FOR THE CREATIVE PATH.
00:34:50.867 --> 00:34:53.932
BUT LIFE HAS A FUNNY WAY
OF MAKING THINGS WORK,
00:34:53.933 --> 00:34:57.666
BECAUSE I FOUND MY INTEREST IN
LIGHT-EMITTING DIODE, IN L.E.D.,
00:34:57.667 --> 00:35:01.466
WHICH WAS A BIG PART
OF MY DAD\'S BUSINESS.
00:35:01.467 --> 00:35:03.232
L.E.D. HAS ALL THIS...
00:35:03.233 --> 00:35:04.999
THOUSANDS, MILLIONS OF COLORS.
00:35:05.000 --> 00:35:07.232
IT\'S LIKE THE PIXELS
ON A COMPUTER SCREEN,
00:35:07.233 --> 00:35:10.532
BUT THIS L.E.D. PIXEL
IS ACTUALLY THREE-DIMENSIONAL,
00:35:10.533 --> 00:35:14.632
THAT I CAN BUILD THINGS
IN A MORE DIMENSIONAL FORM.
00:35:14.633 --> 00:35:17.466
L.E.D. ACTUALLY FIRST CAME OUT
IN THE \'60s.
00:35:17.467 --> 00:35:19.366
THEY WERE DEVELOPED
FOR SENSORY CONTROL,
00:35:19.367 --> 00:35:21.699
AND THEN THEY START
TO PRODUCE RED ONES,
00:35:21.700 --> 00:35:25.132
INDICATORS FOR RADIOS,
FOR CLOCKS,
00:35:25.133 --> 00:35:26.566
AND THEN THE BIGGEST
BREAKTHROUGH
00:35:26.567 --> 00:35:28.999
WAS THE DEVELOPMENT
OF BLUE L.E.D.s
00:35:29.000 --> 00:35:31.666
BY SHUJI NAKAMURA.
00:35:31.667 --> 00:35:33.766
Narrator: ONCE THE BLUE L.E.D.
WAS DEVELOPED,
00:35:33.767 --> 00:35:36.566
IT WAS POSSIBLE TO PRODUCE
THE FULL COLOR SPECTRUM
00:35:36.567 --> 00:35:37.632
WITH L.E.D.s,
00:35:37.633 --> 00:35:39.299
BECAUSE RED, GREEN, AND BLUE
00:35:39.300 --> 00:35:42.066
ARE THE COMPONENT PARTS
OF WHITE LIGHT.
00:35:42.067 --> 00:35:45.232
SO WHITE LIGHTING TECHNOLOGY
BECAME AVAILABLE,
00:35:45.233 --> 00:35:48.399
AND L.E.D. VIDEO SCREENS
BECAME POSSIBLE.
00:35:48.400 --> 00:35:51.399
[mellow electronic music]
00:35:51.400 --> 00:35:55.066
♪ ♪
00:35:55.067 --> 00:35:56.299
- HEY, TEDDY, HOW ARE YOU DOING?
00:35:56.300 --> 00:35:57.899
- HI.
- GOOD TO SEE YOU AGAIN.
00:35:57.900 --> 00:36:00.232
- YEAH, YEAH,
I\'M BACK FOR A BIT FOR BUSINESS.
00:36:00.233 --> 00:36:01.999
SO YOU GOT ANY NEW PROJECTS?
00:36:02.000 --> 00:36:03.566
- YEAH, I\'LL HAVE TO SHOW YOU
A LITTLE BIT
00:36:03.567 --> 00:36:05.499
WITH HOW WE DID THE SUPER BOWL,
THE HALF TIME SHOW,
00:36:05.500 --> 00:36:08.132
VERY BIG L.E.D. FLOOR,
LIKE A DISC,
00:36:08.133 --> 00:36:09.966
THAT WE INSTALLED
IN SEVEN MINUTES.
00:36:09.967 --> 00:36:11.232
SO AS YOU SEE,
00:36:11.233 --> 00:36:13.432
THE DISC WAS BUILT
OUT OF A LOT OF DIFFERENT CARS
00:36:13.433 --> 00:36:17.399
THAT HAVE L.E.D. STRIPS
BUILT IN IT.
00:36:17.400 --> 00:36:18.866
AND THESE STRIPS
WERE ALL INSTALLED
00:36:18.867 --> 00:36:21.966
MOVING FROM THE INSIDE
OF THE CIRCLE OUTWARDS.
00:36:21.967 --> 00:36:25.499
AND THEN SO WE HAD LINES
OF MULTIPLE OF THESE AFT...
00:36:25.500 --> 00:36:26.699
BEHIND EACH OTHER.
00:36:26.700 --> 00:36:28.032
NOW, AT THE END OF THE CIRCLE
00:36:28.033 --> 00:36:29.599
THEY WERE ALMOST
MORE THAN A FOOT
00:36:29.600 --> 00:36:30.632
APART FROM EACH OTHER,
00:36:30.633 --> 00:36:32.832
BUT WHEN YOU LOOK AT IT
ON THE TV SHOW,
00:36:32.833 --> 00:36:37.999
IT REALLY ALL HOLD UP VERY WELL
AS A REAL VIDEO SCREEN.
00:36:38.000 --> 00:36:39.332
- WHEN YOU GO TO SEE A CONCERT,
00:36:39.333 --> 00:36:41.999
YOU WANT THE VISUAL ENVIRONMENT
TO BE AS ENERGETIC
00:36:42.000 --> 00:36:43.766
AND AS COMPELLING
AS POSSIBLE
00:36:43.767 --> 00:36:45.299
AND THIS KIND
OF LIGHTING TECHNOLOGY
00:36:45.300 --> 00:36:47.466
IS ACTUALLY
REALLY ALLOWING THAT,
00:36:47.467 --> 00:36:49.832
SO I THINK THAT WOW FACTOR
IS VERY IMPORTANT
00:36:49.833 --> 00:36:51.432
FOR THIS KIND OF PERFORMANCE
00:36:51.433 --> 00:36:52.999
WHERE, AT THE STADIUM,
00:36:53.000 --> 00:36:56.099
TENS OF THOUSAND PEOPLE
ARE GETTING ADRENALINE,
00:36:56.100 --> 00:36:57.966
AND ON THE TV,
THERE ARE PROBABLY
00:36:57.967 --> 00:37:00.466
OVER 100 MILLION PEOPLE
WATCHING.
00:37:00.467 --> 00:37:02.699
- THE L.E.D.
IS A VERY EFFICIENT WAY
00:37:02.700 --> 00:37:05.532
OF SETTING AN ATMOSPHERE
IN A ROOM.
00:37:05.533 --> 00:37:07.432
AND LET\'S SAY THE ENVIRONMENT
YOU WANT TO CREATE
00:37:07.433 --> 00:37:09.232
IS ABOUT GREEN
AND ENVIRONMENTAL.
00:37:09.233 --> 00:37:11.899
AS A LIGHTING DESIGNER, YOU CAN
PUT YOUR LIGHTS ON GREEN,
00:37:11.900 --> 00:37:13.199
BUT THAT\'S ABOUT IT.
00:37:13.200 --> 00:37:15.732
IF YOU HAVE A WALL OF L.E.D.
AND AROUND THE SPACE,
00:37:15.733 --> 00:37:19.032
YOU CAN HAVE ALL KIND
OF CLOSE-UP IMAGES OF A LEAF,
00:37:19.033 --> 00:37:21.299
AND THEN PEOPLE DIRECTLY KNOW,
YOU KNOW,
00:37:21.300 --> 00:37:23.032
\"OH, THIS IS ABOUT
THE ENVIRONMENT.\"
00:37:23.033 --> 00:37:24.432
AND WITHIN A SECOND LATER,
00:37:24.433 --> 00:37:25.999
YOU CAN HAVE SOME IMAGERY
OF WATER,
00:37:26.000 --> 00:37:28.532
AND THAT IS SOMETHING
YOU CANNOT JUST ACCOMPLISH
00:37:28.533 --> 00:37:30.100
WITH TRADITIONAL LIGHTING.
00:37:31.967 --> 00:37:33.566
- THERE ARE A LOT OF BUILDINGS
IN HONG KONG
00:37:33.567 --> 00:37:35.699
THAT PROJECTS FLASHING COLORS,
00:37:35.700 --> 00:37:37.832
BUT FOR ME,
I FEEL LIKE THE NEXT STEP
00:37:37.833 --> 00:37:39.766
WITH THIS KIND OF
ARCHITECTURAL LIGHTING DESIGN
00:37:39.767 --> 00:37:42.566
SHOULD BE MORE SUBSTANTIAL.
00:37:42.567 --> 00:37:44.399
FOR EXAMPLE,
ANOTHER SCULPTURE THAT I DID
00:37:44.400 --> 00:37:46.032
IS ONLY TWO COLORS.
00:37:46.033 --> 00:37:47.066
IT WAS RED AND BLUE.
00:37:47.067 --> 00:37:49.199
I PUT IT IN A GALLERY
IN CENTRAL,
00:37:49.200 --> 00:37:51.166
AND THEN SOME FINANCE PEOPLE
COME IN,
00:37:51.167 --> 00:37:52.366
THEY ASK,
\"WHAT IS THIS?\"
00:37:52.367 --> 00:37:53.532
AND THEN I TOLD THEM,
00:37:53.533 --> 00:37:55.532
\"THIS IS ABOUT
THE NEW YORK STOCK EXCHANGE
00:37:55.533 --> 00:37:57.366
AND THE HONG KONG
HANG SENG BANK INDEX,\"
00:37:57.367 --> 00:37:58.367
AND THEY\'RE LIKE...
00:37:59.767 --> 00:38:00.832
\"HOW DO YOU READ THIS?\"
00:38:00.833 --> 00:38:01.932
AND THEN I EXPLAINED TO THEM
00:38:01.933 --> 00:38:03.332
THE COLOR AND THE SEQUENCE,
00:38:03.333 --> 00:38:05.332
AND THEN EVERY DAY THEY PASS BY,
THEY LOOK AT IT.
00:38:05.333 --> 00:38:06.666
THEY APPRECIATE IT BECAUSE
00:38:06.667 --> 00:38:08.832
INSTEAD OF GOING THROUGH
THE BLACKBERRY AND INTERNET,
00:38:08.833 --> 00:38:11.732
THEY ACTUALLY KNOWS
THE U.S. MARKET WENT DOWN,
00:38:11.733 --> 00:38:14.166
AND THE HONG KONG MARKET
IS RISING THAT DAY.
00:38:14.167 --> 00:38:15.766
SO THESE ARE THE KIND
00:38:15.767 --> 00:38:17.366
OF INFORMATION-BASED
LIGHTING DESIGN
00:38:17.367 --> 00:38:19.099
THAT I\'M TRYING TO DEVELOP.
00:38:19.100 --> 00:38:22.099
[ambient music]
00:38:22.100 --> 00:38:30.100
♪ ♪
00:38:30.633 --> 00:38:31.832
narrator:
LIGHT IS THE MEDIUM
00:38:31.833 --> 00:38:34.566
THAT HELPS US TO PERCEIVE.
00:38:34.567 --> 00:38:37.733
LIGHT ENLIGHTENS US,
BUT IT ALSO DELIGHTS US.
00:38:39.433 --> 00:38:41.799
L.E.D. TECHNOLOGY
IS CREATING NEW FORMS
00:38:41.800 --> 00:38:43.366
OF PROGRAMMABLE MEDIA
00:38:43.367 --> 00:38:47.299
THAT BOTH INFORMS
AND ENTERTAINS US.
00:38:47.300 --> 00:38:49.132
AND THIS IS CHANGING THE ROLE
00:38:49.133 --> 00:38:51.966
THAT AN IMAGE PLAYS
IN OUR LIVES.
00:38:51.967 --> 00:38:58.199
♪ ♪
00:38:58.200 --> 00:39:01.766
THE RELATIONSHIP BETWEEN MEDIA
AND THE PUBLIC CITY SPACE
00:39:01.767 --> 00:39:03.766
RECENTLY HAS BECOME
MORE COMPLICATED
00:39:03.767 --> 00:39:06.299
AS WALLS,
AND EVEN WHOLE BUILDINGS,
00:39:06.300 --> 00:39:08.066
ARE TURNING INTO MEDIA OBJECTS.
00:39:08.067 --> 00:39:09.332
[horn honks]
00:39:09.333 --> 00:39:12.099
BUT WHAT KINDS OF EXPERIENCES
ARE BEING CREATED
00:39:12.100 --> 00:39:14.232
BY THE EXISTENCE
OF MULTIPLE SCREENS
00:39:14.233 --> 00:39:17.867
THAT ARE SIMULTANEOUSLY
COMPETING FOR OUR ATTENTION?
00:39:19.533 --> 00:39:22.332
- A MEDIA FACADE
ANSWERS TO THE TREND
00:39:22.333 --> 00:39:24.599
THAT MEDIA IS EVERYWHERE.
00:39:24.600 --> 00:39:27.066
WE CARRY WITH US
TECHNOLOGY ALL THE TIME.
00:39:27.067 --> 00:39:28.532
IT\'S WEARABLE TECHNOLOGY,
00:39:28.533 --> 00:39:30.766
AND WE\'RE SURROUNDED BY THAT.
00:39:30.767 --> 00:39:34.432
AND ARCHITECTURE IS SOMETHING
THAT SURROUNDS US TOO,
00:39:34.433 --> 00:39:39.066
AND IT JUST WANTS
TO SPEAK THE SAME LANGUAGE.
00:39:39.067 --> 00:39:41.699
MANY OF OUR CLIENTS
ARE REALLY INTERESTED
00:39:41.700 --> 00:39:44.099
IN THE MARKETING PROPOSITION
00:39:44.100 --> 00:39:46.232
THAT A MEDIA FACADE DESIGN
OFFERS
00:39:46.233 --> 00:39:49.199
BECAUSE THE MEDIA FACADE
IS TRANSFORMABLE.
00:39:49.200 --> 00:39:51.799
IT CAN RESPOND
TO THE URBAN CONTEXT
00:39:51.800 --> 00:39:56.366
OR TO THE BEHAVIOR OF PEOPLE,
OF TARGET GROUPS OR CUSTOMERS,
00:39:56.367 --> 00:39:59.632
AND THAT WAY THAT ENGAGES
THE COMPANY WITH ITS AUDIENCE,
00:39:59.633 --> 00:40:01.867
BECAUSE CONTEXT CHANGES.
00:40:03.633 --> 00:40:05.166
- BUT LOOK AROUND NEW YORK.
00:40:05.167 --> 00:40:07.432
THERE ARE SO MANY PEOPLE
IN THE STREETS,
00:40:07.433 --> 00:40:12.132
AND OF COURSE IN CITIES
LIKE HONG KONG, TOKYO, SHANGHAI,
00:40:12.133 --> 00:40:16.099
THE STREETS ARE THRONGED WITH
MILLIONS OF PEOPLE EVERY DAY.
00:40:16.100 --> 00:40:19.266
THESE ARE MOVABLE EYEBALLS.
00:40:19.267 --> 00:40:22.766
WE ARE BOTH CLICK-THROUGHS
AND WALK-THROUGHS,
00:40:22.767 --> 00:40:26.766
AND ADVERTISERS ARE DESPERATE
TO FILL EVERY INCH
00:40:26.767 --> 00:40:29.332
OF OUR VISION.
00:40:29.333 --> 00:40:32.166
- YOU KNOW, A CONVERSATION
WITH A BRAND HAPPENS
00:40:32.167 --> 00:40:34.432
AT A NUMBER OF DIFFERENT
TOUCH POINTS,
00:40:34.433 --> 00:40:37.666
WHETHER IT\'S IN YOUR LIVING ROOM
OR ON YOUR COMPUTER
00:40:37.667 --> 00:40:39.366
OR WHILE YOU\'RE DRIVING,
00:40:39.367 --> 00:40:42.166
BUT WHEN IT COMES DOWN
TO THE POINT OF PURCHASE,
00:40:42.167 --> 00:40:44.732
THE ONE THING THAT MOST PEOPLE
SEEM TO HAVE WITH THEM
00:40:44.733 --> 00:40:46.066
IS THIS LITTLE DEVICE,
00:40:46.067 --> 00:40:50.432
AND SO THE ABILITY TO INFLUENCE
THAT PURCHASE DECISION...
00:40:50.433 --> 00:40:52.800
REALLY, THAT\'S NIRVANA
FOR A MARKETER.
00:40:55.033 --> 00:40:59.766
- OUR EYEBALLS ARE FIXED EITHER
ON THE GIANT SCREENS OVERHEAD
00:40:59.767 --> 00:41:03.266
OR THE LITTLE SCREENS
THAT WE TAKE OUT OF OUR POCKET.
00:41:03.267 --> 00:41:06.499
I AM CONSTANTLY AMAZED
BY HOW MANY PEOPLE
00:41:06.500 --> 00:41:09.299
ARE TOTALLY TRANSFIXED
AND LIVING
00:41:09.300 --> 00:41:12.799
IN A VIRTUAL WORLD
EITHER OVERHEAD
00:41:12.800 --> 00:41:14.832
OR IN THEIR PALM.
00:41:14.833 --> 00:41:17.232
YOU KNOW, WHAT WE VALUE
ABOUT PUBLIC SPACES,
00:41:17.233 --> 00:41:20.866
THE FEELING THAT WE ARE
ALL IN IT TOGETHER,
00:41:20.867 --> 00:41:22.632
BUT WE CAN\'T BE IN IT TOGETHER
00:41:22.633 --> 00:41:25.366
IF WE\'RE ALSO TETHERED
TO SOMEBODY
00:41:25.367 --> 00:41:27.899
AT THE OTHER END OF CYBERSPACE.
00:41:27.900 --> 00:41:30.966
AND THEN WHAT HAPPENS
TO THE PUBLIC SPACE
00:41:30.967 --> 00:41:33.032
THAT WE ARE PHYSICALLY IN?
00:41:33.033 --> 00:41:37.332
WE FEEL NO RESPONSIBILITY
TO OTHERS IN THAT PUBLIC SPACE,
00:41:37.333 --> 00:41:40.000
AND THEY FEEL NO RESPONSIBILITY
FOR US.
00:41:42.333 --> 00:41:44.132
- WE LIVE IN
AN EXPERIENCE ECONOMY.
00:41:44.133 --> 00:41:46.866
YEAH, WHAT WAS ONCE
ABOUT PURCHASING GOODS
00:41:46.867 --> 00:41:49.466
BECAME ACQUIRING SERVICES,
00:41:49.467 --> 00:41:51.866
AND NOW PEOPLE ARE LOOKING
FOR EXPERIENCES.
00:41:51.867 --> 00:41:54.232
WE\'RE NOT SATISFIED
JUST GOING SHOPPING.
00:41:54.233 --> 00:41:56.066
WE WANT TO HAVE
A CERTAIN CONTEXT
00:41:56.067 --> 00:41:59.066
IN ORDER TO BE INSPIRED TO BUY.
00:41:59.067 --> 00:42:00.799
AND THE BIG REAL ESTATE
DEVELOPERS
00:42:00.800 --> 00:42:02.266
AND THE BIG COMPANIES
00:42:02.267 --> 00:42:03.666
THAT SURROUND US,
00:42:03.667 --> 00:42:05.699
THEY ALL KNOW VERY WELL
HOW TO SEDUCE US
00:42:05.700 --> 00:42:08.999
AND I THINK MEDIA FACADE
IS VERY SEDUCTIVE.
00:42:09.000 --> 00:42:11.999
[electronic music]
00:42:12.000 --> 00:42:14.599
♪ ♪
00:42:14.600 --> 00:42:17.332
THIS BUILDING IN SEOUL
USED TO BE A DRAB, CONCRETE BOX,
00:42:17.333 --> 00:42:20.332
AND NOW IT\'S AN ICON
OF VISUAL CULTURE,
00:42:20.333 --> 00:42:22.199
AND THE BUILDING
WOULDN\'T HAVE BEEN THERE
00:42:22.200 --> 00:42:24.166
WITHOUT THIS SCREEN.
00:42:24.167 --> 00:42:26.499
IT\'S A FASHION DEPARTMENT STORE
00:42:26.500 --> 00:42:28.032
WITH ALL THE BIG LABELS
PRESENT THERE,
00:42:28.033 --> 00:42:29.366
AND I THINK
THAT THE ARCHITECTURE
00:42:29.367 --> 00:42:31.799
IS ALSO EXPRESSING THAT.
00:42:31.800 --> 00:42:35.766
WE CREATED AN UNDERSTATED
PROFESSIONAL DAYTIME IMAGE
00:42:35.767 --> 00:42:37.732
OF A GLASS
WHICH HAS A METAL COATING,
00:42:37.733 --> 00:42:39.166
AND IT PICKS UP SOME SUNLIGHT,
00:42:39.167 --> 00:42:40.599
BUT THEN WHEN THE SUN SETS,
00:42:40.600 --> 00:42:42.399
EVERYTHING IN THE BUILDING
COMES TO LIFE,
00:42:42.400 --> 00:42:45.599
AND THE WHOLE SKIN
IS DYNAMIC AND COLORFUL
00:42:45.600 --> 00:42:47.032
AND BRIGHT AND VIBRANT,
00:42:47.033 --> 00:42:49.833
AS IF THE BUILDING IS REALLY
DRESSING UP FOR THE EVENING.
00:42:54.767 --> 00:42:58.532
- THE EARLIEST FORM
IN WHICH IMAGES, TEXTS,
00:42:58.533 --> 00:43:03.066
WERE ACTUALLY PROJECTED
WAS WITH THE MAGIC LANTERN.
00:43:03.067 --> 00:43:07.366
AND THIS IS A TECHNOLOGY
THAT WAS USED, FOR EXAMPLE,
00:43:07.367 --> 00:43:09.366
DURING ELECTION NIGHTS.
00:43:09.367 --> 00:43:11.166
SO IN THE CITY CENTERS,
00:43:11.167 --> 00:43:13.966
THOSE PEOPLE OPERATING
THE MAGIC LANTERN
00:43:13.967 --> 00:43:16.699
WOULD QUICKLY SCRATCH
THE CURRENT SITUATION
00:43:16.700 --> 00:43:17.932
ON THESE PLATES
00:43:17.933 --> 00:43:20.132
AND PROJECT THEM FOR THE CROWDS
00:43:20.133 --> 00:43:22.599
THAT HAD BEEN GATHERED
ON THE STREETS.
00:43:22.600 --> 00:43:26.732
SO THIS ANTICIPATED THE URGE
TO TRANSMIT AND RECEIVE
00:43:26.733 --> 00:43:28.766
NEWS IN REAL TIME.
00:43:28.767 --> 00:43:33.432
AND THIS WAS ACTUALLY THE ORIGIN
OF DYNAMIC IMAGES
00:43:33.433 --> 00:43:35.167
IN THE PUBLIC SPACE.
00:43:37.833 --> 00:43:39.232
- WE\'RE ASKED THIS
ALL THE TIME:
00:43:39.233 --> 00:43:40.766
WHAT ARE THE TRICKS FOR,
YOU KNOW,
00:43:40.767 --> 00:43:43.066
MAKING CONTENT WORK
IN TIMES SQUARE?
00:43:43.067 --> 00:43:46.732
WHAT WE\'VE FOUND IS THAT
THERE\'S A DIFFERENT LANGUAGE
00:43:46.733 --> 00:43:49.332
FOR BEING ABLE TO COMMUNICATE
WITH AUDIENCES
00:43:49.333 --> 00:43:53.966
DEPENDING UPON VIEWING DISTANCE,
SIZE, AND SCALE,
00:43:53.967 --> 00:43:55.799
AND WHAT ELSE IS HAPPENING
IN THE ENVIRONMENT.
00:43:55.800 --> 00:43:57.266
ALL OF THOSE ARE CONSIDERATIONS
00:43:57.267 --> 00:43:59.766
THAT YOU REALLY DO
HAVE TO TAKE INTO ACCOUNT
00:43:59.767 --> 00:44:01.799
WHEN YOU\'RE DESIGNING.
00:44:01.800 --> 00:44:03.266
TIMES SQUARE
IS AN ENVIRONMENT
00:44:03.267 --> 00:44:06.566
WHERE YOU REALLY DON\'T WANT
TO HAVE A LOT OF TEXT ON SCREEN
00:44:06.567 --> 00:44:09.066
BECAUSE IT GETS LOST.
00:44:09.067 --> 00:44:12.232
BIG, BOLD, SHOWY GRAPHICS
AND BEAUTY SHOTS
00:44:12.233 --> 00:44:14.632
TEND TO CUT THROUGH
A LOT MORE EFFECTIVELY
00:44:14.633 --> 00:44:16.433
THAN OTHER TYPES
OF MESSAGING.
00:44:18.767 --> 00:44:20.932
- I THINK WALTER BENJAMIN
WOULD FIND
00:44:20.933 --> 00:44:24.666
THE LURE OF COMMODITIES
AND GOODS
00:44:24.667 --> 00:44:28.266
TOO ABSTRACT
IN THIS SPACE.
00:44:28.267 --> 00:44:31.466
OUR VISUAL FIELD IS OVERTAKEN
00:44:31.467 --> 00:44:34.866
BY THE SIGNS AND SYMBOLS
OF CORPORATIONS...
00:44:34.867 --> 00:44:38.932
NOT JUST BY PRODUCTS,
BY THE IMMEDIACY OF PRODUCTS,
00:44:38.933 --> 00:44:42.567
BUT BY THE IMMEDIACY
OF THE BRANDS.
00:44:47.967 --> 00:44:49.132
Narrator:
THE WORD \"SCREEN\"
00:44:49.133 --> 00:44:52.032
HAS MULTIPLE
AND CONTRADICTORY MEANINGS.
00:44:52.033 --> 00:44:53.632
SCREENS SHOW AND REVEAL,
00:44:53.633 --> 00:44:55.633
BUT THEY ALSO HIDE
AND CONCEAL.
00:44:56.933 --> 00:44:59.032
THE SCREEN IS
AN INFORMATION SURFACE,
00:44:59.033 --> 00:45:01.166
A WINDOW WE VIEW.
00:45:01.167 --> 00:45:03.999
BUT SCREENS ARE ALSO
SURVEILLANCE DEVICES
00:45:04.000 --> 00:45:06.466
AND WE ARE ACTUALLY ON SCREENS
00:45:06.467 --> 00:45:10.032
AS MUCH AS WE ARE LOOKING
AT SCREENS.
00:45:10.033 --> 00:45:11.966
CLOSED-CIRCUIT
SURVEILLANCE CAMERAS
00:45:11.967 --> 00:45:13.899
DOT THE URBAN LANDSCAPE,
00:45:13.900 --> 00:45:17.100
RECORDING OUR MOVEMENTS
AND COLLECTING OUR DATA.
00:45:19.867 --> 00:45:22.799
AND NOW BUSINESS ARE USING
THIS KIND OF CAMERA DATA
00:45:22.800 --> 00:45:24.599
TO SEE WHO WE ARE
00:45:24.600 --> 00:45:28.233
SO THAT THEY CAN APPEAL TO US
AS INDIVIDUAL CONSUMERS.
00:45:32.833 --> 00:45:35.899
[elegant piano music]
00:45:35.900 --> 00:45:38.232
- THE PIXELATOR
IS AN UNAUTHORIZED COLLABORATION
00:45:38.233 --> 00:45:39.866
WITH THE M.T.A.
NEW YORK CITY TRANSIT
00:45:39.867 --> 00:45:41.799
AND CLEAR CHANNEL COMMUNICATIONS
00:45:41.800 --> 00:45:45.366
AND THE ADVERTISERS
THAT PAY TO BE ON THE SCREENS.
00:45:45.367 --> 00:45:48.732
WHAT I DO IS, I CONSTRUCT
THESE LIGHT BOXES, BASICALLY,
00:45:48.733 --> 00:45:50.566
ON A FOAM CORE
AND DIFFUSION GEL
00:45:50.567 --> 00:45:52.766
AND PUT THEM IN FRONT
OF VIDEO BILLBOARD ADS
00:45:52.767 --> 00:45:54.500
IN THE FRONT
OF SUBWAY ENTRANCES.
00:45:59.433 --> 00:46:03.166
AND WHAT THEY DO IS,
THEY DIFFUSE THE VIDEO CONTENT
00:46:03.167 --> 00:46:04.699
THAT CLEAR CHANNEL PROVIDES
00:46:04.700 --> 00:46:09.267
AND TURNS THEM INTO 45 BLINKING,
COLOR-CHANGING SQUARES.
00:46:12.367 --> 00:46:15.066
SO WHAT HAPPENS IS,
I AM CREATING AN ARTWORK
00:46:15.067 --> 00:46:18.499
WITH THE HELP OF THESE
MULTINATIONAL CORPORATIONS
00:46:18.500 --> 00:46:20.266
THAT DON\'T EVEN KNOW ABOUT IT.
00:46:20.267 --> 00:46:27.066
♪ ♪
00:46:27.067 --> 00:46:28.266
THE SCREENS ARE UBIQUITOUS.
00:46:28.267 --> 00:46:30.132
THERE\'S 80 OF THEM
IN NEW YORK CITY,
00:46:30.133 --> 00:46:33.466
AND THEY\'RE
IN THE PERFECT FUNNEL OF PEOPLE.
00:46:33.467 --> 00:46:36.099
THERE\'S MAYBE 300 STATIONS
IN NEW YORK CITY,
00:46:36.100 --> 00:46:39.466
AND 1/6 OF THEM HAVE
THESE BRIGHT, INTRUSIVE SIGNS
00:46:39.467 --> 00:46:42.399
THAT ARE FLASHING RIGHT AT YOU.
00:46:42.400 --> 00:46:44.032
FROM AN ADVERTISING PERSPECTIVE,
00:46:44.033 --> 00:46:46.099
IT\'S A PERFECT PLACE
TO PUT YOUR MESSAGE.
00:46:46.100 --> 00:46:47.799
FROM A CULTURE JAMMER\'S
PERSPECTIVE,
00:46:47.800 --> 00:46:49.632
IT\'S THE PERFECT PLACE
TO JAM SOMETHING.
00:46:49.633 --> 00:46:55.432
♪ ♪
00:46:55.433 --> 00:46:56.732
- I STOPPED AT ONCE.
00:46:56.733 --> 00:46:57.832
I DON\'T KNOW WHY.
00:46:57.833 --> 00:46:59.799
I FORGOT THE SUBWAY.
I FORGOT NEW YORK.
00:46:59.800 --> 00:47:03.799
I SAW THE PICTURE,
AND I SAW A BATHROOM,
00:47:03.800 --> 00:47:06.499
A STRANGE BATHROOM,
00:47:06.500 --> 00:47:08.466
AND I LIKE THE COLORS,
00:47:08.467 --> 00:47:11.066
AND JUST...
I FELT IT IS ART.
00:47:11.067 --> 00:47:12.732
I CANNOT EXPLAIN.
00:47:12.733 --> 00:47:15.366
I NEVER CAN EXPLAIN
IF SOMETHING IS ART.
00:47:15.367 --> 00:47:17.099
IT\'S...
00:47:17.100 --> 00:47:21.232
IT\'S AN ENERGY OF MY HEART.
IT\'S WHY I HAD TO STOP.
00:47:21.233 --> 00:47:22.799
- I WAS WALKING BY,
AND IT CAUGHT MY EYE
00:47:22.800 --> 00:47:24.899
BECAUSE THERE WERE COLORS
THAT WERE MOVING,
00:47:24.900 --> 00:47:26.299
AND THEN I TOOK A SECOND LOOK
00:47:26.300 --> 00:47:29.699
\'CAUSE I NOTICED
IT WASN\'T AN ANNOYING AD.
00:47:29.700 --> 00:47:32.999
- YOU JUST HAVE TO START
CHANGING ATTITUDES.
00:47:33.000 --> 00:47:36.599
YOU HAVE TO GET IN SOMEWHERE
WHERE PEOPLE AREN\'T EXPECTING.
00:47:36.600 --> 00:47:39.132
AND YOU HAVE TO CATCH PEOPLE
OFF GUARD.
00:47:39.133 --> 00:47:41.232
AND YOU\'RE NOT GONNA CHANGE
MOST PEOPLE\'S MINDS,
00:47:41.233 --> 00:47:42.399
ESPECIALLY NOT IMMEDIATELY.
00:47:42.400 --> 00:47:44.832
PEOPLE ARE GONNA REACT
AGAINST WHAT YOU DO.
00:47:44.833 --> 00:47:46.766
BUT THEY DID SEE YOU DO
SOMETHING
00:47:46.767 --> 00:47:49.166
THAT THEY HADN\'T
THOUGHT OF BEFORE.
00:47:49.167 --> 00:47:52.032
AND THAT\'S GONNA CHANGE HOW
THEY THINK ABOUT THINGS LATER.
00:47:52.033 --> 00:47:53.266
\"THIS IS POSSIBLE.\"
00:47:53.267 --> 00:47:54.899
AND THEN,
\"OH, WHY DID THEY DO IT?\"
00:47:54.900 --> 00:47:57.432
SO I THINK THAT KIND OF CHANGE
IS REALLY SLOW.
00:47:57.433 --> 00:47:59.666
FOR ME, I THINK THAT\'S ACTUALLY
REALLY OPTIMISTIC.
00:47:59.667 --> 00:48:01.999
I\'VE ACTUALLY STARTED
TO SORT OF SEE THAT.
00:48:02.000 --> 00:48:03.999
IT\'S SOMETHING YOU HAVE TO BE
VERY PATIENT ABOUT.
00:48:04.000 --> 00:48:10.732
♪ ♪
00:48:10.733 --> 00:48:13.199
- WE COULD THINK
ABOUT THESE SCREENS
00:48:13.200 --> 00:48:14.899
FROM AN ECOLOGICAL POINT OF VIEW
00:48:14.900 --> 00:48:17.032
AND SAY THAT
THAT\'S A TERRIBLE WASTE,
00:48:17.033 --> 00:48:19.899
AND IT IS PROBABLY A MEDIUM
THAT...
00:48:19.900 --> 00:48:23.932
THAT JUST, IN SOME SENSE,
SHOULD NOT HAPPEN.
00:48:23.933 --> 00:48:28.532
SO WE SHOULD FIND SOME
ENERGY EFFICIENT ALTERNATIVES
00:48:28.533 --> 00:48:31.066
TO THOSE GIANT SCREENS.
00:48:31.067 --> 00:48:32.899
- I\'M SURE THAT MORE
AND MORE SIGNS
00:48:32.900 --> 00:48:35.066
WILL BECOME MORE SUSTAINABLE.
00:48:35.067 --> 00:48:36.232
YOU KNOW, AT THE SAME TIME,
00:48:36.233 --> 00:48:38.599
SOME OF THE CONTENT
ON THE COCA COLA
00:48:38.600 --> 00:48:42.099
IS SHOWING THAT THEY\'RE TRYING
TO BE MORE GREEN
00:48:42.100 --> 00:48:43.966
OR HAVING A CORPORATE
CONSCIENCE
00:48:43.967 --> 00:48:46.266
ABOUT BEING MORE SUSTAINABLE,
00:48:46.267 --> 00:48:49.599
BUT THE SIGN ITSELF
IS NOTHING TO DO WITH THAT.
00:48:49.600 --> 00:48:51.332
IT STILL DRAWS A LOT OF POWER.
00:48:51.333 --> 00:48:53.732
YEAH, AND AS A MATTER OF FACT,
THE WALGREENS SIGN
00:48:53.733 --> 00:48:55.366
WAS DELAYED A FEW MONTHS
00:48:55.367 --> 00:48:57.832
BECAUSE THE POWER REQUIREMENTS
WERE SO GREAT
00:48:57.833 --> 00:49:00.599
THAT CON ED HAD TO ADD
A POWER STATION
00:49:00.600 --> 00:49:03.232
IN ORDER TO SUPPORT THE LOAD
ON THE CIRCUITS
00:49:03.233 --> 00:49:04.832
JUST FOR THAT SCREEN.
00:49:04.833 --> 00:49:05.833
[horn honks]
00:49:07.033 --> 00:49:08.532
- SUSTAINABILITY
GOES MUCH BEYOND
00:49:08.533 --> 00:49:11.232
ENERGY CONSUMPTION
ON SITE.
00:49:11.233 --> 00:49:13.566
THE MEDIA FACADE
TACKLES THE PARADOX
00:49:13.567 --> 00:49:16.999
OF THE ARCHITECTURE EVOLVING
FASTER AND FASTER,
00:49:17.000 --> 00:49:20.432
AND CLIENTS WANTING TO DO
RENOVATIONS AND UPDATES
00:49:20.433 --> 00:49:22.432
AND NEW BUILDINGS
QUICKER AND QUICKER,
00:49:22.433 --> 00:49:23.866
BECAUSE WITH THE MEDIA FACADE,
00:49:23.867 --> 00:49:27.366
YOU CAN BASICALLY BUILD
YOUR BUILDING OUT OF SOFTWARE.
00:49:27.367 --> 00:49:29.232
WHEN A FASHION STORE
NEEDS AN UPDATE,
00:49:29.233 --> 00:49:30.799
IT DOESN\'T NEED
A PHYSICAL UPDATE
00:49:30.800 --> 00:49:33.532
BECAUSE YOU CAN DO SO MUCH
IN THE FIELD OF SOFTWARE.
00:49:33.533 --> 00:49:36.532
[upbeat electronic music]
00:49:36.533 --> 00:49:43.166
♪ ♪
00:49:43.167 --> 00:49:46.599
AS A DESIGNER, I CREATE
AN ENVIRONMENT FOR PEOPLE,
00:49:46.600 --> 00:49:49.566
AND IN THAT SENSE,
I CREATE SOMETHING REAL.
00:49:49.567 --> 00:49:51.166
BUT WE FORGET
THAT THE CONTENT
00:49:51.167 --> 00:49:53.066
THAT WE DELIVER
TO THOSE ENVIRONMENTS,
00:49:53.067 --> 00:49:54.966
FOR EXAMPLE, THE SOFTWARE
ON THE MEDIA SCREEN,
00:49:54.967 --> 00:49:57.166
IS QUITE OFTEN EVEN BETTER
THAN REAL, YOU KNOW.
00:49:57.167 --> 00:49:59.532
IT\'S A HYPERREAL WORLD,
00:49:59.533 --> 00:50:02.099
AND I THINK THAT THESE SCREENS
REALLY CONTRIBUTE TO THAT
00:50:02.100 --> 00:50:04.866
BECAUSE WHAT IS A BUILDING
DURING THE DAYTIME
00:50:04.867 --> 00:50:06.866
IS A COMMERCIAL AT NIGHT.
00:50:06.867 --> 00:50:10.199
AND, YOU KNOW, WHAT IS
THE REAL SELF OF THAT BUILDING?
00:50:10.200 --> 00:50:12.866
IS IT THE MEDIA?
IS IT THE MESSAGE?
00:50:12.867 --> 00:50:16.432
IS IT THE COCA COLA COMMERCIAL
ON THAT FACADE?
00:50:16.433 --> 00:50:18.632
IS THAT THE REALITY
OF THAT STRUCTURE?
00:50:18.633 --> 00:50:21.166
OR IS IT THE OFFICE
THAT IT IS DURING THE DAY?
00:50:21.167 --> 00:50:24.066
THERE IS NO DISTINCTION ANYMORE,
00:50:24.067 --> 00:50:25.799
AND I BELIEVE THAT REALITY
00:50:25.800 --> 00:50:28.667
IS DEFINITELY NOT
WHAT IS OUT THERE, YOU KNOW?
00:50:31.467 --> 00:50:35.599
- HERE IN TIMES SQUARE,
WE SEE ALL THE FASCINATION
00:50:35.600 --> 00:50:39.666
OF LIGHTS, COLORS, MOVEMENT,
00:50:39.667 --> 00:50:43.899
THAT HISTORICALLY ARE PART
OF THE PASSION OF CITIES.
00:50:43.900 --> 00:50:46.199
BUT, YOU KNOW, THE SIGNS
ARE MUCH MORE EXCITING
00:50:46.200 --> 00:50:47.866
THAN THE STORE ITSELF.
00:50:47.867 --> 00:50:50.132
IF YOU\'VE EVER BEEN
INSIDE A WALGREENS,
00:50:50.133 --> 00:50:53.632
IT\'S A PRETTY ORDINARY SPACE.
00:50:53.633 --> 00:50:57.232
THESE ELECTRIC SIGNS,
THEY ROMANTICIZE COMMERCE.
00:50:57.233 --> 00:50:59.866
AND THE SIGNS
ARE MUCH MORE EXCITING
00:50:59.867 --> 00:51:03.399
THAN THE ACTUAL EXPERIENCE
OF CONSUMING THE PRODUCT.
00:51:03.400 --> 00:51:04.899
I MEAN, YOU PUT ON
A PAIR OF JEANS.
00:51:04.900 --> 00:51:06.232
OKAY, YOU PUT ON A PAIR
OF JEANS,
00:51:06.233 --> 00:51:08.232
BUT IF YOU PUT ON
A PAIR OF JEANS
00:51:08.233 --> 00:51:11.866
THAT\'S MOVING AROUND
ON A GIANT ELECTRIC SIGN,
00:51:11.867 --> 00:51:16.099
THEN YOU ARE CONSUMING
THE VAST EXPERIENCE
00:51:16.100 --> 00:51:18.199
OF THIS SIGN.
00:51:18.200 --> 00:51:21.932
[ambient music]
00:51:21.933 --> 00:51:23.532
narrator:
THE CITY HAS BECOME A PLATFORM
00:51:23.533 --> 00:51:25.132
FOR THE MEDIA TO UTILIZE,
00:51:25.133 --> 00:51:27.266
TO PROJECT THEIR MESSAGES
AND INFORMATION
00:51:27.267 --> 00:51:30.399
TO ALL THE PASSERSBY.
00:51:30.400 --> 00:51:33.766
THE MEDIA CITY IS A MATRIX
OF PHYSICAL AND NETWORK SPACE
00:51:33.767 --> 00:51:36.066
THAT EXPANDS OUR EXPERIENCE
OF THE CITY
00:51:36.067 --> 00:51:39.100
AND ALTERS THE DYNAMICS
OF PUBLIC SPACE.
00:51:40.567 --> 00:51:42.866
THIS URBAN LIGHTSCAPE
IS A VISIBLE SIGN
00:51:42.867 --> 00:51:45.366
OF THE POWER
OF THE MARKET ECONOMY.
00:51:45.367 --> 00:51:47.366
THE SIGNS SHINE SEDUCTIVELY
00:51:47.367 --> 00:51:49.799
WITH MESSAGES OF MODERNITY
AND FREEDOM,
00:51:49.800 --> 00:51:52.266
A FREE CONSUMER CHOICE.
00:51:52.267 --> 00:51:54.199
BUT THEY ECLIPSE
THE PUBLIC ASPECTS
00:51:54.200 --> 00:51:57.066
OF OUR PUBLIC SPACES.
00:51:57.067 --> 00:52:00.332
- WHEN THE FIRST ELECTRIC SIGNS
CAME IN...
00:52:00.333 --> 00:52:04.232
AND THEY ALWAYS KIND OF
SYMBOLIZED THE WEST
00:52:04.233 --> 00:52:06.466
AND CAPITALISM,
00:52:06.467 --> 00:52:10.266
AND CAPITALISM FOR US,
ESPECIALLY AMERICAN CAPITALISM,
00:52:10.267 --> 00:52:12.299
WAS FREEDOM AND DEMOCRACY.
00:52:12.300 --> 00:52:16.232
AND AFTER THE END OF COMMUNISM,
WE THOUGHT IT WAS GREAT.
00:52:16.233 --> 00:52:19.066
- ALREADY IN \'89
THE FIRST BILLBOARDS
00:52:19.067 --> 00:52:20.732
STARTED APPEARING.
00:52:20.733 --> 00:52:24.832
I REMEMBER THIS MEMORABLE
XEROX ADVERTISING
00:52:24.833 --> 00:52:29.532
WITH, LIKE, BLUE ROSES, AND...
00:52:29.533 --> 00:52:33.132
IT WAS JUST, YOU KNOW,
THIS FREEDOM OF COPYING.
00:52:33.133 --> 00:52:35.332
YOU KNOW, IT\'S NOT
THE SOMEBODY\'S DEATH SITUATION
00:52:35.333 --> 00:52:39.832
WHERE YOU CAN GO TO JAIL
FOR COPYING SOMETHING.
00:52:39.833 --> 00:52:43.132
- I WAS EXCITED TO SEE
THESE BILLBOARD ADVERTISEMENTS
00:52:43.133 --> 00:52:45.132
BECAUSE THEY SEEMED LIKE...
00:52:45.133 --> 00:52:46.899
VERY EXISTENTIALIST TO ME
AT THE TIME
00:52:46.900 --> 00:52:48.632
BECAUSE AT THE TIME,
I WAS, LIKE, 17.
00:52:48.633 --> 00:52:51.466
I WAS A FAN
OF MICHELANGELO ANTONIONI,
00:52:51.467 --> 00:52:53.466
AND HE ALWAYS USED THAT
IN HIS FILMS.
00:52:53.467 --> 00:52:55.332
AND SO I WAS, LIKE,
\"OH, YEAH, FINALLY.
00:52:55.333 --> 00:52:57.099
\"THESE, YOU KNOW...
THESE THINGS HIT PRAGUE.
00:52:57.100 --> 00:52:59.966
WE HAVE A HUGE BILLBOARD
WITH A HUGE EYE ON IT.\"
00:52:59.967 --> 00:53:02.299
SO I WAS EXCITED
FOR THE FIRST FIVE YEARS,
00:53:02.300 --> 00:53:03.932
BEFORE I STOPPED SEEING THIS
00:53:03.933 --> 00:53:07.432
AS SOMETHING OTHER
THAN AN EYESORE.
00:53:07.433 --> 00:53:11.566
- I REMEMBER THAT THE CITY
USED TO BE DIRTY AND GRAY
00:53:11.567 --> 00:53:14.166
FROM THE STORIES
THAT MY MOTHER TOLD ME.
00:53:14.167 --> 00:53:17.566
THE CITY I KNOW NOW
IS OVERLOADED WITH COMMERCIALS,
00:53:17.567 --> 00:53:18.666
AND IT\'S COLORFUL,
00:53:18.667 --> 00:53:20.466
BUT IT\'S MAYBE TOO COLORFUL.
00:53:20.467 --> 00:53:24.532
SO ONE STOPS PAYING ATTENTION
TOWARDS IT.
00:53:24.533 --> 00:53:26.899
- I\'D PUT MORE HISTORICAL STUFF
ON IT,
00:53:26.900 --> 00:53:29.766
A BIT MORE EDUCATIONAL,
A BIT LESS...
00:53:29.767 --> 00:53:32.732
I MEAN, I ENJOY IT
\'CAUSE I LIKE SHOPPING,
00:53:32.733 --> 00:53:36.766
BUT I THINK FOR...
JUST FOR THE CITY...
00:53:36.767 --> 00:53:39.332
IT WOULD BE MORE BENEFICIAL
TO HAVE...
00:53:39.333 --> 00:53:41.332
LIKE THERE ARE
THE SIGNS THERE
00:53:41.333 --> 00:53:44.932
THAT SAY \"HERE IS WHERE
BLAH, BLAH, BLAH, BLAH STOOD.\"
00:53:44.933 --> 00:53:46.499
BUT THEY\'RE NOT AS FLASHY,
00:53:46.500 --> 00:53:48.866
SO NO ONE REALLY GOES THERE
TO LOOK,
00:53:48.867 --> 00:53:52.132
BUT THE MORE FLASHY SIGNS
CATCH YOUR ATTENTION.
00:53:52.133 --> 00:53:54.566
- THE CZECHS THAT I KNOW
ARE KIND OF IRRITATED BY IT
00:53:54.567 --> 00:53:56.966
BECAUSE IT\'S LIKE WE\'RE RUINING
A BEAUTIFUL PART OF THE CITY,
00:53:56.967 --> 00:53:58.766
WHICH IS SUPPOSED
TO BE NON-COMMERCIAL,
00:53:58.767 --> 00:53:59.767
AND THEY NEED...
00:53:59.768 --> 00:54:01.766
I THINK YOUNG CZECHS NOW
00:54:01.767 --> 00:54:03.566
DON\'T EVEN REALIZE, LIKE,
WHAT IT WAS BEFORE,
00:54:03.567 --> 00:54:05.166
SO THEY\'RE JUST SEEING
THE ADVERTISING,
00:54:05.167 --> 00:54:07.366
AND YOU CAN SEE THAT
THEY\'RE MORE CONSUMER HUNGRY,
00:54:07.367 --> 00:54:09.066
LIKE WITH THEIR ELECTRONICS,
00:54:09.067 --> 00:54:11.299
AND NOW CZECH YOUTH
DON\'T LOOK ANY DIFFERENT TO ME
00:54:11.300 --> 00:54:12.967
THAN AMERICAN YOUTH.
00:54:19.533 --> 00:54:21.199
Narrator:
IN TODAY\'S GLOBAL CITIES
00:54:21.200 --> 00:54:24.566
LOGOS AND BRANDSCAPES DOMINATE
THE VISUAL ENVIRONMENT,
00:54:24.567 --> 00:54:28.166
AND OUR PUBLIC SPACES
HAVE BECOME HIGHLY CONTROLLED.
00:54:28.167 --> 00:54:30.899
BUT BEHIND
THE BRILLIANT SKYLINES,
00:54:30.900 --> 00:54:33.832
A PROTEST MOVEMENT HAS FORMED.
00:54:33.833 --> 00:54:36.566
PROTESTERS ARE OCCUPYING
CITY SPACES,
00:54:36.567 --> 00:54:39.132
RECLAIMING PRIVATIZED
PUBLIC SPACES
00:54:39.133 --> 00:54:42.066
AND SEEKING TO CREATE
A DIFFERENT ENVIRONMENT,
00:54:42.067 --> 00:54:43.332
ONE THAT IS MORE OPEN,
00:54:43.333 --> 00:54:46.233
LESS DOMINATED BY CORPORATE
INTERESTS AND MESSAGES.
00:54:48.567 --> 00:54:51.432
THE PROTESTERS ARE ASKING
AN IMPORTANT QUESTION:
00:54:51.433 --> 00:54:53.667
WHO HAS THE RIGHT
TO SHAPE THE CITY?
00:54:56.467 --> 00:54:57.732
NOW AT THE END OF MY JOURNEY,
00:54:57.733 --> 00:55:02.332
I REALIZE HOW IMPORTANT
PUBLIC SPACE IS TO PEOPLE.
00:55:02.333 --> 00:55:04.499
IT ALLOWS US TO CREATE
A PERSONAL NARRATIVE
00:55:04.500 --> 00:55:07.332
THAT CONNECTS US
TO THE PLACES WE INHABIT.
00:55:07.333 --> 00:55:09.599
AND THAT ABILITY TO SHAPE
OUR ENVIRONMENT
00:55:09.600 --> 00:55:12.667
HELPS TO NOURISH
A DEMOCRATIC SOCIETY.
00:55:15.267 --> 00:55:16.632
WALTER BENJAMIN WROTE ABOUT
00:55:16.633 --> 00:55:18.566
THE PHENOMENON
AT THE CROSSROADS,
00:55:18.567 --> 00:55:21.432
THE CITY SPACE OF SIGNS
AND PASSERSBY,
00:55:21.433 --> 00:55:24.366
AS THE FIRST ELECTRIC SIGNS
BEGAN TO SHAPE THE IMAGE
00:55:24.367 --> 00:55:26.299
OF THE MODERN CITY.
00:55:26.300 --> 00:55:28.532
HE PERCEIVED
THAT VISUAL TECHNOLOGY
00:55:28.533 --> 00:55:30.232
IS A FORM OF POWER,
00:55:30.233 --> 00:55:33.632
AN EXPLODING FORCE THAT COULD
BURST THE WORLD ASUNDER
00:55:33.633 --> 00:55:35.933
BY THE DYNAMITE
OF 1/10 OF A SECOND.
00:55:37.467 --> 00:55:40.799
[slot machine ringing]
00:55:40.800 --> 00:55:43.899
BUT WHAT BECOMES MOST APPARENT
FROM MY OBSERVATIONS
00:55:43.900 --> 00:55:46.232
IS HOW THE LUMINOUS BEAUTY
OF THESE SCREENS
00:55:46.233 --> 00:55:48.732
MASK THE POWER
OF VISUAL TECHNOLOGY
00:55:48.733 --> 00:55:51.199
THAT DRIVES THESE SIGNS.
00:55:51.200 --> 00:55:54.599
AND THAT POWER IS USED
TO CONTROL OUR PUBLIC SPACES,
00:55:54.600 --> 00:55:56.632
DOMINATE OUR PUBLIC LIVES,
00:55:56.633 --> 00:55:58.932
AND INFLUENCE
OUR PRIVATE SELVES.
00:55:58.933 --> 00:56:01.999
[ambient music]
00:56:02.000 --> 00:56:10.000
♪ ♪
Distributor: Icarus Films
Length: 58 minutes
Date: 2012
Genre: Expository
Language: English
Grade: 8-12, College, Adult
Color/BW:
Closed Captioning: Available
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