WEBVTT

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[upbeat music]

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♪ ♪

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female narrator:
WALKING THROUGH THE CITY,

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I WAS REMINDED
OF THE WORDS OF WALTER BENJAMIN,

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WHO WROTE ABOUT CITY LIFE
IN THE 1920s AND \'30s.

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HE DESCRIBED THE EXPLOSION
OF ADVERTISING

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AS SOMETHING THAT HITS US
BETWEEN THE EYES WITH THINGS,

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AS A CAR,
GROWING TO GIGANTIC PROPORTIONS,

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CAREENING AT US
OUT OF A FILM SCREEN.

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NOW AT THE BEGINNING
OF THE 21ST CENTURY,

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I WONDER
WHAT WOULD HE THINK

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ABOUT THE ELECTRIC LANDSCAPES
THAT I INHABIT TODAY.

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THESE NEW SIGN SYSTEMS
ARE TRANSFORMING THE CITYSCAPE

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INTO A JUMBLE OF BRIGHTLY LIT,
SEMIOTIC DISPLAYS

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WITH BETTER-THAN-REAL COLORS

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THAT SIMULTANEOUSLY DISTRACTS
AND CHARMS ME.

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[ambient music]

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♪ ♪

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BUT AS MORE AND MORE SCREENS
LIGHT UP,

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THE PUBLIC SPACES
OF OUR CITIES

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ARE STARTING TO RESEMBLE
A TV SCREEN,

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BUT THE CHANNELS ARE FULL
OF COMMERCIALS,

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AND WE CAN\'T CHANGE THEM.

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- ON THE ONE HAND,
I\'M ALMOST IN AWE OF THEM.

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I MEAN, THEY\'RE SO
INCREDIBLY BEAUTIFUL AND LARGE.

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THEY\'RE ALMOST ADDICTIVE
IN A WAY,

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BUT ON THE OTHER HAND,
I\'M KIND OF HORRIFIED AS WELL,

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BECAUSE WHENEVER I THINK
ABOUT TIMES SQUARE,

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I THINK ABOUT
ALL THOSE CRAZY SCREENS

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AND, YOU KNOW, IT\'S SO CROWDED,
AND IT\'S FULL OF TOURISTS.

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- THE MAGNITUDE OF THE IMAGES,

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IT\'S A LOT OF, YOU KNOW,
EAR CANDY AND EYE CANDY,

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A LOT OF SOUND BITES
THAT ARE GOING OFF AND ON,

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AND SO EVERYTHING\'S FLASHY,

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SO MY ATTENTION SPAN\'S,
YOU KNOW,

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LIMITED TO FIVE SECONDS
AROUND HERE.

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- WITH INFORMATION BEING
SO READILY AVAILABLE,

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I\'M NOT GONNA LOOK
AT ONE OF THESE SIGNS

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AND IMMEDIATELY GO MAKE
A PURCHASE.

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BUT IT MIGHT MAKE ME GO,
\"WELL, WHAT IS THAT?

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I WANT TO GO FIND OUT.\"

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AND IF THEY\'RE DOING
THAT CORRECTLY,

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THEN THEY\'VE DONE THEIR JOB,
I THINK.

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- I GUESS IT\'S
THE UNITED STATES.

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IT\'S THE ECONOMY.

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YOU CAN MAKE MONEY
OFF OF ANYTHING,

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SO I GUESS THAT\'S WHAT
THEY PROJECT INTO THE WORLD.

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THIS IS THE LAND OF OPPORTUNITY,

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SO THIS IS WHERE THE MONEY\'S AT,

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AND WE\'RE GONNA SELL YOU
ANYTHING WE CAN.

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WE\'RE GONNA POST BILLBOARDS
WHEREVER WE CAN.

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AND WE\'RE GONNA ADVERTISE
WHATEVER WE CAN

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TO THE PEOPLE,
TO THE CONSUMER.

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- THERE\'S A LOT OF COMPETITION
FOR PEOPLE\'S ATTENTION,

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AND I\'M AS GUILTY
AS EVERYONE ELSE.

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YOU KNOW, THE MORE
ATTENTION-GRABBING IT IS,

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THE MORE I PAY ATTENTION TO IT,
SO IT\'S ALWAYS...

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IT\'S LIKE A, YOU KNOW,
ONE-UPMANSHIP.

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WHAT\'S THE NEXT BIGGEST SCREEN

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OR THE NEXT
MOST VISUALLY APPEALING SCREEN?

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- I FIND THEM VERY OBTRUSIVE.

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I KIND OF...
I HATE THEM,

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BUT I\'VE ALSO SORT OF LEARNED
IN THE PAST YEAR AND A HALF

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TO KIND OF SHUT THEM OUT.

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SO AS THESE SIGNS
HAVE INCREASED IN CONCENTRATION,

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AND YES, I\'VE NOTICED THEM
ALL OVER THE PLACE,

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NOT JUST MIDTOWN, BUT ALSO
PLACES YOU WOULDN\'T EXPECT THEM,

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THAT THEY\'RE
JUST SORT OF EVERYWHERE,

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SO YOU HAVE TO SORT OF DEVELOP
A CERTAIN SORT OF BLINDERS,

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YOU MIGHT SAY.

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Narrator:
INCREASINGLY,

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OUR SOCIETY IS ABOUT IMAGES.

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SCREENS, FROM VIDEO BILLBOARDS
TO MOBILE PHONES,

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HAVE BECOME OUR LINK
TO COMMUNICATIONS,

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INFORMATION,

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SHOPPING,

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AND ENTERTAINMENT.

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THESE SEAMLESS, ILLUMINATED,
ELECTRONIC SURFACES

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ARE BECOMING THE DEVICES

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THROUGH WHICH WE FRAME
OUR EXPERIENCES.

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[mellow electronic music]

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♪ ♪

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[horns honking]

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♪ ♪

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WITH WALTER BENJAMIN\'S
WORK AS A GUIDE,

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I STARTED TO INVESTIGATE
THIS ECONOMY OF SIGNS

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AND THE NEW URBAN SPACE
OF THE MEDIA CITY.

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[upbeat jazz music]

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♪ ♪

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MY JOURNEY TOOK ME FIRST
TO THE BRIGHTLY-LIT CITIES

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OF TOKYO
AND HONG KONG

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AND TO MAINLAND CHINA,

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WHERE THE MAJORITY
OF THE WORLD\'S L.E.D.s

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AND FLAT-PANEL DISPLAYS
ARE MANUFACTURED.

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THIS TECHNOLOGY IS ALLOWING
THE VISUAL IMAGE

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TO BE EVERYWHERE.

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[ambient music]

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♪ ♪

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- THERE\'S A STUDY.

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IF YOU GO OUT EACH DAY
WITHOUT NOTICING,

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ACTUALLY THERE ARE...

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UNCONSCIOUSLY,
YOU\'D BE COMING ACROSS

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MORE THAN 2,000,
OR EVEN MORE MESSAGES, EACH DAY,

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AND ALL THIS BRANDING,
ALL THIS ADVERTISING IDEA,

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TRYING TO GRAB OUR ATTENTION.

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IF YOU WERE TO COMPARE
A STATIC ADVERTISING POSTER

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TO A L.E.D. SCREEN,

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WHICH HAS MOTION GRAPHICS

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THAT DOES THE SAME
BRANDING DESIGN,

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YOU KNOW THAT THE PLATFORM
THAT HAS THE MOTION

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IS A LOT MORE ATTRACTIVE
THAN A STATIC SIGN,

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SO I GUESS A LOT OF MEDIA
AND ADVERTISING PEOPLE

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REALIZE THIS
AND REALLY TRY

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TO PUSH THIS PROJECTION
TECHNOLOGY TO THE MASS.

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[whooshing tones]

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- THE DIGITAL SIGNAGE
DID NOT REALLY TAKE OFF

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UNTIL THREE YEARS AGO,

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WE PUT ON THE SITE
AT CHUNGKING.

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THAT SCREEN ACTUALLY INFLUENCED

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A LOT OF REAL ESTATE DEVELOPERS.

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THAT 90 SQUARE METER OF SIGN

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WAS THE...
ONE OF THE MAIN FEATURE

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FOR THEM TO SELL
THEIR PROPERTY.

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THAT PARTICULAR PROPERTY
SOLD AT A VERY HIGH PRICE,

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SO A LOT OF OTHER DEVELOPERS
ACTUALLY PICKED THAT UP

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AND TRIED TO DO IT
IN OTHER AREAS OF HONG KONG.

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SO RIGHT AFTER
THAT INSTALLATION,

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THERE WERE, I THINK,

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AT LEAST 15 OR 20 SCREENS
BUILT AFTERWARDS.

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[upbeat music]

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♪ ♪

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THERE GOT TO BE MORE
AND MORE NEW MEDIA,

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LIKE A BUS NETWORK
OF L.C.D. SCREENS,

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OR LIKE A RESTAURANT NETWORK
OF L.C.D. SCREENS.

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AND THEN THERE ARE ALSO
THE WIRELESS TECHNOLOGIES,

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SO ALL OF THIS TOGETHER,

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THEY ARE ALL OUT-OF-HOME MEDIA.

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INSTEAD OF JUST PUTTING
ALL THE BUDGET

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INTO ONE BASKET,
IN THE TV,

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ADVERTISERS KIND OF HAVE
MORE AND MORE CHOICE

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IN DIFFERENT MEDIA BUYS.

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- \"OUT-OF-HOME,\"

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IT\'S A TERM THAT\'S BEING USED

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TO DESCRIBE ALL THESE MONITORS
THAT ARE ALL OVER THE PLACE,

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IN MALLS OR PUBLIC SPACES,

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LIKE PUBLIC TRANSPORTATION,
OUTSIDE THEATERS.

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THEY\'RE EVERYWHERE.

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THEY\'RE JUST SO PROLIFIC
OUT HERE,

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AND THAT\'S SOMETHING
THAT\'S NEW.

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AND THAT\'S WHEN IT MEANS
NEW BUSINESS OPPORTUNITIES,

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BUT ALSO NEW WAYS TO INTERACT
OR AFFECT THE PUBLIC.

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Narrator:
IF YOU SPEND ENOUGH TIME HERE,

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YOU MIGHT GET USED TO THE FACT

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THAT EVERY SPACE SEEMS
TO BE FILLED WITH SOMETHING.

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HONG KONG\'S DENSE URBANIZATION

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IS A RESULT OF ITS GEOGRAPHY,
ITS HISTORY,

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AND ITS DESIRE
TO BE ASIA\'S WORLD CITY.

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IT IS A COMPLEX,
SPECULATIVE SPACE,

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CONSTANTLY CHANGING,
REBUILDING AND EXPANDING,

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AND DOMINATED BY IMAGES.

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PERCEPTION AND IDENTITY
BECOMES ELUSIVE

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IN THIS MEDIA-SATURATED
ENVIRONMENT.

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- PEOPLE ARE REALLY THINKING
ABOUT MOBILE DEVICES

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AND THE WEB
AND THESE PUBLIC SCREENS

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AND HOW THEY\'RE GONNA
ALL WORK TOGETHER.

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HOW DO WE USE THESE?

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PEOPLE WHO HAVE THESE
PORTABLE COMPUTERS, ESSENTIALLY,

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AND TRY TO GET THEM INVOLVED
IN SOMETHING

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THAT THE CLIENT WANTS TO SELL.

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- IT\'S BECOMING MORE
AND MORE IMPORTANT

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HOW THESE SCREENS ARE DESIGNED
FOR HUMAN INTERACTION,

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HOW IT COULD BE MORE
JUST INTUITIVE FOR PEOPLE.

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JUST, WHEN THEY SEE THE SCREEN,
THEY KNOW,

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\"OH, I COULD, YOU KNOW,
SPEND MORE TIME THERE.\"

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- WE\'RE IN MONG KOK RIGHT NOW.

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WE HAVE THREE SCREENS
IN MONG KOK.

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THIS AREA IS CATERED
FOR TEENAGERS,

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AND IF YOU\'RE LOOKING
FOR ANY SPORTS GOODS

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OR ANY ELECTRONICS,
ANY GAMES,

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YOU JUST COME TO MONG KOK.

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SO IT\'S A VERY FUN AREA
TO HANG OUT.

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THIS IS ACTUALLY
A PEDESTRIAN AREA

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AFTER 4:00 EVERY DAY,

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SO PEOPLE CAN STAND AROUND
AND LOOK AT TRAILERS,

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SPEND A LITTLE MORE TIME
WITH THE SCREEN.

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[upbeat music]

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♪ ♪

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- WELL, FOR ME, IT\'S REALLY
A LOVE/HATE RELATIONSHIP.

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THE GOOD THING
ABOUT THESE SIGNS

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IS THAT WHENEVER I WALK
AROUND HONG KONG,

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IT ALWAYS SEEMS THAT
THERE\'S SOMETHING HAPPENING.

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YOU\'RE NEVER ALONE, AND...

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IT\'S KIND OF LIKE A GIANT CLUB,
BASICALLY.

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YOU GOT TONS OF LIGHTS
AND NEON SIGNS EVERYWHERE.

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YOU\'VE GOT LOUD NOISES,

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PEOPLE\'S MOBILE PHONES
GOING OFF,

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AND YOU DON\'T FEEL ALONE.

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YOU FEEL SOMETHING
IS CONSTANTLY HAPPENING.

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- YOU KNOW, WHEN YOU\'RE WAITING
FOR THE TRAIN,

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I TRY TO STAND
IN FRONT OF THOSE SCREENS,

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YOU KNOW, THE MOVING ONES.

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- BEAUTIFUL ADVERTISING.

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VERY AMAZING.

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WHAT... BE CHARMING,
THAT\'S WHAT WE LIKE TO SEE,

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AND PROBABLY SOME NEWS.

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SOMETIMES THE NEWS
IS VERY IMPORTANT.

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YOU CAN SAVE YOUR TIME
WHEN YOU CROSS THE ROAD

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AND YOU CAN HEAR SOME NEWS.

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- HERE, IT MAGICALLY BLENDS
INTO THIS FLOW OF THIS TRAFFIC

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AND, YOU KNOW...
LOOK AT THIS.

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I MEAN THIS WHOLE PLACE
IS LIKE A...

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LIKE A...
THERE\'S A MAGNITUDE.

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IT\'S LIKE A FLOOD OF COLORS
AND INFORMATIONS

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AND SO MUCH ACTIVITIES,
AND IT\'S SO EMOTIONAL.

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IT\'S A CHAOS,
BUT THEN AGAIN,

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SOMEHOW THERE\'S A HARMONY HERE.

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THE GOVERNMENT SHOULD REQUIRE
THEM TO, LET\'S SAY,

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HAVE 10% OR 20% OF THE TIME,

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THAT THEY SHOULD GIVE THAT TIME

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TO EITHER FOR PUBLIC MESSAGES,

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EITHER TO THE GOVERNMENT
OR, BETTER STILL,

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HAVE A PORTION OF THAT MADE
AVAILABLE TO CITIZEN GROUPS,

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WHICH NORMALLY WOULD NOT HAVE
THE RESOURCES

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TO HAVE ACCESS
TO THIS KIND OF MEDIUM

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BECAUSE IT\'S JUST SO EXPENSIVE
AND OUT OF REACH TO THEM.

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- WHO\'S BEING TARGETED
BY THESE SCREENS?

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ANYBODY WHO HAPPENS
TO WALK BY THEM.

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IN A BROAD SENSE,
YOU WANT TO GET EVERYBODY.

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BUT ON A MORE NARROW SENSE,

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NOW YOU DO HAVE
SOME MORE CONTEXT

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IN TERMS OF THE ENVIRONMENT

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SO THAT YOU CAN BE EVEN MORE
FINE-TUNED IN YOUR MESSAGE.

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- WE\'RE TRYING TO TARGET
THE ON-THE-GO CROWD

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FROM 14 YEARS OLD
TO 38 YEARS OLD,

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BECAUSE THOSE ARE PEOPLE
THAT GOES OUT THE MOST.

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BUT EVEN IF YOU COUNT
ALL THE DEMOGRAPHICS,

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YOU CAN\'T REALLY CLAIM THAT,
YEAH, WE...

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WE HAVE 25% OF TEENAGERS.

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BUT IN THE LONG RUN,

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WITH THE ADVANCEMENTS
OF TECHNOLOGY,

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WE COULD UTILIZE BLUETOOTH
OR S.M.S.

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THEN ALL THESE CAMPAIGNS
COULD BE VALIDATED.

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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
♪ ♪