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• W2186705187 abstract "In January 2007, an extraordinary thing happened in Sao Paulo, Brazil, a vast, wild city not especially known for its urban planning: A comprehensive ban on all forms of outdoor advertising, including rooftop signs, passed into law (Burgoyne, 2007; Garfield & Galvao, 2007; Rohter, 2006). The result—as captured most memorably by photographer Tony de Marco—is what to some might appear part of an improbable but glorious utopia, a culture-jammer’s dream; to others, a desecration, the stuff of totalitarian nightmares. This, at least, is how it has played out in the media, on blogs, and in the Flickr photograph set “Sao Paulo No Logo,” where de Marco’s astonishing shots can be seen (de Marco, 2007). Being at the tail end of “Logo Cities,” a three-year research/creation project on signs and branding in urban space, I was particularly drawn to this news story. First, the images bear an uncanny resemblance to the kind of fanciful artwork one might find in Adbusters magazine. Second, and most important, I think, were the responses of the ad men whose livelihoods seemed to be most threatened by this development. One suggested that the city’s streets would now be less safe because of the loss of illuminated signs; the Brazilian Association of Advertisers called the new law “fascist” (Burgoyne, 2007), while unnamed sources likened the city to North Korea and communist Eastern Europe. This view was echoed by Dalton Silvano, a city councillor, who said: “I think this city will become a sadder, duller place. . . . [W]hen you’re in your car, or alone on foot, [advertising is] a form of entertainment that helps relieve solitude and boredom” (quoted in Rohter, 2006). Why would advertising people, whose job it is to make hyperbole credible, come up with such incredible—if not downright silly—arguments? Perhaps, like most of us, they have very little sense of how to respond, precisely because the events in Sao Paulo were so unlikely. Most of us have grown up in highly commercialized media environments, in which every surface, every nook and cranny of daily life, is also an advertising opportunity. If this is the very air we all breathe from the day we are born, no wonder we are at a loss as to how to talk about its potential or actual absence. Logo Cities, then, has been concerned with presence: the abundance of huge illuminated signs, logos, and branding devices that “adorn”—if that is the right" @default.
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• W2186705187 date "2009-01-01" @default.
• W2186705187 modified "2023-09-24" @default.
• W2186705187 title "Research in Brief Hypercommericalism: On the Streets, in the Movies" @default.
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