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16 NOVEMBER 2008

Giant Corporation Insinuates Itself Through Guerrilla Tactics

"Microsoft unleashed a swarm of large adhesive butterflies in Manhattan.

They settled yesterday morning on sidewalks and doorways; traffic signals, stop signs and planters. They alighted on the bluestone paving around Grand Army Plaza and the granite corners around Grand Central Terminal.

Their blue, green, orange and yellow wings had spans of 12 to 20 inches, the larger ones accompanied by a caption –– 'It's better with the Butterfly' –– advertising Microsoft's new MSN 8 Internet service.

'This is nothing more than corporate graffiti,' said Vanessa Gruen, director of special projects for the Municipal Art Society, a civic organisation that has long battled commercialisation of public space. 'It's no better than all those kids out there tagging subway cars.'
...
A single summons was issued, with a [US] $50 penalty, though each butterfly could have been subject to a $50 fine, said Tom Cocola, the assistant commissioner for public affairs at the transportation agency. He said the city's chief goal was seeing to it that the decals [slickers] are removed.

Microsoft, for its part, insisted that it was authorised to place the decals."
(David W. Dunlap, New York Times, October 25, 2002)

[Pioneering example of guerrilla marketing tactics employed by Microsoft across Manhattan in 2002.]

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TAGS

adad campaign • adhesive butterflies • advertisementadvertisingadvertising in public spacesbillboardbrandingbutterflydecalenvironment • fly posting • graffiti • guerrilla marketing • guerrilla tacticsManhattanMicrosoft • MSN • New Yorkpublic spacestickertaggingtangible advertising mediaurban space

CONTRIBUTOR

Simon Perkins
11 SEPTEMBER 2008

Urbis: capturing visitors through CCTV surveillance

"These themes are reflected in the variety of interactive exhibits on display, the centre piece of which is a room containing cctv cameras where one can see oneself being filmed and where, at a console, one can then produce one's identity card, with basic information about oneself, including likes and dislikes. These can then be stuck on the outside wall of the room and can be read by other visitors. This appears to be one of the most popular exhibits and an example of an interactive display that works. The reason for this success are that it affords absorption or immersion in an activity in ways that most of the other exhibits do not. It makes no sense here just to look, rather one needs to sit down and get involved in a hands on experience so that one can present a snapshot of oneself to others. There is often a queue to use the computers and after a year the wall outside for sticking the id cards on is filling up. Information on the id cards includes a photo taken by the cctv cameras, first name, place of residence and likes and dislikes, these mostly include foods, football teams, family members, pets and celebrities often in both categories."

(Kevin Hetherington, 2004 p.23)

Hetherington, Kevin. 1997 "The Badlands of Modernity: Heterotopia and Social Ordering", London, UK: Routledge.

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TAGS

big brotherCCTVdecal • identity cards • interactive exhibitKevin HetheringtonManchester • Millennium Quarter Trust • museummuseum of contemporary culture • photo id • photo identification • photoboothpublic gallerystickersurveillancetoyUK • Urbis

CONTRIBUTOR

Simon Perkins
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