Aap! - Alternative Advertising Possibilities

Tzu Cheng, native of Taipei, Taiwan worked traditionally as a photojournalist before choosing to focus on artistic pursuits. His new work focuses on the delicate balance between the local and foreign.  At Aap!Global we’re big fans of Tzu Cheng’s work “Sadako” and the “Weird Kingdom,” explorations of difference.

This month’s inspirational interview invites Tzu Cheng to share his work with Aap!Global.

Q: Could you start with a brief thematic introduction to your work?

My works mainly focus on the foreignness under the American texture.

Q: Tell us a little about your background?

I was born and raised in Taipei, Taiwan. I am now thirty-three years old. I moved to the US for grad school in August of 2005. Prior to the move, I was a photographer for newspapers and magazines in Taiwan.

Q: How did you get into photography?

When I had to pick a major during my freshman year of college I chose to be a photographer. It seemed to me that a photographer has a good amount of independence, as opposed to something in the film industry, which I was also interested in. When I was hired as a photographer by a magazine in 2001, I felt the confirmation of photography as my lifelong career.

Q: How do you decide on locations & subjects?

Most of my work was made during road trips, often near inter-state highways. I usually pull over, park, and start walking around to scout for locations and wait for the right subject to appear.

Q: We’re big fans of your collection “Sadako’s Trip”.  Tell us a little more about this project?

Sadako is the ghost figure of the classic J-horror(�??Japanese Horror�?�) movie “Ringu” (1998).  Before the “Ringu”, the skinny hair dangling figure had already haunted Asians for centuries. The whole project originated from the idea of the ghost image, which had also been a hot topic in numerous TV shows and publications for almost two decade in Taiwan, Japan and Korea.

For Sadako’s Trip, the relationship between the ghost figure and the innocent subjects is a potentially interesting metaphor for the relationship between foreigners and this country.  In American society, foreignness can become a formality, the line between citizens and foreigners are blurred and hard to recognize.
Q: We couldn’t help but laugh with the reference and some of the humor the work has - were you intending it to have this humor - this “Where’s Waldo characteristic?”

Not until a recent critique did I learn the meaning of  “Where’s Waldo?” The visual arrangement is derivative of the pattern of the ghost image in which the paranormal often appears in an obscure spot within the image, which may be hard to recognize at first glance. The visibility of the ghost indicates one’s vulnerability within the context of the environment. It is a tactic for me to invite the audience to scrutinize the image, focusing on the bizarre landscape and interesting individuals.

Q: As a foreigner in the United States - do you think that maybe you in a way are “Sadako?” - Do you feel displaced in the “Wierd Kingdom” or America as you call the country?

I came to the States first in 2005 when I was thirty. To adjust to the new environment and language, I had to go through the process like we all did as kids, learning how to socialize and build up the knowledge base of the larger environment. I was handicapped in a way. I used to be very vocal back in Taiwan, but here, I have to conceal that part of me and become reserved. In other words, I was forced to shut up and it made me feel like a ghost.

I don’t feel displaced because I was not meant to be an American to begin with. That is how I mentally prepared myself. As a visual artist, I simply came here to be an observer with an outsider’s perspective.

Q. Do you feel that your identity changes when you lift the camera to your eye? Do you act differently?

A camera at hand seems to legitimize the act of approaching someone you don’t know. And it feels even more so to photograph in a foreign land. (I think I would stop here.)

Q: What sort of equipment and software do you use?

I used a Cannon 20D in the early stages of the project, inherited from my photojournalism days in which I felt more comfortable with a digital, mobile and smaller format camera. I am now using a Pentax 67, a medium format film camera.

Q: Would you give a brief walk through your work flow?

Seek consistent lighting conditions, I usually photograph in the morning before ten or an or two before evening.  I  am shooting mostly film now. After processing and scanning the negative, I adjust the image and proof it via the computer. I then produce files with different sizes of the same image for archival, web and print purposes.

Q: Is your work political, anthropological, commercial, artist? What is your goal in your core work?

I am a combination of those types except for the commercial part. As a commercial photographer, you need the capability of reading peoples’ minds. Your client, a paid customer, might not necessarily appreciate what you are, the message you want to put across as a visual artist.

I find myself fascinated by the idea of using photography to define a bigger context of a city or country. On the other hand, despite the fact that my work can be categorized geographically, I would like it to come across as something that everyone in part, can relate to.

Q: Who are some of your mentors, role models, and aspirations? Q. Which photographers have influenced you most?

I photograph people on the street and have looked at the work of photographers in that realm- Robert Frank, Steven Shore, and William Eggleston.

I admire the work of Martin Parr. He confronts and flashes his subject head on without hesitation. He comes up with a vivid definition of the location and the subject. There are qualities of street photography but along with it his mastering of calculated precision. Those are all tools and traits I would like to put in my pocket, at my disposal.

Q: What are your thoughts on commercial, advertising related work?

The one thing that separates art photography from commercial photography and photojournalism is that as an artist you need to have a statement, a viewpoint of your own. When it comes to commercial photography, there is always something you have to sell for your client. The assignment has already been defined before it’s been made. In this perspective, the challenge of commercial photography would be more straightforward, though definitely not easier, as oppose to other types of photography.

Q: What is your relationship with the poses individuals? Are they strangers, models? Aside from Sadako - you mainly take pictures of strangers - is this on purpose?

Most of them are strangers, people I encounter on the street. I keep my eyes these people and think about all the possibilities of posing them. I always bother my subjects as much as possible. For that I am grateful to all the strangers that I’ve met along the way for their willingness to spare some of their precious time to help me.

Q: Is your work available for sale and if so let us know for our readers?

People are always as much welcome to give me response with their thoughts as to buy my work, though I actually don’t price tag my pieces at this moment.

My work is available for sale, please contact me at autumniac@gmail.com or drop a line to let me know what you think!

Thank you.

More @ http://www.liutzucheng.com/

GTA IV, “the new open-world, action-driving video game released today around the world will easily “top last year’s record-breaking $300 million first-week sales of Microsoft and Bungee Studios’ first-person shooter “Halo 3″ �?? and all without a similar marketing bonanza or budget. 

According to the AP report - ‘Grand Theft Auto’ Promo Campaign Kept Quiet’  Rockstar has been trying to keep their marketing message on the “downlow.”

We’ve been truly impressed in Rockstar’s ability to communicate and build hype directly with gamers through viral internet teasers and low cost non traditional out of home media including amazing phony wanted billboards, graffiti, and viral websites. (Even Bagel Bags, Coffee Cups…)

Some of the ficitional wanted adverts have included in them an e-mail address where residents of “liberty city” (the game’s fictional universe) can send in “tips” to LibertyCityPolice.com, a website which undoubtedly will be accessible inside the game’s internet function.

From a marketing perspective all this has been absolutely brilliant. From a CFO’s perspective the campaigns have demonstrated the value of low cost non traditional media and most importantly from a gamer’s perspective they have even been critical in building trust, interest and a direct relationship with players.   Seen in certain European and US cities, while we love the work we are just a little curious to see if these posters raised any objections.

Of course knowing Rockstar this was probably the intent…

GTA IV out today. Instead of enjoying the marketing - go play the game…

Review of GTA IV @ IGN 

Other Related Articles of Interest 

GTAIV ads pulled because of San Andreas flap Chicago - Transit Authority gave up a contract potentially worth more than $200,000 in revenue because people complained about another ad campaign more than three years ago.

We’re big fans of Banksy, his art/graffiti/social brand master, and while we’re not sure we agree with the above statement - advertisers, artists and more are drawing riles of debate on the statement through the internet.

Is “Advertising the greatest art form of the 20th century.�?� ??? as Marshall McLuhan prophesed?

We think John Jay over at Honeyee sums up how most “creatives” in advertising feel about the dynamic between art and advertising….

“While what I do may not be art, it is just as rewarding and challenging. It too is about creativity for a changing world” - John Jay - Creative Director @ WK.

Besides discussions of the world economy, technologists, advertising agencies, and marketers were also present at last week’s World Economic Forum looking to discuss coming year of advertising trends.  One question on everyone’s mind is whether social networks, video games and mobile phones are going to become more and more mainstream.

However, Sony’s chief executive Howard Stringer had other opinions in mind. Despite the forum’s positive take on in-game advertisement, he expressed his doubts on the marketing trend’s effectiveness in the medium. Taken from an article in the Financial Times, Stringer was quoted to have said:

“The [supposed] solution to everything at the moment in the digital space is ad supported. While advertisers are happy to talk that up, there is a limit to the amount of money available.”

Similar sentiments were voiced out by NBC Universal chief executive Jeff Zucker in the field of mobile advertising. Activision Blizzard chief executive Bobby Kotick also echoed Stringer’s sentiments about advertising-funded video games.

However, new forms of advertising were being explored as well. Advertisers were hoping to engage consumers into more interactive models, who are slowly drifting away from the usual radio, print, and television ads.

Researchers proved that many consumers found that advertising in mobile, video games, and social networking to be rather “intrusive”, although many were still willing to put up with it in exchange for free content. While this is especially true with the younger consumers, many business models are already adjusting to growing trend.

Via [FT.com]

Aap!Global is presenting @ Pecha Kucha - San Francisco August 29th on the topic of Legal Graffiti and New Media!

Come meet with us and others to talk about design, art, entrepreneurship and innovation.

New to Pecha Kucha?

Pecha Kucha (pronounced peh-chak-cha) was started in Tokyo, Japan in 2003 by Astrid Klein and Mark Dytham of Klein Dytham Architecture, as a way to attract people to SuperDeluxe, an event space they had set up in Roppongi.

A Pecha Kucha night is an event format in which presenters show a slideshow of 20 images, each of which is shown for 20 seconds �?? giving a total presentation time of 6 minutes 40 seconds. Each event usually has 14 presenters. Presenters (and much of the audience) are usually from the design, architecture, photography, art and creative fields.

The event format has been replicated in 42 other cities, including New York, London, Mexico City and Shanghai. Events are usually limited to one each month per city.

More info @ http://www.pecha-kucha.org/

We welcome continued coverage on the Sao Paulo Billboard Ban and the effect it has on out of home media. The balanced video covers the topic from multiple angles.

“São Paulo’s conservative Mayor, Gilberto Kassab, put into effect the “Clean City Law” this month, outlawing nearly all forms of outdoor advertising. Interviews with lead singer of Brazilian band, Nação Zumbi, Mayor Kassab, city officials, and advertising industry.”

Read more Winners and Losers in the Sao Paulo Billboard Ban

Aap!Global is pleased to congratulate Chris Seta - Director of Operations on the birth of his newborn - Noah.

Noah Seta was born on Tuesday at 6:14am @ 6 lbs. 8 oz and is quite a little champ coming pre-branded as a SETA.

While we’re obviously joking on branding the new born - What is scary is that a couple in Manitoba in 2005 actually successfully sold advertising on their newborn but after a negative backlash from the Canadian public decided against it.

Read the release and news on the ‘branded baby’ after the break…

Read the rest of this entry »

We specialize in placing messaging on alternative mediums. While most individuals we interview on our installations of alternative advertising technologies smile, laugh and enjoy the message and medium - 1 of every 50 or so does not. The naysayers, the critics as we call them, usually start off with rants on the invasiveness of advertising, on the corporate world, on the evils of big business. We listen, we try to communicate and we set up a forum of conversation and learning. We like hearing critics - we like having individuals interact with our media. While we’re against outright vandalism of others property and expression - we enjoy some of the more vocal and thought provoking “anti-advertising” experiments.
Seeing ourselves as a group of hackers and tinkers - today we bring you two of the best of the online Anti-Advertising Establishment.

For those more interested in urban reaction and communication we recommend Graffiti Research Lab - an online directory powering urban communicators with open source technologies.

Our favorite featured by G.R.L include Theodore Watson’s, absolutely awesome L.A.S.E.R (laser projection) system. Watch the clip or download the open source code to make this work.

For those more academic and theoretical in their rejection of all advertising related we recommend the drier but equally interesting blog The Anti-Advertising Agency - who as they describe

“through constructive parody and gentle humor our Agency�??s campaigns will ask passers by to critically consider the role and strategies of today�??s marketing media as well as alternatives for the public arena. Our work will de-normalize �??out-of-home�?? advertising and increase awareness of the public�??s power to contribute to a more democratically-based outdoor environment.”

Great posts and some fun projects including Portable Sound Units and Anti-Ad Stickers

As for Aap!Global’s take on these and other anti-advertising projects around the world - its almost ironic - but in many ways there is a strong underliant of converation between the two - many of the same creative talents are used in both - forms of designs, communication, technology and the concept of ownership of space are explored and implemented by both the media owners and the anti-advertising establishment. Its funny but most of these project leaders would problably make great ad-execs and agency types.