However, in reality, the Brazilian way of life subverts this logic where its expression produces urban spaces that don’t correspond to what is originally planned or. Social housing developments, gated communities and new neighbourhoods are conceived according to modern, functional zoning logic. Housing production in Brazil continues, for the most part, to be tied to the mono-functional paradigm. Also important in constraining civil society impacts to reform and transform contemporary financial markets are deeper structural circumstances such as embedded social hierarchies (among countries, classes, etc.), the pivotal role of finance capital in accumulation processes today, and the entrenchment of prevailing neoliberal policy discourses. The reasons for these scant achievements are partly related to capacities and practices in civil society groups, relevant governance agencies, and financial firms. Impacts from these citizen associations have not gone beyond promoting modest rises in public awareness, certain limited policy shifts, and minor institutional reforms of a few public governance agencies. Why have commercial financial flows-as a major force in contemporary society with a number of significant problematic consequences-attracted relatively little effective public-interest response from civil society? Change-oriented nongovernmental organizations (NGOs), labour unions, faith-based organizations, and other social movements have mostly remained in the shadows vis-à-vis private financial markets. This is achieved by illustrating how various artworks extend the notion of publicness and remediate the mutually constitutive relationship among the built environment, media technologies, artists, public and everyday encounters. This article provides insights into a public screen’s mode of spectatorship, quality of public space and curatorial strategies in an urban context. The case also exemplifies how a public screen can mediate the public to experience an alternative context through artistic intervention, where negotiations of perceptions and subjectivities are made possible. It provides an opportunity for artists to provoke absent ideas in the public space and explore subversive potential, including critical reflection on issues surrounding surveillance, consumerism and rapid urban growth. The case sets an example of how a public screen can serve as a mediating agent. This article is a case study on Artificial Landscape, a site-specific media art project located on Asia Pacific’s largest LED outdoor screen. Large media walls have occupied the façades of many buildings, rendering a cityscape with dynamic information visible as a new urban skin. Screen technologies increasingly permeate the experience of public space in Hong Kong.
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