I went to the cinema on Saturday and was struck by the visuals in a couple of adverts screened before the film started. They were both very similar in the way that they showed people and locations constantly shifting one to another.
One of the ads was for Barclay’s contactless payment card which you can view it here. The other was for Uber. The Uber ad is called ‘Effortless Night’ and shows a young woman and man meeting, dancing, eating and so on. After each activity they climb into one side of a car, and then climb out the other side into a new location and a new cute event. The Barclaycard ad is very similar. A young woman stands at a photocopier, which folds open into a shop that she walks into, and the rest of the ad is her swiping her card and then leaning onto a surface (a wall) or going through an opening (a door), changing her clothes and location as she does so, ending up in a nightclub before flipping back to the office and her suit.
Neither ad uses obviously digital special effects; it all looks like film. (I realise that those distinctions are increasingly hard to sustain but I think you’ll know what I mean.) But it struck me that the constantly shifting locations and costumes were nonetheless influenced by the morphability that’s so central to digital visualisations. A digital film always has the potential to become an animation in which, to quote Suzanne Buchan, space and time become the real characters. In both these ads, the humans are just an excuse, it seems, to demonstrate a sort of hubbed temporality and spatiality, in which moments/locations are visible and are connected only by the transition between each; there’s no flow or route, just sort of hinge from one thing to another: a car in the case of the Uber ad, and various walls and doors in the Barclays. Swipe spaces, if you like, a spatiality in which one location simply replaces another by an apparently routeless, kind of spaceless movement between them.
It’s the ease of these moves that seem to be the point of each advert, lubricated by the ‘effortless’ purchase of services and commodities, of course (neither of the ads make the workers in these spaces very evident: the Uber drivers are completely invisible). There’s something here about the alignment of flow, pleasure and transformation that much of digital culture seems to be cultivating right now. In these ads it’s sutured all too neatly with the apparently seamless, digitally-enabled flow of money. We’ve long been familiar with images of people constructed through the display of commodities they’ve bought: looks like this is the latest version of space/time being constructed through digitised commodification. Swipe space, anyone?