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Nikita Gale, SOME WEATHER (Fog), 2021
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CIRCA:
The Piccadilly Lights screen in London, along with the K-Pop Square screen in Seoul and the Shinjuku Station screen in Tokyo, are some of the largest screens in the world. How have you decided to approach this large scale within your commission?

NIKITA GALE:
I wanted the screens to be read in an entirely different way than you might read an advertisement. There is no narrative. No specific object or character to follow. The images are unresolved and they ask you to look at the screen as much as they ask you to turn away from the screen to look at how the screen is affecting your surroundings. I wanted to turn the screens into gigantic flood lights.

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"The Song Machine: Inside the Hit Factory", by John Seabrook, 2015

There’s a reason today’s ubiquitous pop hits are so hard to ignore—they’re designed that way. The Song Machine goes behind the scenes to offer an insider’s look at the global hit factories manufacturing the songs that have everyone hooked. Full of vivid, unexpected characters—alongside industry heavy-hitters like Katy Perry, Rihanna, Max Martin, and Ester Dean—this fascinating journey into the strange world of pop music reveals how a new approach to crafting smash hits is transforming marketing, technology, and even listeners’ brains. You’ll never think about music the same way again.

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