After letting online viewers to vote on 14 original pilots, Amazon has ordered five to series: "Alpha House," "Annebots," "Creative Galaxy," "Betas" and "Tumbleaf."
These shows – two comedies and three childrens' shows — mark Amazon's first foray into original streaming series. The first will be made available to Amazon Prime subscribers later this year.
La Rice University Art Gallery située à Austin au Texas propose jusqu’au 30 août de découvrir « Unwoven Light », le nom de cette très belle installation pensée par Soo Sunny Park. Cette création colorée, composée de 37 parties mises en scène, est à découvrir en vidéo et en images dans la suite.
Its been a long year of political, economic and religious upheaval in Italy, but we believe just getting people to smile can make a difference. So we asked ourselves: what if every time you opened a can of Coke, it smiled back at you? So we went to the drawing board to get it technically right to see if we could change the opening of the can into the shape of a smile. And the idea was born – a smiling Coca-Cola ‘Happy Can’
Poor JCPenney. The retailer, which lost gobs of money last year and could very well die this year, simply cannot catch a break. This time it put up a seemingly harmless billboard in California. But wouldn't you know it—people are already saying the tea kettle on the billboard looks like Hitler. That's a stretch (this is what a proper Hitler tea kettle looks like) but somehow not surprising, given how star-crossed this company seems to be these days. Perhaps Michael Graves, the designer of the kettle, should apologize—although JCPenney would probably beat him to it. Via Reddit and Gawker.
UPDATE: Kudos to Penney for the tweet response below. There's life in the old gal yet!
(TrendHunter.com) In his newest picture book, ‘Star Wars: Vader’s Little Princess’ artist Jeffrey Brown depicts a Darth Vader father-figure as he struggles to raise a teenage Princess Leia. Some…
Visiting the video arcade at my neighborhood mall in the '80s was both exhilarating and a bit scary. On the one hand, I feared that bigger kids would try to take all my change. (And I mean a physical shakedown, so quarters would spill from my pockets onto the pizza-smeared floor.) The adrenaline rush came from the games themselves. Asteroids, Space Invaders, Radar Scope … I loved them all. As I played, I rarely paid attention to my score. I just grooved on the sights and sounds, thrilled to each synthesized pop! bleep! and ping!, riding waves of pixelated excitement for hours on end. I wanted to meld with those machines and live in that world. Magic machines everywhere! That's what I wanted the future to be like. That was a scary thought, too, but no less wonderful for that.
Fast forward to Google's latest Chrome Experiments—two games designed to show off the advanced capabilities of the company's browser. They took me back to those arcades of my youth in ways both good and bad. This is partly because the games, "Roll It" and "Racer," are self-consciously retro. (The latter's soundtrack is by Giorgio Moroder, still taking his passion and making it happen after all this time!) Despite the nods to yesteryear, both games are cutting edge and let users play across multiple screens—phones, tablets and computers. "Racer" lets you drive a car across as many as five mobile devices. Watch it speed from the phone you're holding to the tablet in your buddy's hand! With "Roll It," you control the trajectory of a virtual skeeball on a desktop or laptop screen by moving a smartphone handset this way and that.
"Racer" and "Roll It" are both fun and absorbing—impressive slices of techno-magic that fulfill the promise of those crude arcade screens from the mall. They're like yesterday's dreams come true, brimming with possibilities for our digital tomorrows when synced systems running Chrome will conquer space and time. Still, I can't help feeling ambivalent, even dispirited about the proposition. For one thing, the joviality feels forced and works a tad too hard to sell happiness on a microchip. "Grab your phone, some friends and get ready to roll," says the "Roll It" promo clip. "No apps. No downloads. All you need is Chrome."
Booyah, Google's got the fun! It's daffy doodles, rad robots, animated animal rock groups and games all day long. Just follow the bouncing Chrome ball across screens of every shape and size … because the company now demands our attention on multiple platforms, as if retargeting humanity one screen at a time wasn't enough fun.
Ah well, there's no point in bemoaning "Big Bad Google," because I can't imagine a world without its products and services. Sure, Google's scary—but it gives us wonderful stuff, and its output has become an indispensable part of our daily existence. Maybe that's my problem. We've melded with the machines more thoroughly than I'd ever imagined, and now there's no escape. Our cursor-driven workplace tasks are essentially problem-solving games, complete with somewhat more sophisticated pops! bleeps! and pings! There aren't any shakedowns per se—just data-driven commerce. We can all groove to that, right?
I got the future I dreamed of all those years ago. So, why can't I shake the feeling that I'm the one being played?
The Los Angeles outpost of agency/content studio KesselsKramer, which opened up shop in Chinatown last year, is part of the creative team behind “Mythical Creatures,” a new documentary about artist Gary Baseman uncovering the story of how his parents survived the Holocaust in Ukraine. The film’s mixture of art and history also benefits from a score by South African duo, Die Antwoord.
The press release characterizes the project as “a whimsical story of survival and hope.” Using whimsical to describe a Holocaust story can be cringe-inducing, but after watching Baseman discuss his familial roots in his art studio, the description seems to make sense. Baseman’s artistic style has been described as “adorably perverse” by the Los Angeles Times, and that sort of imaginative approach to a story about Holocaust survivors could help the movie stand out creatively.
David Charles, ECD/partner at KK Los Angeles who wrote and directed the film tells us that his shop hopes to release the film in October, and to secure more funding. And not to worry, KK LA plan to start a second wave of Kickstarter donations later in a couple of days (we’ll update with link).
Wouldliketomeet.me has highlighted one of the pitfalls of online dating in its launch ad campaign, which will air on cross-track projection screens across the London Underground for the next seven weeks.
Présentée pour la première fois aux 24H du Nürburgring, voici le concept car d’Aston Martin CC100 Speedster. Inspiré par l’Aston Martin DBR1, ce concept-car ultra léger de 1200 kilos a été pensé pour célébrer les 100 ans de la marque. A découvrir en images et en détails dans la suite de l’article.
Advertising Agency: Publicis, Milan, Italy
Creative Directors: Cristiana Boccassini, Bruno Bertelli
Art Director: Valeria Vanzulli
Copywriter: Francesca Bonomi
Account Supervisor: Giada Salerno
Agency Producer: Mariella Maiorano
General Manager/International Client Service Director: Daniela Di Maio
Production: Dooley Srl
Executive Producer: Marco Astarita
Director and Coreographer: Nikos Lagousakos
Set Designer: Andrea Gallo, Pollo Design
Stylist: Claudia Tortora
Music and Sound Effects: Diego Maggi
Structure and Technology Producer: Giancarlo Campora, Lime Lite
Editor: Stuart Greenwald
Com a proposta de permitir que as pessoas aproveitem cada minuto do sol, sem sair da praia pra nada, a NIVEA criou um anúncio carregador de celular. Promovendo sua linha de protetores, Sun, a peça capta energia solar e transfere para a bateria do smartphone através de uma entrada USB.
Criado pela Draftfcb, foram oito meses de desenvolvimento no total: seis para produzir uma placa solar tão fina quanto o papel, e mais dois para conseguir imprimir o material.
Adidas has pulled together five agencies to create an integrated multi-channel marketing campaign for the new Nitrocharge football boot in its biggest silo launch to date.
(TrendHunter.com) With Mad Men on the air featuring women with larger-than-life coiffes, 60s-inspired hair has never been more appealing in contemporary culture. The ‘Merci, Bardot’ editorial for Elle…
Em janeiro deste ano, entrou no ar o The Reconstructionists, projeto desenvolvido em forma de Tumblr pela escritora Maria Popova – conhecida pelo excelente Brain Pickings – e a ilustradora Lisa Congdon. A ideia é semanalmente, ao longo do ano de 2013, celebrar a vida e obra de mulheres que foram grandes artistas, escritoras, cientistas ou que colaboraram de alguma maneira para “mudar a forma como nos definimos como uma cultura e viver nossas vidas como indivíduos de qualquer gênero”.
A ideia é apaixonante, assim como sua execução enche os olhos. Enquanto Lisa Congdon cria belas ilustrações acompanhadas por frases ditas pelas mulheres ali retratadas – Agnes Martin, Gertrude Stein, Frida Kahlo, Marie Curie e Susan Sontag são alguns bons exemplos -, Maria Poppova assina um pequeno perfil da homenageada, com direito a links para fontes mais elaboradas.
O nome do projeto é emprestado de um texto escrito em 1944 por Anaïs Nin (uma das homenageadas), sobre o papel da mulher na reconstrução do mundo, que independentemente do tamanho do trabalho, da época ou do reconhecimento, foram fundamentais para chegarmos até aqui.
O mais bacana nisso tudo é que The Reconstructionists é uma ótima referência para diferentes áreas, colocando em pauta temas como a criatividade, a maneira como encaramos a vida e expectativas, entre outros assuntos, e por isso mesmo acaba despertando algumas reflexões. Uma delas é o inevitável “e se fosse no Brasil”, quem seriam as mulheres retratadas? Fica a pergunta, acompanhada por algumas imagens selecionadas.
Changing one of the most iconic products in the world could backfire. We’ve seen Coca-Cola add new flavors and alter their signature bottle contour before: New Coke fizzled out quietly after a decade, and Coca-Cola Blak didn’t even last two years. Now, McCann Milan is making the slightest of changes to Coke cans in Italy, redesigning the mouth, so when someone opens a new Coke, it looks as if the can is smiling back at them. McCann is calling this product the “Happy Can.”
The adjustment is so subtle, folks may not even realize anything has changed at all. The campaign is meant to cheer up Italians after a year of controversial press focusing on Silvio Berlusconi, a new Pope, and a troubled economy. Will the Happy Can make any difference? Probably not, since the can has yet to go into production. At the moment, it is only being hyped for promotional purposes, popping up on billboards in major Italian cities while the Coca-Cola brand goes over the legality of a widespread tweak to their traditional design. If McCann’s can modification could actually remedy Italy’s 36% youth unemployment rate, then people may be more inclined to buy a smiling pop-top. But for now, it’s just a very minor gesture in a country with some very major problems. Credits after the jump.
A host of creative billboards in Tottenham Court Road are showcasing some of the brightest talent of the future – the winners of AUB’s second ‘Who Are You?’ competition.
(TrendHunter.com) An all-black theme has taken over the Obese.Plein fashion house for the Spring/Summer 2013 collection with designer Robert Lai topping off each ensemble with a dramatic black shroud.
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