Sky Jones! Channel: Chuck Norris

Advertising Agency: DDB, New Zealand
Executive Creative Director: Andy Fackrell
Creative Director: Chris Schofield
Art Director: Zac Lancaster
Copywriter: Tom Cunliffe
Account Director: Danielle Richards
Planner: Craig McLeod
Account manager: Katya Frolova

Sky Jones! Channel: Mr. T

Advertising Agency: DDB, New Zealand
Executive Creative Director: Andy Fackrell
Creative Director: Chris Schofield
Art Director: Zac Lancaster
Copywriter: Tom Cunliffe
Account Director: Danielle Richards
Planner: Craig McLeod
Account manager: Katya Frolova

Motor Accident Commission: Near the shops

Advertising Agency: Clemenger BBDO Adelaide, Australia
Executive Creative Director: Karl Fleet
Art Director: Paul Stratton
Copywriter: Jeremy Egerton
Account Director: Erik de Ross
Agency Producer: Michelle Treloar
Studio: Natalie Dunn
Retouching: Paul Munzberg
Account manager: Carmel Alfano

Motor Accident Commission: Traffic really

Advertising Agency: Clemenger BBDO Adelaide, Australia
Executive Creative Director: Karl Fleet
Art Director: Paul Stratton
Copywriter: Jeremy Egerton
Account Director: Erik de Ross
Agency Producer: Michelle Treloar
Studio: Natalie Dunn
Retouching: Paul Munzberg
Account manager: Carmel Alfano

Motor Accident Commission: On the way

Advertising Agency: Clemenger BBDO Adelaide, Australia
Executive Creative Director: Karl Fleet
Art Director: Paul Stratton
Copywriter: Jeremy Egerton
Account Director: Erik de Ross
Agency Producer: Michelle Treloar
Studio: Natalie Dunn
Retouching: Paul Munzberg
Account manager: Carmel Alfano

Crisis in the Classroom

Whence the path of reverence and wonder?

From Adbusters #107: The Epic Story of Humanity: Part 1, Spring


Ruth Skinner

I recently undertook an experiment. It involved enrolling in a university course — in this case an economics/business degree at the bachelor level — in order to see what it may be possible to learn.

For several hundred dollars I purchased the “required reading” textbooks for four units, read the necessary chapters for the first week and eventually made my way to classes.

The first lecture I attended was “Introduction to Sustainability,” followed by its associated tutorial. In laying the groundwork for the unit, the supervisor — obviously a kind-hearted and compassionate man (he got teary at one point while describing conditions in the developing world; conditions he’d obviously seen first hand) — asked students to write down and share their hopes in relation to the unit. He then asked what people’s greatest fears were in connection to the unit. Almost half the class said they were afraid of failing.

The following day I attended an “Introduction to Economics” lecture. There were about 200 people in the theater. At one point the lecturer asked how many people also worked while studying; around three quarters of the students raised their hands. She commented that this was a big change from her time as a student; I would say the same. She went on to discuss what she called “three key economic ideas.” The first is that people are “rational” (economists expect people to make decisions based on relevant information in order to “achieve their goals”). The second is that “people respond to economic incentives.” To prove this point, she asked how many people were there for the pure fun — for the pure joy — of it? Of around 200 people, not one person put up their hand. She, thereby proving her point, concluded that we were all there because of some incentive or other, predominantly that we may end up with a better job.

At my economics tutorial we flew rapidly through everything we were required to do in order to pass. No one spoke, other than the tutor, and everything she said was advice of some kind as to how we could ensure we pass. “Only about 4 percent of people receive HD’s (High Distinctions),” she said. “It is a bit easier to get a Distinction. But still, aim for an HD.” In warning us of the dangers of plagiarism and the need for appropriate referencing, she had the following to say: “Very rarely will you ever have a new idea. I have none.” We should, therefore, look solely to the thoughts of others and, consequently, reference everything. “There is a thing called ‘common knowledge,’ but…”

Two days later I attended a lecture on “Principles of Finance and Banking.” The lecture matched the required reading, urging all students to save as much money as possible now so that they have enough to live on when they retire. The lecturer stressed the concepts of “financial independence and self-reliance,” and of “survival” in the “corporate jungle.” It doesn’t look as if the class will be exploring the recent/ongoing Global Financial Crisis and what kind of paradigm and thinking actually underpin it.

It is at this point that I am reminded of a distinction made during the lecture on economics. It was concerned with the difference between positive and normative analysis. Normative analysis is more about value judgments — “shoulds” and “oughts.” Economists, it was said, use positive analysis — that is, they stick to the facts, saying not that something “should” or “ought” to be done, only “if you do this, then this will happen”; or so they should or ought to. Nothing was said of when they don’t, or of this concept itself being normative in essence, or the possibility of the two types of analysis overlapping.

You might wonder what drove me to such an experiment. I suppose that I wanted to see what current tertiary education has to say about the global economic situation we find ourselves in, and whether the thoughts necessary in order to renew social conditions were going to emerge from institutions such as this.

In general, this kind of education can be experienced as a “stuffing of one’s suitcase” with knowledge. If you don’t fill your suitcase up with content during the readings, you will fill it up during the lecture. If you are still not full, you can supplement from the lecture notes and the online lecture and/or website “lab.” If this doesn’t do it, there are always tutorials, study groups, help classes and online forums, not to mention the actual assignments. Failing all this, there is the cramming for tests and, ultimately, the exam. All during this time, the bulk of knowledge and information is stuffed — crammed — into our suitcases until we have doubled up on items, packed things we will never need, jammed in clothing for the wrong climate altogether and shoved in more things wherever there is room just to get it in there — just in case. We then sit on it and try our hardest to zip it up, our clothes getting stuck in the teeth of the zip as we pull it around, until finally we are able to more or less close it — it is good enough — some clothes still hang out where the zips meet, and extra books stick out of the front pocket all bent and warped, but it’ll do — we’re ready to travel. Or so we are told.

During this process, however, little to no questioning is made as to where it is we are actually headed, why we are headed there, if this is the place we really want to be going, or what alternatives there might be.

These suitcases are, essentially, nothing but our own heads. We are doing nothing other than stuffing our own heads. And, if we are honest, little to nothing of it sinks any lower than this; little of it reaches as far as our feeling life or our will. And so when we ultimately throw the case on the conveyor belt of life — following exams — the whole thing usually explodes, scattering its contents everywhere. We soon realize, however, that such contents are largely irrelevant and unnecessary (often, strangely, by virtue of the fact that we fail to notice their absence), and are quickly forgotten. For all we now require is the degree such activity bought us — the “boarding pass” now in our hand — education distilled into a commodity.

This, we might feel, is all we need. That is, until our debt repayments kick in. And if Spain and elsewhere are anything to go by, we may also find ourselves amidst the lack of possibilities for earning the money necessary to pay off that which we undertook simply in order to earn more money. In such places — and as such places become more of a global space — we find ourselves in a worse position than when we started. Our “economic incentive” has turned back upon us and, as the debts pile up, begins to actually devour us. We are no longer the consumer. We become, as it were, consumed by our own “incentives.”

I do not believe I am alone when I say that I am no longer interested in “passing” or “failing” in the sense outlined above. I also do not believe I am alone when I say I am interested in education for the “joy” of it. I believe everything can be studied with such a joy as this. This is the path of reverence and wonder. I am convinced that I am not alone when it comes to respecting the need for new ideas if the world is not to slide completely into the abyss, as well as for the importance of developing one’s self in order that such ideas may arise. Here — where the essential aspect of the individual overlaps with the essential aspect of all phenomena (including social phenomena) — this is the place where the objective and the subjective overlap, where duality dissolves, and we can come to know the objective, essential reality of the world as a new thought, and on the stage of our selves — as a self-referential truth.

What is needed is an “unpacking of the suitcase.” Space must be made for what each individual human being bears within them as a world-contribution, and for everything which can stream through a thinking, feeling and willing being who has put themselves in the service of the highest possibilities of this world — all that which stands against the complete demise of civilisation itself.

The suitcase must be left permanently unzipped; it must remain permanently open to the highest possibilities of other human beings and the world at large.

A “Higher Self Education” is needed; meaning both an education towards the development of our highest possibilities as human beings, as well as a free-self-directed educational, and more broadly, cultural life, which can arise through (and give rise to) the development of these capacities.

Ultimately, what is needed, more than any theory or program, is that individuals — as students and as educators (for we are each both of these in our age) — be prepared to put themselves in service of the true spirit of our time. This will not happen by endlessly referring to the past, but only if we make a space for the future to emerge through us.

John Stubley has a Ph.D. in English and Comparative Literature. He is the founder of the Centre for Social Poetry, and co-founder of RePerth, Occupy the Future and MacroScope Solutions.

Discovery Channel: Che

One more piece of information and you may change your mind.

Advertising Agency: Publicis Salles Chemistri, Brazil
Creative Directors: Hugo Rodrigues, Alessandro Cassulino
Copywriter: Adriana Martins
Art Directors: Kevin Zung, Silas Nogueira
Illustrators: Julius Ohta, Estudio Fuzion
Producers: Rita Vilarim, Thiago Loureiro, Emerson Russo
Art Buyer: Selma Momosse
Account Supervisor: Paula Schubach
Advertiser’s Supervisor: Astrid Vasconcelos
Account Manager: Marcos Vinício

Discovery Channel: Charles

One more piece of information and you may change your mind.

Advertising Agency: Publicis Salles Chemistri, Brazil
Creative Directors: Hugo Rodrigues, Alessandro Cassulino
Copywriter: Adriana Martins
Art Directors: Kevin Zung, Silas Nogueira
Illustrators: Julius Ohta, Estudio Fuzion
Producers: Rita Vilarim, Thiago Loureiro, Emerson Russo
Art Buyer: Selma Momosse
Account Supervisor: Paula Schubach
Advertiser’s Supervisor: Astrid Vasconcelos
Account Manager: Marcos Vinício

Discovery Channel: John

One more piece of information and you may change your mind.

Advertising Agency: Publicis Salles Chemistri, Brazil
Creative Directors: Hugo Rodrigues, Alessandro Cassulino
Copywriter: Adriana Martins
Art Directors: Kevin Zung, Silas Nogueira
Illustrators: Julius Ohta, Estudio Fuzion
Producers: Rita Vilarim, Thiago Loureiro, Emerson Russo
Art Buyer: Selma Momosse
Account Supervisor: Paula Schubach
Advertiser’s Supervisor: Astrid Vasconcelos
Account Manager: Marcos Vinício

Okamoto Zero Zero Four condom: Thin

Bareback. Almost.
One of the world’s thinnest condoms.

At 0.04 mm thick, the Okamoto Zero Zero Four is almost like wearing nothing at all.

Advertising Agency: Marcus Thomas, Cleveland, U.S.A.
Creative Director: Jim Sollisch
Art Director: Eric Holman
Copywriter: Kevin Delsanter
Digital Illustrator: Eric Thailing
Photographer: stock
Executive Creative Director: Joanne Kim
Published: April 2013

Here’s the Real (and Real Silly) Dunder Mifflin Ad Airing Tonight on the Series Finale of The Office

Looking forward to the series finale of The Office tonight? Here's something else to look forward to. The real Dunder Mifflin ad below—for the defictionalized paper brand whose products you can actually buy at Quill.com—will air in five Dunder Mifflin "branch" markets (Scranton, Pa., Akron, Ohio, and Utica, Albany and Syracuse, N.Y.) as well as Chicago (the home market of Lincolnshire-based Quill) during tonight's telecast. Just as the NBC show winds down, Dunder Mifflin paper is ramping up its advertising. (It's already among the best-selling brands in the office-supply category.) Its slogan, "Limitless paper in a paperless world," is what drives this spot, which is all about a guy who can turn anything he touches into Dunder Mifflin paper. Of course, he immediately uses his power to prank his co-workers the same way Jim pranks Dwight. The Midas touch is a well-worn theme in advertising, and they're not really challenging any conventions. But let's face it. This is as good as paper advertising gets.

    

39 Bizarre In-Flight Services – From Airline Shisha Services to Flighty Blind Dates (TOPLIST)

(TrendHunter.com) Flying can be a scary fear to overcome when the thought of being cooped up in an airplane, having jet lag or being high in the sky ignites a stream of anxiety in you. Lately, airports and airlines…

Neo Rheumacyl Forte: Loader

For unbearable joint pain.

Advertising Agency: Publicis, Indonesia
Chief Creative Officer: Kike Gutierrez
Executive Creative Directors: Maulana Sagala, Afianto
Creative Director: Arief Mardianto
Copywriter: Maulana Sagala
Art Director: Jefri Novalino
Associate Creative Director: Andrea HIdayatullah
Senior Art Director: Rudi Cahyadi
Retoucher: Chub Nokkaew
Photographer: Nurulita
Print Producer: Adityas

Neo Rheumacyl Forte: Bulldozer

For unbearable joint pain.

Advertising Agency: Publicis, Indonesia
Chief Creative Officer: Kike Gutierrez
Executive Creative Directors: Maulana Sagala, Afianto
Creative Director: Arief Mardianto
Copywriter: Maulana Sagala
Art Director: Jefri Novalino
Associate Creative Director: Andrea HIdayatullah
Senior Art Director: Rudi Cahyadi
Retoucher: Chub Nokkaew
Photographer: Nurulita
Print Producer: Adityas

Holanda: The Original Cool

Quando você pensa na Holanda, certamente deve lembrar de uma porção de estereótipos. De tulipas, tamancos, piadinhas com maconha e alguma menção ao Red Light District, certo?

Uma nova campanha do departamento de turismo daquele país quer mostrar que existe muito mais além dos clichês. Além disso, o comercial promove o estilo de vida holandês como divertido, artístico, e sofisticado.

Tudo aquilo que se tornou “cool” em outras países, faz parte da cultura local há séculos. Exemplo: o que hoje chamam de orgânico e saudável, na Holanda eles chamam de comida. O que chamam de hipster e indie, eles chamam de As Nove Ruas, o conjunto de vias entre os três canais de Amsterdã. O que chamam de energia sustentável, eles chamam de tradição.

O vídeo bem humorado ainda lembra que lá todo mundo fala inglês. Menos um senhor carrancudo, irritado com a maneira que você sempre pronunciou “Van Gogh”.

A campanha é uma iniciativa conjunta do Netherlands Board of Tourism & Conventions, KLM Airlines, e do Aeroporto Schiphol.

Holanda
Holanda

Brainstorm9Post originalmente publicado no Brainstorm #9
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Alkemy Digital_Enabler: Job listing for a person who doesn’t exist

Advertising Agency: Alkemy, Milan, Italy
Executive Creative Directors: Giorgio Cignoni, Federico Ghiso
Photographer: Andrea Melcangi

The Israel Parkinson Association: Patients writing ads

To promote awareness of World Parkinson’s Day-April 11, 2013, We invited 18 different Parkinson’s patients to write our ads in their own handwriting. Each patient wrote the message ‘Today is World Parkinson’s Day’ and signed their name under the headline. Their shaky handwriting created a graphic and self-explanatory way to express the degenerative effects of the disease and its effect on the lives of 20,000 patients in Israel.

Advertising Agency: Draftfcb+ Shimoni Finkelstein Barki, Tel Aviv, Israel
Creative Director: Kobi Barki
Art Director: Liat Zur
Copywriters: Kobi Barki, Efrat Abudi

Creak, Crack, Crunch. Local Chiropractor’s Goofy Ad Is Painful to Watch

Just a few weeks after making the most awkward transmission-repair ad ever, Rhett & Link are back with another goofy local commercial—this one for the Ryan Lee Chiropractic Center in Los Angeles. It stars the eponymous practitioner, who twists, turns and otherwise contorts the bodies of his patients until their skeletons emit rather sickening crunching sounds. It only gets worse as the ad goes on. The tagline is "Gentle. Comfortable. Professional"—although if that's true, it's not totally clear what's going on at 0:41.

    

A DVD That Smells Like Domino’s Pizza


Continue reading at AdAge.com

A iluminação básica em um filme noir

Foi Nino Frank (crítico francês) que apelidou/batizou esse estilo de cinema, muito presente entre 1940 e 1959, como Film Noir. A tradução literal seria “cinema negro”. Mas, como sabemos, não é tão simples definir o que essa estética realmente engloba.

Principalmente porque os diretores (e responsáveis) por essas criações não tinham idéia de que seus trabalhos seguiam uma tendência visual naquela época. E diferente do que muitos pensam, nem sempre “noir” são filmes P&Bs. Temos clássicos coloridos, como “Um Corpo que Cai”, por exemplo (confira uma cena abaixo)


Noir

O film noir apresenta personagens desesperados num universo desapiedado. Crime, geralmente assassinato, é um elemento que permeia a maioria dos films noirs, geralmente carregados de ciúmes, corrupção e fraqueza moral. A maioria dos films noirs contém certos personagens arquétipos (femme-fatales, policiais corruptos, maridos ciumentos, corretores de seguros e bodes expiatórios), locações famosas (Los Angeles, New York e San Francisco), e temática recorrente nos roteiros (tramas de assaltos, histórias de detetives, filmes de gangsters e de julgamentos).

Normalmente são personagens vivendo uma crise, em um universo cruel. Geralmente com tons de ciúme, violência, falta de moral e corrupção.

Para explicar um pouco mais o sistema de iluminação, volume e dramaticidade que esses filmes possuem, o FilmMaker IQ produziu um vídeo falando um pouco mais sobre isso. E, embora não tenha legendas, é bem legal e fácil de entender (assista acima).

E se você se empolgar, e quiser assistir alguns desses clássicos filmes, vale a pena conferir essa lista do IMDB.

Brainstorm9Post originalmente publicado no Brainstorm #9
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