Hasta La Creative!

(TrendHunter.com) Mornings can be rough, but with motivational coffee mugs like the Think Bigger mug from Fancy, they just got a whole lot brighter.

Being reminded to think outside the box while you’re…

(TrendHunter.com) This oil less fryer from Hammacher Schlemmer cooks crisp fried food without using any oil. The Oilless Fryer has an infrared heating element that reaches a temperature of 400° F. An internal fan…

It was quite hilarious (though completely expected if you are a customer and have ever dealt with them through any communications medium) when Bank of America’s Twitter bot (or idiot who runs the account) had multiple brain farts when assuming non-customers where customers.

It’s entirely another thing when a brand is so stupid that it actually apologizes to a customer who just heaped praise on the brand. On Wednesday, a Domino’s customer posted a picture of a Domino’s pizza on the brand’s Facebook page along with the statement, “Best Pizza Ever! Keep up the good work guys!”

One might assume the brand would respond along the lines of “Thanks, glad you enjoyed your pizza.” But, no. The response this customer received is baffling and additional proof that some brands simply select from canned responses when “interacting” on social media.

Bafflingly, Domino’s responded to the aforementioned praise with, “So sorry about that! Please share some additional information with us at bit.ly/dpz_care and please mention reference #1409193 so we can have this addressed.”

Apart from the incomprehensible fact the brand incorrectly assumed the customer was complaining, the response is a vomit comet full of automated, uncaring, impersonal inanity barfed up with the precision of an algorithm that never met an emotion.

Given that close 90% of comments on the brand’s Facebook page are complaints, it’s almost excusable the brand has developed some sort of choose-an-apology system to they can quickly and easily address customer’s concerns without having to waste a brain cell.

Yawn. How many more stories have to be written about clueless brands misunderstanding and misusing social media before these faux pauxs end? Actually, it’s kind of fun to witness and write about these screw ups so we secretly hope they continue. No doubt they will. No matter how educated people become, there’s always a few idiots who will never learn.

This morning, the brand backpedalled apparently having been made aware of the goof and commented, “No, we meant we were sorry it took Jeaneth so long to enjoy the best pizza ever. Think of all the pizza she’s likely had that wasn’t the best ever! Yeah, that’s it…. Thanks so much for the kind words, Jeaneth.”

Um, right. Not well played. Via.

(TrendHunter.com) The Random Acts of Sadness exhibit from brilliant artist Luke Chueh is able to aptly express the feelings of depression with its paintings. The paintings feature various animals that are coping with…

(TrendHunter.com) The Vogue Turkey August 2013 editorial showcased the perfect designs to represent a modern urban cowgirl.

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Unyielding butter is the worst. It ruins toast, and tween girls' relationships with mothers, and mothers' relationships with new husbands. So says this cheeky new :30 spot from DDB Melbourne for Devondale, an Australian dairy brand. The ad follows a set from earlier this year, in which soy-milk-aftertaste face (the evil twin of pudding face) makes one unwitting man's daughter cry, and sends another's wife off on a tirade about having children. Of course, even if they all bought Devondale's soft butter spread or cow milk products, they'd still be living with a bunch of crazy people. All three videos after the jump. (Via Mumbrella) 

Há poucas obras da literatura que evocam tanto uma determinada época musical como O Grande Gatsby. De alguma forma, a música da Era do Jazz parece pulsar de cada momento da história.

O projeto Gatsby Generative leva essa música para às páginas do livro, permitindo que as palavras de Fitzgerald dançem ritmicamente ao som de uma trilha sonora das canções mais aclamadas do jazz.

Uma experiência visual que estuda como a música desta época, seus ritmos, síncopes e padrões podem alterar a prosa e novas fronteiras tipográficas.

Baseando-se nos conceitos de design generativo, o artista russo de 35 anos Vladimir Kuchinov usou nove músicas de grandes nomes como Ella Fitzgerald, Jelly Roll Morton, Cab Calloway e Count Basie para influenciar e modificar a tipografia da obra.

Usando as partituras autênticas das músicas, Kuchinov examinou cada uma por qualidades como duração, posição, velocidade e passo. Esses dados foram, então, usados para redesenhar as palavras dos nove capítulos da história, através de algoritmos criados no Processing, que foram transpondo o conteúdo de acordo com os atributos das notas.

Usando fontes autênticas ou inspiradas pela Era do Jazz para capturar a sensação da época, cada tipo de letra representa um instrumento, evocando seus atributos visuais e emocionais.

Para a bateria, foi usada a Remington Typewriter, com os sons das teclas simbolizando o ritmo de percursão. Para instrumentos de corda, Brandon Grotesque Thin and Brandon Grotesque Bold foi usada para contrastar a diferença na espessura das cordas. Já para os vocais, Century Schoolbook foi uma homenagem aos livros de canções publicados no começo do século 20.

Um livro que utiliza algoritmos estruturados como forma de se contar histórias traz resultados únicos, baseando-se em verdadeiros significados – a literatura – e executando cada palavra através de um código-ideia – a música.

Por enquanto, há apenas três cópias do livro, não sendo possível comprar um. Kuchinov comentou que estava pensando em lançá-lo via Kickstarter. Esperamos que sim.

Post originalmente publicado no Brainstorm #9
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