How Coca-Cola, Nissan and Kraft mine selfies for 'invisible' insight

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Franco "Bifo" Berardi

On the digital colonization of human experience.

by

From Adbusters #116: Blueprint for a New World, Part 5: Politico

Nicolas Demeersman

The Spanish colonization of Mesoamerica was essentially a process of symbolic and cultural submission.

The “superiority” ?of the colonizers lay on the operational effectiveness of their technical production. The colonization destroyed the cultural environment in which indigenous communities had been living for centuries: the alphabetic technology, the power of the written word overwhelmed, jeopardized and finally superseded the indigenous cultures. The conquistadors re-coded the cultural universe of nowadays Mexico and Central America.

Before the arrival of the Spanish invaders Malinche (Malinalli in Nahuatl language, Marina for the Spaniards), the daughter? of a noble Aztec family, was given away as ?a slave to passing traders after her father died and her mother remarried. By the time Cortés arrived, she had learned the Mayan dialects spoken in the Yucatan while still understanding Nahuatl, the language of the Aztecs. As a youth she was given as tribute again, this time to the invaders.

She became the lover of Cortés and accompanied him as interpreter. She translated the words exchanged by Cortés and Moctezuma, king of the Aztec population of Tenochtitlan, and she translated the conqueror’s words when he met crowds of indigenous persons. She translated for Nahuatl-speaking people the words of Christian conquerors and of Christian priests. The Christian message melted with pre-colonisation mythologies, and the modern Mexican culture emerged. She and Cortés had a child, Martín, the first Mexican. She betrayed her own people by linking with the invaders. By the moral point of view, however, she owed nothing to her own people who had sold her into slavery, and treated her as a servant. She betrayed the conquerors, too, though they did not realize it as such.

Malinche is the ultimate symbol of the end of a world, and also the symbol of the formation of a new semiotic and symbolic space. Only when you are able to see the collapse as the end of a world, can a new world be imagined. Only when you are free from hope (which is the worst enemy of intelligence) can you start seeing a new horizon of possibility. This is the lesson that Malinche is teaching us.

DEMOCRACY

On 31 October 2011, George Papandreou announced his government’s intentions to hold a referendum for the acceptance of the terms of a Eurozone bailout deal. He wanted the Greek people to decide if the diktat of the financial class that was strangling Greek society would be accepted or rejected. Overnight, the elected Prime Minister of Greece was obliged to resign. In the very place where it was invented and named twenty-five centuries ago, democracy was finally cancelled. It will never again come to life. Financial abstraction has swallowed the destiny of billions of people. European workers’ salaries have been halved in the last ten years and unemployment and precariousness are on the rise. Meanwhile, profits skyrocket.

WAR

The Eurasian continent is heading toward a proliferation of fragmentary conflict. At the same time, the infinite war launched by Cheney and Bush has paved the way to the establishment of the Caliphate.
In Japan, the Prime Minister travels the world looking for allies against China. In India, a racist mass murderer (neoliberal of course) has been elected Prime Minister. In Europe, a Euro-Russian war is in the making at the Ukrainian border. In Ferguson, Missouri, another racialized killing reveals the American police state and the poverty industrial complex — two million homeless in the US and counting. In Gaza, Israel bombards the world’s largest open air prison and blames the victims, most of them children, for dying while the world looks on. In Northern Africa, Western powers prepare for the next season of Gaddafi blowback. In Liberia, Ebola fans the flames of civil and regional war, one bleeding eyeball at a time. In Mexico, a momentary silence shrouds the bloodiest drug war humanity has ever known, with cartels ranking among the wealthiest corporations.

While capitalism will continue to thrive thanks to massive slavery and eco-catastrophe, the next 20 years will be marked by the clash between financial abstraction and biofascism. A social, cognitive breakdown is estranging the masses from the body, so the decerebrated body is taking the form of aggression. Those who have been lost in the competition react under the banners of aggressive identification. We can even see fascism revived by the vengeful spirit of the dispossessed.

BIO-FINANCIAL POWER

Nation states are over, stripped by the global machine? of finance, computation and all-pervading behavioral Big Data algorithms. Global corporations are replacing nation states as holders of power. We now embrace the first stages of the automation of mind, language and emotions … the architecture of bio-financial power. Power, in fact, is no longer political or military. It is based more and more on the penetration of techno-linguistic automatisms into the sphere of language. Soon, life will be based on the automation of cognitive activity. Who cares if the US military machine is running on empty because of Bush’s self-defeating strategy — it’s a remnant of geopolitical thinking now dead.

THE CIRCLE

Mediocre as it is, Dave Eggers’s novel ?The Circle is a metaphor for the relation between technology, communication, emotion and power. “The Circle” is the name of the most powerful corporation ?in the world, a sort of conglomerate of Google, Facebook, Paypal and YouTube. Three men lead the company: Stockton ?is a financial shark, Bayley is a utopian and Ty Gospodinov is the project’s hidden mastermind.

The main character of the book is Mae, a young woman hired by The Circle during “the Completion,” the final phase in the implementation of TrueYou, a program intended to enforce the recording of every instant of life for pervasive, ceaseless sharing. Mae becomes the corporation’s spokesperson, the face that appears every day on the infinite channels of The Circle’s television network — the ambassador of the new credo.

The Circle is all about the utter? capture of human attention: ceaseless communication, mandatory friendliness and creation of a new neediness — the obsessive need to express and share.
One may remark that Eggers is simply re-enacting Orwell more than 60 years after the publishing of 1984. That’s true, but in the final pages of the novel, Eggers goes further than Orwell, when Ty exposes the transhuman potency of the totalitarian nightmare.

In the last scene of the novel, the inventor and founder of The Circle manages to covertly meet Mae, the newbie seducing? the global audience. He has lost control of his own creature, the project he originally conceived, and is deprived of all power in its unstoppable self–deployment.

“I did not intend any of this to happen. And it’s moving so fast. I didn’t picture a world where Circle membership was mandatory, where all government and all life was channeled through one network … there used to be the option of opting out. But now that’s over. Completion is the end. We are closing the circle around everyone. It’s a totalitarian nightmare.”

The automaton cannot be stopped, as even the creator himself becomes overpowered by his own invention: the circle of continuous attention, the circle of perfect transparence of everybody to everybody, the circle of total power and of total impotence.

PLEASURE, AFFECTION AND EMPATHY

At the beginning of the 21st century we are in a position that is similar to the position of Malinche: the conqueror is here, peaceful or aggressive, functionally superior, unattainable, incomprehensible.
The bio-info automaton is taking shape from the connection between electronic machines, digital languages and minds formatted in such a way to comply with the code. The automaton’s flow of enunciation emanates a connective world that the conjunctive codes cannot interpret, a world that is symbolically incompatible with the social civilization that was the outcome of five centuries of Humanism, Enlightenment and Socialism.

The automaton is the reification of the networked cognitive activity of millions of semio-workers around the globe. Only if they become compatible with the code, the program, can semio-workers enter in the process of networking.

This implies the de-activation of old, subconsciously engrained, modes of communication and perception (compassion, empathy, solidarity, ambiguousness and irony), paving the way to the assimilation of the conscious organism with the digital automaton.

Will the general intellect be able to disentangle itself from the automaton? Can consciousness act on neural evolution? Will pleasure, affection, empathy find a way to re-emerge? Will we translate into human language the connective language of the automated meaning-making machine buzzing and buzzing in our heads?

These are questions that only ?Malinche can answer, opening to the incomprehensible other, betraying her people and reinventing language in order to express what can not be said.

—Franco “Bifo” Berardi is an Italian Marxist theorist and activist in the autonomist tradition. He writes about the condition of media, mental breakdown? and information technology within post-industrial capitalism. His next book, Heroes, dedicated to the suicidal wave provoked by financial nihilism, will be out in the first months of 2015.

Source

Nissan on social media, the universal fan and meaningful connections

Sport and social media are such obvious partners that it is all too easy to declare the future of sports sponsorship will be played out primarily within the realms of 140 characters.

Pop Up Paper Calendar

La designer hongroise Éva Somogyi s’est inspirée d’un poème de Miklós Radnóti (intitulé « Calendar »), pour fabriquer ce beau calendrier en papier. En relief, ce véritable travail de paper art classe chaque saison et mois selon un poème, des couleurs et la végétation qui lui correspondent. A découvrir.

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Anandabazaar Patrika Puja campaign by Bates Kolkata

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desicreative – Indian Advertising Creative Blog and Community (beta 1.4)

Client: ABP Magazines
Agency: Bates CHI & Partners, Kolkata
Executive Vice President: Abeer Chakravaty
National Creative Director: Sagar Mahabaleshwarkar
Art Director: Subhadeep Dawn
Illustrator: Subhadeep Dawn
Copywriter: Rupamanjari Mitra
Account Director: Anirban Sarkar

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The post Anandabazaar Patrika Puja campaign by Bates Kolkata appeared first on desicreative.

Advertising: Five Bands Join for Album to Help Combat Mental Illness

The National Alliance on Mental Illness has enlisted five groups to create original music for the album “#IWillListen.”



Reporter Fought Subpoena in Leak Inquiry

Court documents unsealed on Thursday reveal a lengthy court fight between a Fox News reporter and the Justice Department over whether he could be forced to reveal his sources.



Japan Protests an Indictment of a Journalist

South Korean prosecutors have charged Tatsuya Kato, the former Seoul bureau chief for the Japanese newspaper Sankei Shimbun, with defaming the South Korean president.



Amazon Shops for Real Estate in New York City

Real estate executives said the building would be used for offices and a distribution center.



POM Wonderful: Crazy Healthy – Archers

Advertising Agency: Fire Station, Los Angeles, USA
Agency Producer: Anne Kurtzman
Executive Creative Director: Liz Leow
Production Company: @radical.media
Director: Tarsem
Executive Producer: Tommy Turtle
Editor: Robert Duffy at Spotwelders
VFX Post Production: Framestore
Framestore Executive Creative Director: Aron Hjartarson
Framestore Creative Director: Alex Thomas
Framestore Executive Producer: James Razzall
Framestore Producer: Mary Nockles
CG Supervisor: Chris Eckardt
Compositing Lead: JD Yepes
3D: Jamie O’Hara, Caleb Hecht, Shane Simpson
Animation: Kevin Rooney, Sashdy Arvelo

POM Wonderful: Crazy Healthy – Cyclops

Advertising Agency: Fire Station, Los Angeles, USA
Agency Producer: Anne Kurtzman
Executive Creative Director: Liz Leow
Production Company: @radical.media
Director: Tarsem
Executive Producer: Tommy Turtle
Editor: Robert Duffy at Spotwelders
VFX Post Production: Framestore
Framestore Executive Creative Director: Aron Hjartarson
Framestore Creative Director: Alex Thomas
Framestore Executive Producer: James Razzall
Framestore Producer: Mary Nockles
CG Supervisor: Chris Eckardt
Compositing Lead: JD Yepes
3D: Jamie O’Hara, Caleb Hecht, Shane Simpson
Animation: Kevin Rooney, Sashdy Arvelo

POM Wonderful: Crazy Healthy – Samurai

Advertising Agency: Fire Station, Los Angeles, USA
Agency Producer: Anne Kurtzman
Executive Creative Director: Liz Leow
Production Company: @radical.media
Director: Tarsem
Executive Producer: Tommy Turtle
Editor: Robert Duffy at Spotwelders
VFX Post Production: Framestore
Framestore Executive Creative Director: Aron Hjartarson
Framestore Creative Director: Alex Thomas
Framestore Executive Producer: James Razzall
Framestore Producer: Mary Nockles
CG Supervisor: Chris Eckardt
Compositing Lead: JD Yepes
3D: Jamie O’Hara, Caleb Hecht, Shane Simpson
Animation: Kevin Rooney, Sashdy Arvelo

POM Wonderful: Crazy Healthy – Dragon

Advertising Agency: Fire Station, Los Angeles, USA
Agency Producer: Anne Kurtzman
Executive Creative Director: Liz Leow
Production Company: @radical.media
Director: Tarsem
Executive Producer: Tommy Turtle
Editor: Robert Duffy at Spotwelders
VFX Post Production: Framestore
Framestore Executive Creative Director: Aron Hjartarson
Framestore Creative Director: Alex Thomas
Framestore Executive Producer: James Razzall
Framestore Producer: Mary Nockles
CG Supervisor: Chris Eckardt
Compositing Lead: JD Yepes
3D: Jamie O’Hara, Caleb Hecht, Shane Simpson
Animation: Kevin Rooney, Sashdy Arvelo

Virgin Hotels: Brilliant

Advertising Agency: 1 Trick Pony, USA
Creative Director / Partner: Rob Reed
Creative Director / Art Director: Bill Starkey
Associate Creative Director / Screenwriter: Chad Schultz
Account Manager: Steve Snyder
Production Company: Not To Scale NY
Executive Producer: Santino Sladavic
Director: Chris Dooley
Art Director: David Chun
Designers: Claire Kho, Bryan Louie, Joe Donaldson, Justin Claus Harder, Hugh Keenan
Lead Animator: Vinh Chung
Animators: Blake Patrick, Austin Robert
Lead Compositor: David Hill
Compositor: Yussef Cole
Editor: Karl Amdal
Producer: Zack Kortright
Production Coordinator: Lauren Farrell
Music & Sound Design: Singing Serpent
Composer: Brandon O’connell
Sound Design: Jason Begin
Producer: Glen Galloway
Sound Design & Final Mix: Hobo Audio
Audio Engineer: Stephen Davies

2015 Nissan Versa Note: Revenge

Advertising Agency: TBWA, Toronto, Canada
Executive Creative Director: Allen Oke
Creative Directors: Rodger Eyre, Gerald Kugler
Associate Creative Directors: Don Embree, Bart Smith
Copywriter: Julia Forrester
Art Director: Sarah Quinto
Head of Broadcast: Nadya MacNeil
Group Brand Director: Calvin Daniels
Brand Director: Rimi Singh
Account Supervisor: Christine Rowe
Production House: Radke
Director: Leigh Marling
DP: Chris Mably
Executive Producer: Scott Mackenzie
Line Producer: Amalie Bruun
Editing: School Editing
Executive Producer: Emily Torontow
Editor: Jon Devries
Assistant: Lynn Sheehy
Transfer: Alter Ego
Colourist: Eric Whipp
Post Production: The Vanity
Producer: Stephanie Pennington
Artist: Sean Cochrane
Audio House: Eggplant Collective
Head of Production: Nicola Treadgold
Director / Audio Producer: Adam Damelin
Engineer: Nathan Handy
Published: September 2014

Purina Cat Chow: Two boys

Advertising Agency: Avrett Free Ginsberg, New York, USA
Creative Director: Joe Petrucio
Art Director: Nari Kim
Copywriter: Peter Lee
Agency Producer: James Lawson
Account Director: Dawn Terrazas
Production Company: Kids At Play
Director: Eriq Lesalle
Poduction Co Producer: Jason Berger
Aired: July 2014

Southwest Airlines Rapid Rewards Account to Change Agencies

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Today we confirmed that Southwest Airlines Rapid Rewards will no longer count Wunderman as its creative AOR after the end of this year.

While the precise dates are uncertain, the business will soon be up for grabs. A Wunderman source tells us:

“Wunderman has enjoyed a truly collaborative relationship with Southwest Airlines Rapid Rewards since 2008.  We are proud of the work that we did launching new products and services over the years and have nothing but positive memories of the time spent with such a smart and innovative client.”

The larger Southwest brand chose TBWA after a “lengthy review” in 2012, but its Rapid Rewards account has officially been with Wunderman since February 2009. Here’s a link to a :15 spot from 2010.

No word on when the creative review will begin or which agencies may be involved.

New Career Opportunities Daily: The best jobs in media.

This Agency President Has a Pitch for Voters: Re-election


Rich Cline helps run Voce, a digital agency he co-founded that’s handled work for brands like Google, eBay and Yahoo. But he’s perhaps better known for his duties with a different kind of operation — Menlo Park, Calif., the city that’s been home to Facebook headquarters since 2011 and is the birthplace of companies from Google to Cisco.

After two one-year terms as mayor of Menlo Park, starting in 2009, Mr. Cline won a seat on the city council, where he’s up for re-election on Nov. 4.

“The most workable system is the local government,” he said, recalling his motivation for seeking public office. “Something happens when you get involved. You help someone run, and then you run.”

Continue reading at AdAge.com

Tits on the internet – When Fappening becomes UNfappening

This article features artistic interpretations of private celebrity nudes. If that offends you then please turn away now and you can still claim the moral high ground next time those pics come up in conversation.

Are they gone? Great. Glad you’re still with us.

Adland: 

Instagram: #noalpiestureo


Promo, Online, Mobile
INSTAGRAM

Advertising Agency:Territorio creativo, Madrid, Spain
Creative Director:Alejandro Di Trolio, Carlos Jimeno
Art Director:Esperanza Torres
Copywriter:Elisa Lucia, Adrián Sobrino