(TrendHunter.com) The Renault Megane is a beautifully designed compact sedan that is designed to look appealing from the outside and function in a highly reliable and versatile manner thanks to its suite of interior…
Federal Communications Commission Chairman Tom Wheeler took a seat, grasped a set of controls, and guided an excavator — that happened to be 1,400 miles away.
By moving dirt in Dallas through a remote hook-up from the FCC’s Washington offices earlier this year, Mr. Wheeler showed the promise of what could be the largest and most lucrative expansion of the internet yet.
The agency on Thursday took a major step toward boosting wireless speeds 10-fold by voting unanimously to open little-used airwaves to purposes as varied as remote surgery, lightning-fast video downloads and factory robotics. The network that will flow over the frequencies in the next few years will be known as 5G, or fifth generation, to succeed the 4G networks that carry music and movies to smartphones today.
The ad, marketing and media industries are rife with issues as technology changes the way people consume, create, place and track ads. At the same time, change in the European Union and economic and political turmoil are creating uncertainty for global marketers. Today, Omnicom leaders addressed all of these issues — and their impact on the ad services holding company — during the company’s second-quarter earnings call.
Media spending trends
“There’s growth in digital media despite concerns around viewability and fraud,” said Omnicom CEO John Wren on the earnings call. Still, there’s a slowdown in growth, added Daryl Simm, CEO of Omnicom’s media agency network, which houses shops like OMD and PHD.
Snapchat may start to see more brands paying up for location-based advertising campaigns on its photo-sharing mobile app, thanks to the efforts of another startup, Yext Inc.
Advertisers can already pay the social-media service to have branded geofilters — a type of graphical overlay people can use to decorate photos or videos they’re sharing — to show up in the app in specific locations. To run these campaigns, companies have had to manually provide Snapchat with the exact geographical details of where they want the filters to appear and the dimensions of each space.
Yext, whose software helps businesses manage digital location data, has been working with Snapchat to make that process easier. The New York-based startup on Thursday is unveiling a new feature that lets clients give Snapchat all that information with a few taps.
Dimitri Maex, who has served as president of Ogilvy & Mather’s customer engagement unit OgilvyOne, announced his plans to step down this week after more than 17 years with the Ogilvy network. Global chief strategy officer Jimmy Schougaard will take his place in the role of president, effective immediately.
An agency spokesperson writes: “Ogilvy & Mather wishes Dimitri Maex the very best on the next chapter of his career. Jimmy Schougaard is a fantastic leader of our clients and our talent and we are confident he will continue to build upon the great success of OgilvyOne New York.”
Schougaard, who previously served as CEO of Ogilvy Denmark and managing director of OgilvyOne’s global operations following Maex’s 2013 promotion to president, had planned to return to his native country with his family but has delayed that move for at least the remainder of the year. He has been with the Ogilvy organization for more than 13 years after working in accounts at BBDO.
According to an all-staff internal memo, Maex is leaving to embark on the next phase of his career as an entrepreneur. The memo does not clarify what he will be doing post-Ogilvy, exactly, but he has worked as a consultant in the past, and his top skills (according to his LinkedIn contacts) are analytics, data mining and statistics.
The departing leader, who joined the Ogilvy organization in its Brussels office in 1998, previously worked in the financial department of Kraft Foods. As noted above, he is seen as something of a data genius, and in 2012 he published a book titled “Sexy Little Numbers: How to Grow Your Business Using the Data You Already Have.”
“Dimitri was all about data before everyone was all about data,” the internal memo reads. “Dimitri built, led and made our global data practice the envy of the industry. … Simply put, he personifies David Ogilvy’s ‘Gentlemen with Brains’ and ‘We Sell. Or Else.’”
It concludes: “The entire Ogilvy leadership team could not be more proud of Dimitri, and feel more confident in the future with Jimmy leading the way.”
Kansas City agency Bernstein-Rein is going all in on the Pokémon Go craze. And yes, they are pitching this to us.
The agency’s digital and social teams noticed that its headquarters’ building and immediate surroundings were hot spots for Pokémon Go stops so they decided to make the most of it, hosting a “Plaza Poké Crawl” while also admitting on the event’s Facebook page that they’ve “all played Pokémon Go at the office this week.”
The “Plaza Poké Crawl” begins at Bernstein-Rein today at 3:45 and follows a route around the surrounding Country Club Plaza to hit up gyms, Pokéstops and bars along the way. Because it wouldn’t be an agency event without drinking, “there might be Pokéshots and Pikabombs involved.” We’re told there’s also a Mexican restaurant nearby, so Pokéburritos and Pikachilaquilles may be involved as well.
Yesterday the Wall Street Journal informed us that agencies everywhere are “scrambling” to come up with Pokemon strategies beyond mentioning the game in a tweet. As editor Mike Shields put it, “Clients to agencies: should we make a Pokemon Go? Also, what is that?”
Don’t worry, though: people will tire of this latest trend soon enough once the fake “Man dies while playing Pokemon” and the (allegedly) real “People are playing Pokemon at Auschwitz, FFS” stories stop trending on the Facebook.
“The marketing implications for Pokémon Go are vast, and in order for us to be experts and leaders for our clients and their brands, we need to immerse ourselves and our employees in this and other digital cultural happenings,” explained Bernstein-Rein senior vice president, digital experience director Pamela Sandler, framing the event as strategic and totally not just an excuse for ad folks to play Pokémon Go all afternoon.
That’s cool, we get it. As long as there’s alcohol.
He or she will have some explaining to do.
(TrendHunter.com) The Samsung Gear S2 Classic 3G is a beautifully classic smartwatch, currently available for purchase in the USA, UK and France, that is designed to bring together all the bountiful high-tech…
Line Corp. rose in its U.S. trading debut after the Japanese messaging company raised more than $1 billion in the biggest technology initial public offering of the year.
Shares rose to $40.80 as of 11:41 a.m. in New York, after climbing to as much as $44.49 in earlier trading. That values the company at about $8.6 billion. The stock was sold to investors in the IPO for $32.84 apiece.
Line, owned by South Korea’s Naver, raised $1.3 billion after pricing its offering at the high end of an increased range. The company, which is listing shares in Japan and the U.S., will start trading in Tokyo on Friday. Line sold 35 million shares and said it will fully exercise a greenshoe option to sell an additional 5.25 million shares.
Columbus, Ohio-based Ron Foth Advertising appointed Mike Wilson as senior art director. In the role, he will help lead the agency in conceptual art direction, traditional and digital design for all clients.
Wilson joins the agency from Indianapolis agency Three Sixty Group, where he spent over eight years as a creative director. Prior to joining Three Sixty Group in 2008, he spent over three years as senior vide president, associate creative director with Pearson Partners in Indianapolis. That followed two years as vice president, associate creative director with Pearson McMahon Fletcher England, and over three and a half years as a senior art director with the agency before that.
Over the course of his career, Wilson has worked with brands including BMW, Fifth Third Bank, hhgregg, USA Gymnastics, the Indiana Pacers and the Indianapolis Symphony Orchestra.
A operadora de cartão de crédito MasterCard alterou hoje o seu conhecido logo. Antes com o nome da empresa sobreposto a dois círculos entrelaçados, o novo logo segue um design mais simples, minimalista, com o nome em minúsculas abaixo de dois círculos sobrepostos e com as mesmas cores anteriores, junto da cor laranja que fica […]
> LEIA MAIS: Este é o novo logo da MasterCard
Post originalmente publicado no B9
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Claire-Louise Bennett’s slim first novel is about a young academic who has decamped to an Irish village, in flight from something unspecified.
With the Rio 2016 Olympics just over three weeks away, Ogilvy & Mather Brazil launched a new campaign for Coca-Cola entitled “#ThatsGold,” as part of the brand’s larger “Taste the Feeling” effort.
“#ThatsGold” is centered around two 60-second broadcast spots, “Gold Actions” and “Gold Feelings.” The more effective of the two, “Gold Feelings” pairs footage of Olympic athletes winning gold with quotes about how it feels to receive top honors at the Olympics and this year’s Olympic hopefuls. The jubilant athletes and the quotes, such as “It’s a feeling you can’t contain”are interspersed with shots of drinkers enjoying a cold Coca-Cola, tying the feeling of winning gold to the brand and the larger “Taste the Feeling” positioning, ableit with a somewhat tenuous connection that some viewers might find hard to swallow.
That said, “Gold Actions” is even more of a stretch. “Gold is for the fastest,” text reads near the opening of the spot, adding “Who jump the highest,” those who “take it seriously” and “the brave.” But, the spot adds, “Anyone can be gold.” It’s a somewhat jumbled, ultimately meaningless message positioning the brand as a way to cap off “gold moments,” but there’s also a certain simple sweetness to the approach and footage of jubilant athletes and Coke drinkers. In addition to the broadcast spots, the campaign also includes print ads featuring 79 Olympic athletes from 23 countries (swimmer Nathan Adrian and soccer star Alex Morgan represent the U.S.), an onsite brand activation center in Rio, Coca-Cola’s sponsorship of the 2016 Olympic Torch Relay and commemorative Olympic packaging.
“There are so many gold moments that happen off the podium. It’s about day-to-day, simple pleasures that are all about joy and uplift, whatever is a special moment that you’ll share with friends and family, and celebrating our relationships with the Olympians, too,” Coca-Cola global vice president, creative and connections Rodolfo Echeverria explained to Adweek. “We’re trying to position Coca-Cola as a simple pleasure that makes moments more special.”
“There’s something that’s so powerful about the Olympics. It brings together experiences of mutual understandings, friendships, solidarity, togetherness, inclusion and equality,” added Coca-Cola senior vice president, strategic marketing Ivan Pollard. “This year’s campaign is special because it’s not about watching someone win a gold medal, it’s about watching their face when they do. It’s exactly the same feeling you have when you teach your children to ride a bicycle, or when your son graduates from college.”
Credits:
Agency: Ogilvy & Mather Brazil
CCO: Anselmo Ramos
Creative Director: Rafael Donato
Production Company: Anonymous Content
Director: Omri Cohen
Music Company: Avicii Music AB
Performers: Avicii feat Conrad
Croix Gagnon and Frank Schott, Project 12:31
Semen, cell cultures, urine, feaces, tears, blood, hair, skin– the human body has been used not merely as the subject of art works, but also as their substance.
Last week, the Institute of Advanced Studies at University College London held a symposium that explored the use of “biomaterial” in modern and contemporary art practices.
Human bodily materials are frequently invested with highly symbolic cultural power and complex visceral and emotional entanglements, thus the use of human biomatter as art medium opens up an intriguing cultural space to reflect critically upon the relationships between materiality, aesthetics, affective response, ethics and the production of cultural meaning.
Bodily Matters: Human Biomatter in Art. Materials / Aesthetics / Ethics was a remarkably interesting and enlightening symposium. Almost every speaker was reading their paper which would normally make me want to pack my bag and sneak out of the room but the content of the papers was so fascinating that i stayed glued to my chair. What surprised me the most over the course of the sessions is that the art discussed was actually good. There was none of that sciart malarkey. These were works with artistic/aesthetical/critical value, rather than works which sole claim to substance is that they dally with scientific innovations.
My notebook is now full of scribblings and I’ll try and blog whatever is decipherable in the coming days. Taking it chronologically. Today, my notes will be covering the first morning. The session was called What Remains: Traces, Transitionary & Fluid Matters and revolved around a lot of blood, crimes and corpses.
Angela Strassheim, Evidence No. 2, 2009
Angela Strassheim, Evidence No. 13, 2009
Angela Strassheim, Evidence (pitchfork), 2009
Dr Elinor Cleghorn (University of Oxford, Ruskin School of Art) kicked off the day by presenting Light remains: Alchemical affect in Angela Strassheim’s ‘Evidence’.
Artist Angela Strassheim used to be a forensic and biomedical photographer but later studied for an MFA in photography at Yale University. In 2008 and 2009, she visited homes where familial homicides had occurred. There was nothing left to see in the rooms where the crimes had taken place. The spaces had been scrubbed clean, some of the walls had been repainted and new families had moved into the houses.
Strassheim often found it difficult to access the spaces where the murders had taken place. She visited some 140 homes but only 18 families allowed her to take photos. Once granted permission to access the room of the murder, the artist used techniques usually reserved for police forensics to unveil the hidden residues of violent murder. The “Blue Star” solution she uses contains luminol, a chemical that reveals residual DNA protein at crime scenes, as it reacts with the iron in haemoglobin.
In order to obtain the images of the rooms, Strassheim closed doors and curtains to keep light to a minimum and then shot long exposures of between 10 minutes and an hour.
In the photos, blood that is otherwise invisible to unaided human perception appears as bright flecks and splatters. The images almost haptically reactivate the physical memory of an act of violence and revive the biomaterial traces left behind by the deceased.
None of the image is accompanied with a text that details what happened in these rooms. However, the title of the photos showing the outside of the houses lists the murder weapons used while the images of the rooms suggest a whole narrative embedded in stillness.
Angela Strassheim, Evidence No. 8, 2009
Cleghorn told us a few words about the story behind Evidence 8. This is one of the very few houses where the family had remained after the murder of a teenage girl by her step-father. The mother had cleaned the room. The luminol shows the blood spillage but it also records the bleach and thus the attempts to hide the crime.
Bust of San Gennaro, 1304-1305. Photo via Napoli x quartiere
Liquefaction of San Gennaro’s blood. Photo via Napoli fanpage
In her paper Blood Heads. From San Gennaro to Marc Quinn, Dr. Jeanette Kohl (University of California, Riverside, Department of Art History) brought side by side ‘portrait and anti-portrait’, blood relic from the Middle Ages and contemporary artworks.
Medieval reliquaries are not only containers partaking in the spiritual power of the holy body materials they hold. They also use biomaterials. Examples include the tongue of Saint Anthony displayed in a gold reliquary in Padua or the bust reliquary of Saint Fina in San Gimignano, an object covered with leather to evoke the skin of the 13th century girl.
Kohl’s talk focused on the silver bust reliquary of Saint Januarius (or San Gennaro) in Naples. The sculpture contains the head of the martyr decapitated in the 4th century AD. Two glass vials kept separately from the head contains his blood.
Three times a year, a religious ceremony brings the head in close proximity with the blood vials, while the public prays for the miraculous liquefaction of the blood. It is said that the blood ‘recognizes’ the relic and becomes liquid again. However, if the blood remains coagulated, it is seen as a bad omen for the city. The catholic church doesn’t allow scientist analysis but a couple of theories attempt to explain the ‘miracle.’
This kind of reliquary displays the presence of the immaterial divine into material objects. The biomaterials kept in reliquaries also stand for the dead person. They constitute a portrait that fills in the gap left after the disappearance of the human body.
Marc Quinn, Self 2006, 2006
Paradoxically, the pars-pro-toto of body part reliquaries implies the indivisible nature of the individual represented, an idea also reflected in Marc Quinn’s Selfs (Blood Heads) series. The frozen sculptures of Quinn’s head are made from 9 litres of the artist’s own blood. The artist makes a new version of Self every five years, each of which documents his own physical deterioration.
Quinn’s self-portraits stands against the traditions of blood and bone reliquaries as well as secular bust portraits. His portrays are brutally material, they are made of blood that is uncontained by skin or other protective layer. The portrays are made of biomaterial matter but they coexist with the person they are portraying.
Interestingly, one of Kohl’s final remarks was that Quinn’s blood heads suggest the vampirism of the art word that ‘sucks blood and life’ out of artists.
Source Data for Photography/12:31
On the 5th of August 1993, at 12.31 precisely, 38-year-old Texas murderer Joseph Paul Jernigan was executed by lethal injection. Before his death, he had agreed to donate his body for scientific research or medical use. Little did he know that his cadaver would be frozen, sectioned and photographed for the Visible Human Project, an effort to create an anatomically detailed data set of cross-sectional photographs of the human body, in order to facilitate anatomy visualization applications.
Jernigan was a tall man. His corpse was sliced into 1,871 milimeter-thick segments and photographed by scientists.
In her talk A Wisp of Sensation, A Slice of Life, Dr. Maria Hynes (Australian National University, School of Sociology) examined Project 12:31, a ‘reanimation’ by artists Croix Gagnon and Frank Schott of the corpse through the scientific images made in the early 1990s.
Croix Gagnon and Frank Schott, Project 12:31
Croix Gagnon and Frank Schott, Project 12:31
Each image was created by combining night photography and long-exposure photographs of the segments of the corpse on a laptop screen. The stop-motion animation of the sliced body was played fullscreen on a computer, which was moved around while being photographed in a dark environment. The resulting ‘light paintings’ show a contorted, translucent corpse that seems to glide through landscapes and evoke Francis Bacon’s works.
Hynes writes in her abstract: The images of the Visible Human Project and Project 1231, I suggest, provide different perspectives on what should be read, not as a moral claim, but as a fact about the nature of bodies; namely, that bodies are irreducible to brute matter, but also to representation and figuration, because they are the site of spiritual repetitions and the differential distribution of rhythms. Drawing parallels with Francis Bacon’s paintings, in which flesh is violently deformed by the forces that traverse it and escape from it, I suggest that the ‘immobile’ body of stasis, or even death, merely amplifies the incorporeal forces that make bodies the site of events. What these events might be is a problem that, thankfully, is never solvable by scientific knowledge, though I argue that experiments at the nexus of science and art might open up productive ways of envisaging their potentials.
Zane Cerpina, Body Fluids
Zane Cerpina, visual artist (PNEK, Production Network for Electronic Art) presented her performative art project Body Fluids. The work consists of a collection of jewelry objects made from frozen human bodily liquids, such as menstrual blood, semen and breast milk. The first performance in Cerpina’s series, “Woman’s Red”, saw performers wear necklaces and earrings made out of their menstrual blood frozen into diamond shapes.
The work explores how the human body breaks boundaries over the course of the day by urinating, sweating, salivating, crying, menstruating, ejaculating, etc. Our bodies are mostly made of fluids. Yet, body fluids are seen as repulsive and artists who use body fluids in their work are often called transgressive: Andres Serrano’s Semen and Blood photos, Franko B’s I Miss You performance, Kira O’Reilly‘s Wet Cup performance, etc.
“These works have a tendency to produce extreme reactions from the audience,” the artist writes in her abstract. “Yet these reactions stem more from culturally conditioned aversions more than a somaesthetic approach. In somaesthetics body fluids carry a much higher embodied value.”
Print
Progressive Insurance
Advertising Agency:Arnold Worldwide, Boston, USA
Global Chief Creative Officer:Jim Elliott
Executive Creative Director:Sean McBride
Managing Partner:Sean McBride
Group Creative Director:Marc Sobier
Copywriter:Bryce Isaacson
Art Directors:Jennifer Fisher, Sam Mullins
Typographer:Nick Devine
Strategy:Cordelia Fasoldt
Marketing:Elliott Seaborn, Vallerie Bettini, Gail Felcher, Kate Browne
Producers:Kathy McMann, Dayna Stanley, Diane Brito
Project Manager:Erin Sullivan
Business Affairs:Lisa Mercier
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Rock’s best friend.
Advertising Agency:Arpejo, Campinas, Brazil
Creative Director:Deivede Barros
Art Director:Deivede Barros
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