(TrendHunter.com) Pyer Moss and Reebok recently dropped two new tonal iterations of the signature Daytona Experiment sneaker model for the Fall/Winter 2018 season. The new options go by the names of ‘Cream’…
If the millions (hyperbole alert) of insufferable think pieces and research on the topic are any indication, separating one’s self from a smartphone is a pretty good idea. But, like all things in life, it’s about moderation. After all, some technology can actually make life a little bit better (Hello, no more going to the…
Para fazer a divulgação do “Heineken F1 Experience”, a Heineken, patrocinadora oficial do Campeonato Mundial de Fórmula 1, resolveu questionar em sua nova campanha o fato de que neste ano não há um brasileiro na Fórmula 1. No vídeo criado pela agência Publicis Brasil, vemos Rubinho Barrichello convidando a sua escuderia a sair do pit stop e …
O post Heineken questiona ausência de pilotos brasileiros na Fórmula 1 em divulgação da “Heineken F1 Experience” apareceu primeiro em B9.
Every weekday we bring you the Ad Age/iSpot Hot Spots, new TV commercials tracked by iSpot.tv, the real-time TV ad measurement company with attention and conversion analytics from more than eight million smart TVs. The ads here ran on national TV for the first time yesterday.
A few highlights: Old Spice serves up an extended version of an ad from its continuing “Old Spice Foam Zone” campaign, focusing on a faux game show designed to hype its new foaming body wash. Skittles serves up a fresh American TV cut of a comic ad in which a man “milks” a giraffe (Skittles result); it was originally created a couple years back for the U.K. market. And Bose dramatically illustrates how its headphones can help you focuseven in a bustling coffee shop.
The St Luke’s team found themselves sleep-deprived, shambolically dressed and about to pitch to Tony Blair, Gordon Brown and Peter Mandelson at Number 10, having left their notes behind. What could possibly go right?
New research into the ‘black pound’ underlines how brands must better reflect the diversity of society in order to drive growth.
The third project i discovered at A School of School, the 4th Istanbul Design Biennial (after Halletmek. The Turkish art of speeding up design processes and Genetically Modified Generation) is not a project but a cabinet of curiosities curated by SulSolSal, a collaboration between Brazilian architect Guido Giglio and South-African designer Hannes Bernard.
Demystification Committee, Offshore Spring/Summer 2018, 2018
Exhibition view of Staying Alive, part of the 4th Istanbul Design Biennial. Photo: Kayhan Kaygusuz
Global warming, widespread precarity and the threat of another economic crisis, the rise of far right discourses across Europe and the US, the mass extinction of natural species, (cyber)terrorism, political unrest, etc. The world seems to be facing a constant stream of menaces and crisis that only seem to grow with each passing day. Governments don’t seem too concerned about it, they are too busy signing climate agreements they won’t respect and courting votes with short-time measures that can only fool the naive and the self-centered. As for industries, they pursue their strategies of turbo-greed as if there was no tomorrow. And maybe indeed there won’t be any tomorrow.
SulSolSal’s Staying Alive is part a “wunderkammer” and part a survival guide. The artists, designers, architects and other resourceful citizens whose thoughts and works the SulSolSal duo has collected look bravely at some of the crisis we are facing today and attempt to help us prepare for a future of adversity and scarcity.
I wish SulSolSal‘s website was up and running and that they hadn’t titled their contribution Staying Alive because i’ve spent the whole weekend pretending i’m Robin Gibb. Other than that, i can’t fault the work of these guys. The research they did for the Istanbul Design Biennial was smart and inspiring.
Here’s my favourite projects in their selection of interesting and often tongue-in-cheek attempts to respond to the ongoing climate of impending doom:
Theo Deutinger, Europe in Africa, 2014
Theo Deutinger, Europe in Africa, 2014
Europe in Africa (EIA) is a proposal for a new city – state on an artificial island to be created right between the Exclusive Economic Zone of Tunisia and Italy. The aim of EIA is to provide a secure place for people that have to flee their country and want to reach Europe.
The purpose-built island would offer a football stadium, a business park, a mosque and a church, a business park, a police station, schools and spaces to live and grow crops.
After living and working 5 years in EIA its inhabitants would be granted with a truly European passport and could leave and legally reside in any European country; if wanted. The designer believes that Brexit exiles would be welcome on the island as well.
SkyLift V0.3 (current build) Photo ©Adam Harvey. Used in Adam Harvey and Anastasia Kubrak, Data Pools, 2018
The pools and mansions of Silicon Valley are financed by the mechanisms of economic surveillance and ownership of your personal data. Yet the geographic locations of these luxurious residences are often removed from open source databases. Data Pools uses SkyLift, an experimental wifi geolocation spoofing device that relocates your smartphone to these hidden locations of interest. The work explores the relationship between data collection, consent and the technologies behind wifi geolocation positioning.
With this project, Adam Harvey and Anastasia Kubrak allows you to cheat these technologies of control and pretend you’re having a drink by the private pools of big tech billionaires such as Jeff Bezos, Peter Thiel, Mark Zuckerberg or Larry Page.
Human Rights Foundation, Flash Drives for Freedom, 2005
The Human Rights Foundation is using USB sticks to counter Kim Jong-un’s propaganda machine and influence people living in North Korea.
A few years ago, a group of defectors began smuggling USB drives with educative and informative contents from the outside world. The campaign invites people all over the world to support their “subversive” effort and donate their unused drives. The USBs will then be filled with e-books, films, an offline Korean Wikipedia and other content proven to inspire North Koreans to disbelieve Kim Jong-Un’s propaganda and take a stand. The drives are then smuggled into the country.
Meeus van Dis, Super Green (Solar powered tanning bed), 2016. Photo credits: Sabrina Gaudio
Meeus van Dis, Super Green (The diesel fuel powered electric car), 2016. Photo credits: Sabrina Gaudio
Steven de Peven, Meeus van Dis and Bart Eysink Smeets used absurdist humour to question the “technofix”, this tendency we have to look at technology and design as providers of the ultimate solution to climate change and other man-made problems.
Their Super Green series features the GreenBrown solarium powered by solar energy to give you an eco-tan, an electric car powered by a diesel generator and an electric fan that uses wind energy.
Joao Roxo, The Hand that Feeds you, 2017. Photo: Kayhan Kaygusuz
The Hands That Feed You: Global Dependency and Design for the Third Space maps the North-South divide and the dynamics of its inter-dependency systems, in particular its flows of waste and surplus. The work also exposes a “Third Space” made of self-reliance and resourcefulness and informal economies. An example of this inventiveness is the furniture that people in the South craft using the excess of unwanted clothing sent as ‘charity’ from the North. People stuff big bags with the clothes and use them as poufs for example.
Janna Ullrich, Quantified (image)
’Quantified’ is a cooperative board game, set in a world in which everyone’s behavior is constantly surveilled and analyzed. A player’s behavior results in a social credit score leaving traces of data behind for governments and corporations to analyse and determining their position on the social ladder. Players start from different positions on the social ladder, as refugee, unemployed or employed, with unequal access to human rights. The goal of the game is to make all rights accessible to all players and to fight the implementation of totalitarian policies.
By gamifying the complex challenges of migration, participants experience how legal innocent activities can make them lose their rights and how they can collectively fight for laws that protect their rights.
Tattfoo Studio, New Earth Personal Survival Kit, 2017. Photo: Kayhan Kaygusuz
Tattfoo Studio, New Earth Personal Survival Kit, 2017
New Earth Personal Survival Kit, aka NEPSK, is a series of small survival kits that form part of an educational program teaching an ethos of self-reliance and living closer to the Earth. Although the work intends to prepare us for any type of challenging situation we might encounter in the future, it features artifacts inspired by folk craft and everyday objects. The artist believes that equipping yourself for the future also involves a great deal of looking back at past practices and strategies.
Demystification Committee, exhibition view at the Istanbul Design Biennial. Photo: Kayhan Kaygusuz
Demystification Committee, exhibition view at the Istanbul Design Biennial. Photo: Kayhan Kaygusuz
The Demystification Committee is an art and research project that takes the shape of an international corporate structure set up to model and explore offshore finance. Secretive movement of money is a crucial component of the offshore world. In order to benefit from this, the Demystification Committee has launched a collection of beachwear: Offshore Spring/Summer 2018. In this leisure collection, the stakeholders and strategies of the dark infrastructure is portrayed as being just as unseen as brightly coloured, pop-fashion diagrams.
Demystification Committee, Offshore Economist, 2018
The Offshore Economist, a digital publication focusing on the cracks inherent to the offshoring practices of corporate finance.
Mary Ponomareva, Luxury Survival Fair, 2017
Our anxieties and uncertainties about future disasters shouldn’t stifle the economy. In fact, ‘The end of the world’ is a business opportunity like any other, with high-end private security systems, state-of-the-art predator drones, luxurious survival condos and jewel-encrusted gas masks, etc.
By speculating on the objects and services that will make post-apocalyptic life more glamourous, Mary Ponomareva’s Luxury Survival Fair questions the role that aesthetics plays in the construction of ideology.
A School of School, the 4th Istanbul Design Biennial is curated by Jan Boelen and organised by the Istanbul Foundation for Culture and Arts (IKSV). The exhibitions remain open at various locations in Istanbul until 4 November 2018.
Also part of the biennial: Halletmek. The Turkish art of speeding up design processes and Genetically Modified Generation (Designer Babies).
Every weekday we bring you the Ad Age/iSpot Hot Spots, new TV commercials tracked by iSpot.tv, the real-time TV ad measurement company with attention and conversion analytics from more than eight million smart TVs. The ads here ran on national TV for the first time yesterday.
A few highlights: Old Spice serves up an extended version of an ad from its continuing “Old Spice Foam Zone” campaign, focusing on a faux game show designed to hype its new foaming body wash. Skittles serves up a fresh American TV cut of a comic ad in which a man “milks” a giraffe (Skittles result); it was originally created a couple years back for the U.K. market. And Bose dramatically illustrates how its headphones can help you focuseven in a bustling coffee shop.
People on Instagram can now incorporate audio tracks from SoundCloud into their Instagram Stories following an integration that was revealed Tuesday. Starting Tuesday, people using the latest versions of the SoundCloud and Instagram iOS and Android applications can tap Share in the menu on the SoundCloud app and select Share to Instagram Stories. In turn,…
A antiga ideia de uma réplica do icônico navio Titanic parece que finalmente “foi pra frente”. Batizado de Titanic II, o navio deve fazer a sua primeira viagem no ano de 2022. Segundo o USA Today, o navio receberá 2.400 passageiros e 900 tripulantes, quase o mesmo número de passageiros a bordo do barco que afundou em …
O post Réplica do Titanic seguirá a mesma rota do original em 2022 apareceu primeiro em B9.
Film
Flower Council of Holland
Advertising Agency:180 Kingsday, Amsterdam, Netherlands
Production:The BoardRoom
Director:Alan Masferrer
Music:Sizzer
Long before marijuana showed up in fancy dispensaries, the weed market mostly consisted of young guys who love to get high. So it stands to reason that early purveyors of legal weed mostly emphasized the potency of their products and leaned heavily on stoner culture, including Instagram images of scantily clad women and giant plumes of smoke.
“It was Duck Dynasty, meets Wu-Tang, meets a lot of misogyny,” says Adrian Sedlin, the chief executive officer of Canndescent, which became California’s top-selling weed brand last year.
Now that marijuana is legal for adult use in nine states including the massive California market, cannabis purveyors are keen to push beyond the core demographic of stoner bros. Women have become one the fastest-growing customer segmentswhether it’s moms trading in their chardonnay for a vape pen or yoga acolytes seeking out weed-infused pain-relievers.
Long before marijuana showed up in fancy dispensaries, the weed market mostly consisted of young guys who love to get high. So it stands to reason that early purveyors of legal weed mostly emphasized the potency of their products and leaned heavily on stoner culture, including Instagram images of scantily clad women and giant plumes of smoke.
“It was Duck Dynasty, meets Wu-Tang, meets a lot of misogyny,” says Adrian Sedlin, the chief executive officer of Canndescent, which became California’s top-selling weed brand last year.
Now that marijuana is legal for adult use in nine states including the massive California market, cannabis purveyors are keen to push beyond the core demographic of stoner bros. Women have become one the fastest-growing customer segmentswhether it’s moms trading in their chardonnay for a vape pen or yoga acolytes seeking out weed-infused pain-relievers.
Long before marijuana showed up in fancy dispensaries, the weed market mostly consisted of young guys who love to get high. So it stands to reason that early purveyors of legal weed mostly emphasized the potency of their products and leaned heavily on stoner culture, including Instagram images of scantily clad women and giant plumes of smoke.
“It was Duck Dynasty, meets Wu-Tang, meets a lot of misogyny,” says Adrian Sedlin, the chief executive officer of Canndescent, which became California’s top-selling weed brand last year.
Now that marijuana is legal for adult use in nine states including the massive California market, cannabis purveyors are keen to push beyond the core demographic of stoner bros. Women have become one the fastest-growing customer segmentswhether it’s moms trading in their chardonnay for a vape pen or yoga acolytes seeking out weed-infused pain-relievers.
Long before marijuana showed up in fancy dispensaries, the weed market mostly consisted of young guys who love to get high. So it stands to reason that early purveyors of legal weed mostly emphasized the potency of their products and leaned heavily on stoner culture, including Instagram images of scantily clad women and giant plumes of smoke.
“It was Duck Dynasty, meets Wu-Tang, meets a lot of misogyny,” says Adrian Sedlin, the chief executive officer of Canndescent, which became California’s top-selling weed brand last year.
Now that marijuana is legal for adult use in nine states including the massive California market, cannabis purveyors are keen to push beyond the core demographic of stoner bros. Women have become one the fastest-growing customer segmentswhether it’s moms trading in their chardonnay for a vape pen or yoga acolytes seeking out weed-infused pain-relievers.
Long before marijuana showed up in fancy dispensaries, the weed market mostly consisted of young guys who love to get high. So it stands to reason that early purveyors of legal weed mostly emphasized the potency of their products and leaned heavily on stoner culture, including Instagram images of scantily clad women and giant plumes of smoke.
“It was Duck Dynasty, meets Wu-Tang, meets a lot of misogyny,” says Adrian Sedlin, the chief executive officer of Canndescent, which became California’s top-selling weed brand last year.
Now that marijuana is legal for adult use in nine states including the massive California market, cannabis purveyors are keen to push beyond the core demographic of stoner bros. Women have become one the fastest-growing customer segmentswhether it’s moms trading in their chardonnay for a vape pen or yoga acolytes seeking out weed-infused pain-relievers.
Long before marijuana showed up in fancy dispensaries, the weed market mostly consisted of young guys who love to get high. So it stands to reason that early purveyors of legal weed mostly emphasized the potency of their products and leaned heavily on stoner culture, including Instagram images of scantily clad women and giant plumes of smoke.
“It was Duck Dynasty, meets Wu-Tang, meets a lot of misogyny,” says Adrian Sedlin, the chief executive officer of Canndescent, which became California’s top-selling weed brand last year.
Now that marijuana is legal for adult use in nine states including the massive California market, cannabis purveyors are keen to push beyond the core demographic of stoner bros. Women have become one the fastest-growing customer segmentswhether it’s moms trading in their chardonnay for a vape pen or yoga acolytes seeking out weed-infused pain-relievers.
New research into the ‘black pound’ underlines how brands must better reflect the diversity of society in order to drive growth.
An off-putting comment at Peter Mead’s first job interview steered the future Abbott Mead Vickers co-founder away from J Walter Thompson and towards Bensons. From there, he went on to forge a brilliant career, taking respect and trust as his watchwords.
The third project i discovered at A School of School, the 4th Istanbul Design Biennial (after Halletmek. The Turkish art of speeding up design processes and Genetically Modified Generation) is not a project but a cabinet of curiosities curated by SulSolSal, a collaboration between Brazilian architect Guido Giglio and South-African designer Hannes Bernard.
Demystification Committee, Offshore Spring/Summer 2018, 2018
Exhibition view of Staying Alive, part of the 4th Istanbul Design Biennial. Photo: Kayhan Kaygusuz
Global warming, widespread precarity and the threat of another economic crisis, the rise of far right discourses across Europe and the US, the mass extinction of natural species, (cyber)terrorism, political unrest, etc. The world seems to be facing a constant stream of menaces and crisis that only seem to grow with each passing day. Governments don’t seem too concerned about it, they are too busy signing climate agreements they won’t respect and courting votes with short-time measures that can only fool the naive and the self-centered. As for industries, they pursue their strategies of turbo-greed as if there was no tomorrow. And maybe indeed there won’t be any tomorrow.
SulSolSal’s Staying Alive is part a “wunderkammer” and part a survival guide. The artists, designers, architects and other resourceful citizens whose thoughts and works the SulSolSal duo has collected look bravely at some of the crisis we are facing today and attempt to help us prepare for a future of adversity and scarcity.
I wish SulSolSal‘s website was up and running and that they hadn’t titled their contribution Staying Alive because i’ve spent the whole weekend pretending i’m Robin Gibb. Other than that, i can’t fault the work of these guys. The research they did for the Istanbul Design Biennial was smart and inspiring.
Here’s my favourite projects in their selection of interesting and often tongue-in-cheek attempts to respond to the ongoing climate of impending doom:
Theo Deutinger, Europe in Africa, 2014
Theo Deutinger, Europe in Africa, 2014
Europe in Africa (EIA) is a proposal for a new city – state on an artificial island to be created right between the Exclusive Economic Zone of Tunisia and Italy. The aim of EIA is to provide a secure place for people that have to flee their country and want to reach Europe.
The purpose-built island would offer a football stadium, a business park, a mosque and a church, a business park, a police station, schools and spaces to live and grow crops.
After living and working 5 years in EIA its inhabitants would be granted with a truly European passport and could leave and legally reside in any European country; if wanted. The designer believes that Brexit exiles would be welcome on the island as well.
SkyLift V0.3 (current build) Photo ©Adam Harvey. Used in Adam Harvey and Anastasia Kubrak, Data Pools, 2018
The pools and mansions of Silicon Valley are financed by the mechanisms of economic surveillance and ownership of your personal data. Yet the geographic locations of these luxurious residences are often removed from open source databases. Data Pools uses SkyLift, an experimental wifi geolocation spoofing device that relocates your smartphone to these hidden locations of interest. The work explores the relationship between data collection, consent and the technologies behind wifi geolocation positioning.
With this project, Adam Harvey and Anastasia Kubrak allows you to cheat these technologies of control and pretend you’re having a drink by the private pools of big tech billionaires such as Jeff Bezos, Peter Thiel, Mark Zuckerberg or Larry Page.
Human Rights Foundation, Flash Drives for Freedom, 2005
The Human Rights Foundation is using USB sticks to counter Kim Jong-un’s propaganda machine and influence people living in North Korea.
A few years ago, a group of defectors began smuggling USB drives with educative and informative contents from the outside world. The campaign invites people all over the world to support their “subversive” effort and donate their unused drives. The USBs will then be filled with e-books, films, an offline Korean Wikipedia and other content proven to inspire North Koreans to disbelieve Kim Jong-Un’s propaganda and take a stand. The drives are then smuggled into the country.
Meeus van Dis, Super Green (Solar powered tanning bed), 2016. Photo credits: Sabrina Gaudio
Meeus van Dis, Super Green (The diesel fuel powered electric car), 2016. Photo credits: Sabrina Gaudio
Steven de Peven, Meeus van Dis and Bart Eysink Smeets used absurdist humour to question the “technofix”, this tendency we have to look at technology and design as providers of the ultimate solution to climate change and other man-made problems.
Their Super Green series features the GreenBrown solarium powered by solar energy to give you an eco-tan, an electric car powered by a diesel generator and an electric fan that uses wind energy.
Joao Roxo, The Hand that Feeds you, 2017. Photo: Kayhan Kaygusuz
The Hands That Feed You: Global Dependency and Design for the Third Space maps the North-South divide and the dynamics of its inter-dependency systems, in particular its flows of waste and surplus. The work also exposes a “Third Space” made of self-reliance and resourcefulness and informal economies. An example of this inventiveness is the furniture that people in the South craft using the excess of unwanted clothing sent as ‘charity’ from the North. People stuff big bags with the clothes and use them as poufs for example.
Janna Ullrich, Quantified (image)
’Quantified’ is a cooperative board game, set in a world in which everyone’s behavior is constantly surveilled and analyzed. A player’s behavior results in a social credit score leaving traces of data behind for governments and corporations to analyse and determining their position on the social ladder. Players start from different positions on the social ladder, as refugee, unemployed or employed, with unequal access to human rights. The goal of the game is to make all rights accessible to all players and to fight the implementation of totalitarian policies.
By gamifying the complex challenges of migration, participants experience how legal innocent activities can make them lose their rights and how they can collectively fight for laws that protect their rights.
Tattfoo Studio, New Earth Personal Survival Kit, 2017. Photo: Kayhan Kaygusuz
Tattfoo Studio, New Earth Personal Survival Kit, 2017
New Earth Personal Survival Kit, aka NEPSK, is a series of small survival kits that form part of an educational program teaching an ethos of self-reliance and living closer to the Earth. Although the work intends to prepare us for any type of challenging situation we might encounter in the future, it features artifacts inspired by folk craft and everyday objects. The artist believes that equipping yourself for the future also involves a great deal of looking back at past practices and strategies.
Demystification Committee, exhibition view at the Istanbul Design Biennial. Photo: Kayhan Kaygusuz
Demystification Committee, exhibition view at the Istanbul Design Biennial. Photo: Kayhan Kaygusuz
The Demystification Committee is an art and research project that takes the shape of an international corporate structure set up to model and explore offshore finance. Secretive movement of money is a crucial component of the offshore world. In order to benefit from this, the Demystification Committee has launched a collection of beachwear: Offshore Spring/Summer 2018. In this leisure collection, the stakeholders and strategies of the dark infrastructure is portrayed as being just as unseen as brightly coloured, pop-fashion diagrams.
Demystification Committee, Offshore Economist, 2018
The Offshore Economist, a digital publication focusing on the cracks inherent to the offshoring practices of corporate finance.
Mary Ponomareva, Luxury Survival Fair, 2017
Our anxieties and uncertainties about future disasters shouldn’t stifle the economy. In fact, ‘The end of the world’ is a business opportunity like any other, with high-end private security systems, state-of-the-art predator drones, luxurious survival condos and jewel-encrusted gas masks, etc.
By speculating on the objects and services that will make post-apocalyptic life more glamourous, Mary Ponomareva’s Luxury Survival Fair questions the role that aesthetics plays in the construction of ideology.
A School of School, the 4th Istanbul Design Biennial is curated by Jan Boelen and organised by the Istanbul Foundation for Culture and Arts (IKSV). The exhibitions remain open at various locations in Istanbul until 4 November 2018.
Also part of the biennial: Halletmek. The Turkish art of speeding up design processes and Genetically Modified Generation (Designer Babies).
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
