Hasta La Creative!

While the Covid-19 pandemic has forced many brands to pause or pivot their campaigns since March, Country Crock Plant Butter found an opportunity to execute a social good campaign to support struggling small businesses and consumers. The dairy-free butter, which the Upfield-owned company debuted in 2019, teamed with agency BCW Global for #HomeboundBirthday, a social…

Aproveitando o confinamento que não acaba nunca, a Domino’s criou nos Estados Unidos um festival de filmes caseiros produzidos por seus clientes.. O concurso “Domino’s Homemade Film Festival” incentiva os clientes a criarem e enviarem filmes que mostrem seu amor pela marca. O primeiro lugar ganhará um ano de pizza grátis. “Milhões de americanos estão …

O post Nos EUA, Domino’s cria competição de filmes caseiros feitos por clientes apareceu primeiro em B9.

Arielle Garcia will help guide clients through an increasingly complex landscape surrounding digital privacy law with the emergence of GDPR in the U.K. and California’s Consumer Privacy Act.

I love pitching for new business. However, as someone of color, I flinch slightly whenever I hear “chemistry meeting.” Pitch scorecards may be dreary and mechanistic, but at least there is a sense of rationality and transparency about the scores. The strategy wasn’t robust? Fine. The media planning was fanciful? Fine. Those knocks are part…

Online
Pizza Hut

During the COVID19 pandemic, millions of people had to lock themselves in their homes for several weeks, but the situation was particularly difficult for children. That’s why Pizza Hut made their pizza box to come with instructions to turn it into board games and cope better with time at home.

Advertising Agency:Paradais DDB, Quito, Ecuador
Creative Chairman:Agustin Febres-Cordero
Planning Leader:Ricardo Medina
Creative Director:Tyto Garcés Custode
Art Director:Jonathan Muñoz
Designer:Juan Sebastián Riaño
Planning:Germán Andrade
Content Manager:María Laura García

Film
Avon

What is essential in our new normal? We invite you to find support and comfort in new and practical ways in these challenging times. Avon gives you a wide selection of comfy nude intimate apparel that come in many Filipina sizes and skin tones – Essentials that blend in, so you can stand out. 

Advertising Agency:MullenLowe, Makati City, Philippines

Direct Marketing
Thai Health Promotion Foundation

Leo Burnett Group Thailand produced “uncured medicine” in order to prevent antibiotic resistance. Most Thai people, when got a cold and sore throat, they do not go to see the doctor and usually go buy antibiotic medicine without knowing the real cause of the cold whether it is from virus and bacteria. Antibiotic medicine should only be taken when the cold and sore throat is caused by bacteria. So, having antibiotic medicine without knowing the cause will lead to antibiotic resistance. Leo Burnett Group Thailand in cooperation with Thai Health Promotion Foundation produced “uncured medicine,” the medicine which cannot cure any sickness. The medicines were distributed to the pharmacies to pass on the medicine to people who come buy antibiotic medicines without knowing the real cause of their sickness to aware that each single antibiotic medicine they take without knowing the real cause of the sickness cannot heal anything at all like the uncured medicine. Also, we have included the information on how to take the antibiotic medicine correctly.

Advertising Agency:The Leo Burnett Group, Bangkok, Thailand
Production Company:Chubcheevit Studio Bangkok
Chief Creative Officer:Sompat Trisadikun
Creative Director:Thanachpath Ratanaborvornsethi
Art Director:Sompat Trisadikun, Botthawan Theeratrakul
Copywriter:Sorrasak Thummakosol, Warumpa Laoprasert
Account Management Director:Tida Vibulvanich
Account Manager:Veerin Lertsirimongkonkul
Account Executive:Maythavee Jariyanoppanan
Director:Prakan Wangkeaw
Producer:Sukij Pongpisuth

The Contamination of the Earth. A History of Pollutions in the Industrial Age, by historians Francois Jarrige and Thomas Le Roux.

Description by MIT Press: The authors describe how, from 1750 onward, in contrast to the early modern period, polluted water and air came to be seen as inevitable side effects of industrialization, which was universally regarded as beneficial. By the nineteenth century, pollutants became constituent elements of modernity. The authors trace the evolution of these various pollutions, and describe the ways in which they were simultaneously denounced and permitted. The twentieth century saw new and massive scales of pollution: chemicals that resisted biodegradation, including napalm and other defoliants used as weapons of war; the ascendancy of oil; and a lifestyle defined by consumption. In the 1970s, pollution became a political issue, but efforts—local, national, and global—to regulate it often fell short. Viewing the history of pollution though a political lens, the authors also offer lessons for the future of the industrial world.

John Bulmer, The Black Country

Société de St Gobain. Sept usines. Engrais chimiques. Atelier Hugo d’Alési (photo: BNF)

How about a harrowing but incredibly interesting book to start the week?

The Contamination of the Earth chronicles almost 300 years of environmental crime, as well as the resistance to it and the industrial efforts to make acceptable and -in some cases- conceal toxic abuses.

There used to be a time when public health came before economic development. If you were a tanner and threw waste in the river, you’d get a fine. If your workshop filled the neighbourhood with “miasmas”, it would be pushed outside of the town.

In the early 19th Century, under the pressures of the nascent industrialisation and the wonders of its achievements, attitudes changed and pollutions became a necessary evil. Chimneys, machines and chemicals were not just nuisances, they also denoted prosperity, progress, employment. As for nature, it was boundless. Up for conquest and plunder.

As a result, pollutions became constituents elements of modernity. Its ills on water streams, landscapes and atmosphere, however, were getting increasingly decried. Factory neighbours, workers, thinkers, doctors and scientists raised their voice in protest of the amount of toxic substances released. So were artists. Romantic writers, impressionist painters and poets denounced and represented the extent of the damage.

Ernest Jean Delahaye, L’usine à gaz de Courcelles (Gas factory in Courcelles), 1884

William H. Rease, Harrison Brothers’ White Lead Works and Chemical Laboratory, Philadelphia, 1847 (photo: WDL)

20th would have to reckon with the increase of contaminants as a result of wars, globalisation and mass consumerism. The chapters on the effects that WWI, WWII, the Cold War and the Vietnam War had on ecosystems were particularly distressing. Each conflict brought more disinhibition, more reasons to unleash chemical, explosive or nuclear weapons. The war had become industrial and so was the scale of its destructions. At the end of hostilities, the infrastructures and weapons didn’t fall into obsolescence, they were converted for civilian use. Chemical gases used in fighting, for example, would reinvent themselves as tools to sanitise material, to disinfect, control pests, etc.

With every protest and damning medical repost, industrialists’ strategies to deny and obfuscate reality become shrewder. Industrial nuisances were blamed on weather, topography, people’s sensibilities. Problems were outsourced to poorer countries, waste was dumped in high sea. Powerful lobbies emerged, close relationships were weaved with local authorities. Technical improvement became the modus operandi to manage nuisances. Sometimes, the innovations did wonder. More often than not however, any reduction achieved in one form of pollution produced secondary effects: either displacing the source of nuisance or producing the dreaded rebound effect. The most revolting strategy employed by the heavy polluters was acquired directly from the tobacco industry: generating scientific ignorance in the mainstream discourse about the deleterious effects of smoking. They hired their own experts to spread doubts about the certainty of scientific research and challenge evidence. I learnt in the book that there’s a name for discipline that studies this phenomenon of culturally-induced ignorance or doubt: it’s called agnotology.

The book stops its historical research into industrial depredation in the early 1970s. After the 70s, everything accelerated and all the phenomena the authors describe look like a long rehearsal for what we live today. We still fail to see the world as a holistic unit, we still see technology as the best path to salvation and, as concepts such as “sustainable development” demonstrate, we’re still not ready to challenge the very heart of the productive system. As for yesterday’s persistent organic pollutants, they are still widely present in our environments but hundreds of thousands of new, often more insidious ones are being developed with the help of bio and nanotechnology.

Defoliant spray run, part of Operation Ranch Hand, during the Vietnam War by UC-123B Provider aircraft, 1960s

Pasha Cas, Dance, in Temirtau, Kazakhstan. Photo: Olya Koto

There are many reasons why I’d recommend you get this book. The first one is that The Contamination of the Earth convincingly demonstrates that environmental hazards not only threaten the health of our planet, they also deepen inequalities and disparities between North and South, between richer and poorer communities.

Reason number two: instead of focusing on the usual polluting suspects (Western Europe and the United States), the book attempts to give an overview of the history of pollutions across the world, drawing parallels between what happened in France or the UK and what happens in China, Russia or Japan.

Reason number three: although the authors paint a rather bleak picture of what we’ve inflicted on this planet over the past few centuries, they articulate with great clarity the political, social and economic processes that have paved the way for this rush into the abyss. If we want to get out of this mess, we need to understand how we got there in the first place and ensure that we don’t reproduce the same mistakes and adopt the same inadequate solutions and fatalism again and again. Pollution is a violent monster but it is a monster that can be tamed with the help of new imaginaries and new alliances with the living.

One last reason I loved this book is that it’s very well written. The authors juggled with an impressive amount of data, papers and studies. Yet, their text remains compelling and pleasant to read.

When the heart of the Potter rejoices! Factory chimneys and pottery kilns belching pollution into the skies over Stoke on Trent, UK (photo: Dwyne)

Richard Jefferies, After London; or, Wild England. London: Duckworth & Co, 1905

After London is regarded as an early example of what we would today call the “eco-apocalyptic” novel.

John Bulmer, View over the Potteries, Stoke on Trent, 1963

Camille Pissarro, The Pont Boieldieu in Rouen, sunset, foggy weather, 1896

Related stories: Paleo-energy: a counter-history of energy, Arts of Living on a Damaged Planet. Ghosts and Monsters of the Anthropocene, The Shock of the Anthropocene. Or what does it mean to have the future of the planet into our hands?, Paula Humberg: making visible the unseen victims of climate change, Back Water: What should be classified as “wilderness” in a post-industrial world?, Plastic Capitalism. Contemporary Art and the Drive to Waste, etc.

Source

Online
Canon

Canon Nordic and Uncle Grey Copenhagen have created a global database, called Truthmark, where photographers and photojournalists can upload their photos along with the real story behind the image.

The photographers can mark their image with Truthmark using a tool that gives it unique digital fingerprint. The images are the copyright of the photographer and once the images are uploaded to the database they are encrypted, along with the story behind the image.

Journalists and members of the public who want to check the authenticity of images can perform a free image search on the platform to discover the origin of the image and the context in which it was taken.

The aim of the Truthmark Initiative is to protect democracy by reducing the misuse of photos worldwide and ensuring that the truth is protected. There are many examples of photos being co-opted to support the spread of fake news, including more recently an old photo collection of empty Norwegian hospitals used to fuel an untrue story about COVID-19 being non-existent in the country.

Uncle Grey Copenhagen programmed and designed the Truthmark database using a digital fingerprint technology, which can recognize images – even if they have been slighty altered. So, if an image has been tampered with, users can still find the original image and true story in the database, if the photographer has uploaded the original.

Advertising Agency:Uncle Grey, Copenhagen, Denmark
Client Service Director:Josephine Winther-Poupinel
Art Directors:Mads Nielsen, Carl Angelo
Copywriter:Clara Prior-Knock
Motion & Editing:Mathias Nielsen
Digital Director:Kasper Nielsen
Creative Chairman:Lars Samuelsen
Project Manager:Pernille Tramp