Como o iPad é feito: Uma visita ao chão de fábrica da Foxconn

O Marketplace.org está realizando uma série chamada “The Apple Economy”, que investiga e analisa a atuação da empresa mais valiosa do mundo da China.

No vídeo acima, o repórter Rob Schmitz – apenas o segundo a pisar no chão da fábrica da Foxconn – mostra como é a fabricação de um iPad. Inclui detalhes como o teste do giroscópio e da placa-mãe que, caso apresente algum problema, é reportado automaticamente na Apple em Cupertino.

Além do salário de 14 dólares por dia e da fila de pessoas interessadas em trabalhar na fábrica, a reportagem fala também dos investimentos feito em nome do bem-estar dos funcionários, depois das acusações de abusos dentro da Foxconn.

Vale não só assistir o vídeo, como também acompanhar toda a série de matérias.

Brainstorm9Post originalmente publicado no Brainstorm #9
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City Of Fog

Le photographe Martin Stavars a décidé d’immortaliser la ville de Chongqing en Chine sous le brouillard. Cette série de photographies appelée “City Of Fog” est tout simplement splendide et donne une réelle ambiance. Des clichés à découvrir dans la suite.



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Reflexões de um publicitário americano fazendo comerciais para o McDonald’s na China

Nesse curta-documentário, John Benet é um produtor de publicidade americano em Xangai, que recebe a missão de produzir uma série de comerciais para o McDonald’s na China.

O tema parece simples, mas em 15 minutos Benet levanta uma variedade de questões de forma fascinante, começando pela sua conclusão pessimista da carreira em publicidade, depois de 23 anos na ativa, e da dificuldade em encontrar valor em seu trabalho.

Balanceando humor, cinismo e melancolia na medida ideal, “Sunshine” aborda o valor da criatividade e as diferenças culturais entre ocidente e oriente, mostrando um país em demolição na marcha pelo progresso.

Em uma das muitas frases marcantes, John conclui:

“Você pode ter uma carreira inteira em publicidade sem necessariamente conseguir amarrar um monte de pensamentos juntos.”

Já aviso antes para não ter reclamação: Muito inglês e sem legendas.

Brainstorm9Post originalmente publicado no Brainstorm #9
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Liu Bolin – Lost in Art

Après le focus Invisible Man, l’artiste chinois Liu Bolin présente actuellement une exposition de ses œuvres “Lost in Art” à la Eli Klein Gallery située à New York. Revenant sur ses peintures le camouflant au milieu de la photo, l’ensemble est dans la suite.



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Silent World

Lucie & Simon nous propose de découvrir leur série de photographies appelée “Silent World”. En effaçant des clichés de grandes places de New York et Paris ou encore en Chine et Italie tout signe de circulation et de vie, le rendu à découvrir en images et vidéos impressionne.



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Artworks with Coffee Cups

Découverte de Red Hong, une artiste originaire de Malaysie. Installé à Shanghai pour son travail, cette dernière aime faire des créations avec des éléments inhabituels et notamment avec des cercles de café. Des créations intéressantes à voir dans la suite de l’article.



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Beijing Sports Radio Campaign

L’agence Ogilvy & Mather Hong Kong a pensé cette superbe campagne print pour la Beijing Sports Radio. Utilisant les différents environnements sportifs pour créer des phylactères, représentant ainsi le dialogue et le commentaire sportif, ces visuels sont à découvrir dans la suite.



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Beijing

The cutting edge of capitalist nihilism.

by
Charles Humphrey

From Adbusters #95: The Philosophy Issue

Wang Ningde/Galerie Paris-Beijing

Wang Ningde/Galerie Paris-Beijing

An impenetrable gray haze so thick that the sun is but a dull red glow, a candle in the mist. Gas and electric motorcycles jerry-rigged with steel tubes and plastic film to shield would-be passengers from the wind and cold. Garbage strewn about the streets by daytime, gathered into piles and then lit for warmth at night. Street urchins with blank faces, shredded clothes and tattered shoes, eyes empty from drugs, despair and malnutrition. Women available for rock-bottom prices, bored faces on couches, watching television and smoking Zhongnanhai cigarettes under pink lights. They file their nails and prattle on in a scene that verges on the domestic, a far cry from the titillating theatrics of an Amsterdam alleyway and somehow more perverse for it. Signs and billboards promising breast implants, liposuction and abortions vastly outnumber those pushing soda pop and shaving cream. A radically altered vision of the mundane. Constant construction and deconstruction, rubble and rebar and empty plastic paint cans. Construction and reconstruction and deconstruction and renovation and antiquation occurring again and again at an ever-faster pace with no discernible beginning or end. The various “uctions” and “ations” creating such a conceptual blur that their distinctions collapse into mere “work.” The resulting disorder constantly reshaping the landscape of one’s experience, day in day out new fences are erected and penetrated, walls of corrugated steel painted blue prevent access to favorite shops, sidewalks are torn up and brick walls are built, destroyed and rebuilt in a matter of days with no apparent functional motive. A complete loss of any context or meaning, nothing but a frantic motion to create the illusion of movement, to hide the glaring truth that nothing is happening.

This is Beijing, 2010. Where have I seen this before? The sights are like some dream that I’ve had since childhood, an experience of the uncanny, a recollection at once comforting and terrifying. Where have I seen these street vendors, the umbrellas, the steam rising, the wrappers tossed in the rain-slick streets, the fluorescent lights reflected on them? Where have I felt the fear of official power, where even the university gate-guard dressed up and playing policeman, king of his anthill, is an enemy I am always trying to placate? When have I felt that anxiety that the fire inspector might be looking to turn a profit from his “safety inspection” of my concrete-block apartment? Why is this all so familiar?

And then it hit me. This is the end of the world. Beijing is ground zero. Philosopher Slavoj Žižek, in his Welcome to the Desert of the Real wrote that Americans were gripped by the sight of the twin towers collapsing because it was the real manifestation of something they’d experienced in their virtual lives countless times before. The action movie sequence of the plane and the explosion, the smoke and screams, the heroism and the mourning, they’d been experienced much the same in hundreds of variations. And now it dawns on me that what draws me to Beijing is the way the real crashes through, connecting with a virtual experience I’ve had time and time again. Beijing is the apocalypse I’ve seen in films like Children of Men, Blade Runner, Mad Max and others. Not an apocalypse of asteroids, lava and melting ice caps, no explosions and tremors but a psychic apocalypse, a collapse of order and reason driven by the very social logic meant to bring it about. An apocalypse that leaves a skeleton of social order intact and hives off individuals into their own private hell. This is the edge of the Capitalist Apocalypse, the final realization of the nightmares of modernity. Beijing is run by the logic of Reflective Reason warned against by Kierkegaard, an Orwellian nightmare populated by Nietzschean Last Men who can no longer even dare to dream of a Marxist, Leninist or, in the ultimate irony, even a Maoist social utopia. This fact is captured tragically in the story of a young boy who 30 years ago asked his mother, “Mom, when is Communism coming?” only to be slapped and scolded for asking such stupid (and politically dangerous) questions. Recently, the man, now over forty years of old, was comforting his dying mother, who on her deathbed in an overcrowded and poorly staffed public hospital, broke down in tears of despair at the scene she was witnessing as she left the world and asked, “Son, when is Communism coming?” China is often portrayed as a backward country that seeks to “catch up” to the West. The sad truth is, China is already far ahead of the curve in one major way – the Chinese have internalized the horrifying truth of basing social organization on a linear economic model of capitalist growth – there is no Messiah in global capitalism. There is no end, no hope, no dream, no purpose, just ever-greater motion without movement in any discernible direction. Development without progress, change without context, work without purpose. This is the end of our psychic world, the death of our stories, and Beijing is ground zero.

One can see the signs of the disintegration of categories of meaning on the streets and in daily life. The loss of distinction between development and regression, between growth and decay that is so clearly revealed in the unceasing construction and demolition and the rubble it produces, is replicated in every sphere of social life. The result is that as all conceptual categories collapse in on themselves, all meaning is lost and navigation through the waters of life becomes nigh impossible. What is crime when it is indistinguishable from the daily activities of businessmen, governmental officials and law enforcement? How can one maintain the criminal/law-abiding dichotomy when it is generally accepted that the logic of growth and profit dictate that everyone from the smallest shop-owner to the highest government official has an interest in stepping outside the rules in order to “develop the economy”? How can one maintain the distinction between sound parenting and child abuse when in the interest of pushing a child to greater academic success one enforces control over their every movement and decision through acts of physical and emotional violence? What is health and sickness when doctors gleefully respond to the slightest illness by carpet-bombing the system with every drug they can possibly sell to their patient?

The physical and social evidence of the collapse of meaning in Beijing are written on the psyches of anyone who has been working long enough to shed their childish illusions. Young minds are inseminated with state-crafted illusions from the Communist past, designed to temporarily insulate children from this reality, a psychic scaffolding to protect their integrity until the necessary programming is complete. Words like “harmony” and “the people” are sprinkled on every public statement to hide the decay at the heart of society. Despair is the default mode for most young professionals and university students today. A despair that is frequently expressed by my students who mentally check out of their classes, and by young, well-educated professional friends who must struggle fiercely to survive, while frequently breaking down and asking whoever will listen, often at a price, “What am I living for?” Students are forced into majors based on their parents’ whims and the offerings of their universities, submitted to rote learning 30 or more hours a week. Young professionals work to the point of exhaustion for less than a thousand dollars a month, living in tiny apartments run by quasi-criminal cartels of real-estate agencies with an oligopoly in the completely unregulated rental market. They pay five hundred dollars a month for rent, which is paid at least four months ahead, with no option to sublet, with one-month finders fees as well as a host of random fees the rental agency will try to trick and brow beat them into accepting. Most struggle to make ends meet while supporting aging parents. Their only hope is to learn the tricks of the trade, to cheat, swindle, extort and bribe their way to the top in order to attain some quality of life. It is the modern information economy version of the scene in Fritz Lang’s Metropolis where young Freder watches the masses of workers being fed into the jaws of the mechanical Moloch. A generation of young people that, if given a chance to breathe, might have provided positive influences in their communities, developed new ideas, been good parents or contributed to a better society, are being consumed ruthlessly and left as burned out, disease-wracked shells by their forties, more often than not reenacting their own psychic traumas upon the single child they are permitted. It is only going to get worse.

We in the West like to criticize China for these facts, to liken cities like Beijing to ant farms and Chinese people to inhuman robots. We like to accuse the Chinese government of withholding the rule of law, to blame them for the impoverishment of the Chinese spirit and eradication of five thousand years of Chinese culture. The reality is that the Chinese are merely very fast learners. Western societies have developed and imposed a model of social organization on the world that is devoid of the conceptual distinctions that are central to creating meaningful social and psychic content. A simple binary equation, a series of numerical pluses or minuses has been adopted as our central determinant of value, stability and meaning. We in the West have been fortunate enough to have amassed sufficient power and wealth in the past century to allow us until recently to largely insulate ourselves from the psychic impoverishment we have imposed on others. The Chinese, without this luxury, understood the true nature of our New World Order faster and better than any other nation. This is how China has become the site of the End of the World. This is not an “end” in the sense of termination or finishing point, but in the sense of realization, revelation, purpose. It is the manifestation of the unconscious dream of a capitalist system of social organization based entirely on the binary logic of financial growth. This is the World we have created, and this is its End, at once the termination of the old world of meaning and community and the anti-end, the beginning of a new world devoid of the stories and distinctions that provide the individual and collective life with meaning. Beijing is the End of the World, it is our vacuous purpose, it is the nightmare we have collectively embraced. Throughout the 20th century we dreamed of a future composed of ones and zeros, where man and machine could be one. Beijing is the End of the World not because China is the future, but because in the future we have chosen to pursue, we will all be Chinese.

Charles Humphrey is a 25-year-old Canadian living in Beijing, where he lectures, writes, studies Chinese and feeds an incurable addiction to Chinese martial arts.

Family Stuff

Cette série “Family Stuff” est le fruit d’une collaboration entre les deux photographes Huang Qingjun et Ma Hongjie. Ces artistes ont voyagé il y a quelques années à travers leur pays afin d’immortaliser des familles chinoises présentant l’ensemble de leurs affaires domestiques.



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Cai Guo-Qiang

L’artiste chinois Cai Guo-Qiang utilise de la poudre à canon pour dessiner sur le papier. Il a été le concepteur des feux d’artifices de la cérémonie d’ouverture des Jeux olympiques de Chine, et de nombreuses mises en scène questionnant la violence du monde contemporain.



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Hua Qiang Bei Road

Voici le nouveau projet du studio WORKac concernant l’élaboration et le design de la futur route de Hua Qiang Bei à Shenzhen, en Chine. Une impressionnante conception sur cette parcelle d’1 km en plein quartier commerçant. Plus d’images dans la suite.



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China’s 60th Anniversary

Après l’excellent Toy Soldiers, voici cette superbe captation HD réalisée lors de la cérémonie à la place Tiananmen pour le 60ème anniversaire de la république populaire de Chine. Un mélange de timelapse et de slow-motion, grâce à l’utilisation du Canon 5D Mark II et 7D.



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Plus loin : d’autres vidéos en slow-motion ou time-lapse.

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Unrestricted Warfare

It has become a truism in Chinese circles that the former Soviet Union spent itself into oblivion by being lured into a competition for military primacy. So rather than trying to match the USA’s military machine plane for plane and bomb for bomb, the Chinese approach is to go for an “asymmetrical” strategy of finding and exploiting the enemy’s soft spots. “Asymmetric warfare” has been voguish in Western military circles for a long time. It has traditionally been used to describe how terrorists can take on and defeat standing armies, in the same way that David took on Goliath. However, the Chinese have taken this debate far beyond the techniques of terrorism. Chinese intellectuals and military planners have created a cottage industry of devising strategies for defeating a “technologically superior opponent” (their preferred euphemism for the USA).

Every year, Chinese military spending goes up by over 10 percent (American intelligence estimates that the real figure is two to three times higher) to fulfill the country’s great-power aspirations. However, its military modernization – which has seen it building ships and submarines, buying fourth-generation combat aircraft and aiming 900 ballistic missiles at Taiwan – has not been about trying to copy or match the US military. The goal is, instead, to find cheaper ways of neutralizing the USA’s military advantage. Instead of rivalling the USA on its own ground, Beijing wants to play the Americans at a different game that Beijing can win.

For example, on Taiwan, rather than vainly seeking military supremacy of the Taiwan Strait, Beijing has sought to increase the price the USA would have to pay to defend the island in a war. Twenty years ago the USA could have adopted a purely defensive strategy by creating a shield around the island. As a result of China’s military modernization, this defensive strategy is now unsustainable. Now the USA would be put in the unenviable position of needing to attack mainland China to defend Taiwan.

China’s activities in space have followed a similar pattern. Beijing’s goal is not to launch a series of star wars against the USA. Instead, it has sought to undermine the US military doctrine by developing weapons which could destroy the satellites which provide so much of the USA’s military intelligence. Like Odysseus, who overcame the Cyclops by blinding him with a burning stake, Beijing’s audacious plan is to blind American troops by taking away their satellite intelligence. Beijing hopes, thereby, to make it impossible for the USA to get involved in a conflict over Taiwan or Japan.

The most interesting aspects of China’s attempt to become an asymmetric superpower are outside the realm of conventional military power. The most detailed explanation of this approach came in a book called Unrestricted Warfare, which shot onto the Chinese bestseller lists in 2001. This book, written by two People’s Liberation Army colonels, attracted attention only among specialists when it was first published in 1999. After Osama bin Laden’s attack on the World Trade Center, however, its thesis seemed visionary. It argues that the American obsession with military hardware is the country’s greatest weakness, blinding its policy-makers to the wider picture of military strategy, which must include the use of economic, legal and political weapons as well. The book sets out a series of strategies for “non-military warfare” arguing that “soldiers do not have the monopoly of war.”

Top of their list is “economic warfare.” Referring to the Asian financial crisis of 1997, the authors speak with awe about the power of international financiers like George Soros to undermine the economies of the so-called Asian Tigers: “Economic prosperity that once excited the constant admiration of the Western world changed to a depression, like the leaves of a tree that are blown away in a single night by the autumn wind.” If a lone individual like Soros could unleash so much destruction simply for profit, how much damage could a proud nation like China inflict on the USA with its trillion dollars of foreign reserves?

Another possibility is “super-terrorism.” In a prescient passage, the authors predicted attacks like Osama bin Laden’s on the World Trade Center two years before they took place. They correctly foresaw that the response of the USA to the attacks would be more damaging to the country’s security than the attacks themselves: “it often makes an adversary which uses conventional forces and conventional measures as its main combat strength look like a big elephant charging into a china shop. It is at a loss as to what to do, and unable to make use of the power it has.”

The most interesting thesis is the idea that China could use international law as a weapon, or “lawfare” for short. The authors argue that citizens of democracies increasingly demand that their countries uphold international rules, particularly ones that govern human rights and the conduct of war. Governments are, therefore, constrained by regional or worldwide organizations, such as the European Union, ASEAN, the International Monetary Fund, the World Bank, the WTO and the United Nations. The authors argue that China should copy the European model of using international law to pin down the USA: “there are far-sighted big powers which have clearly already begun to borrow the power of supra-national, multinational, and non-state players to redouble and expand their own influence.” They think that China could turn the United Nations and regional organizations into an amplifier of the Chinese worldview – discouraging the USA from using its might in campaigns like the Iraq War.

DEFT MOVES AT THE UN

The United Nations is becoming a powerful amplifier of the Chinese worldview. Unlike Russia, which comports itself with a swagger – enjoying its ability to overtly frustrate US and EU plans – China tends to opt for a conciliatory posture. It is prepared to veto things when it has to, but it prefers to hide behind others, and block things without getting the blame. In the run-up to the Iraq War, although China opposed military action, it allowed France, Germany and Russia to lead the international opposition to it. In 2005 when there was a debate about enlarging the United Nations Security Council, China encouraged African countries to demand their own seat with a veto which effectively killed off Japan’s bid for a permanent Security Council seat. Equally, Beijing has been willing to allow the Organization of Islamic States to take the lead in weakening the new Human Rights Council. This subtle diplomacy has been devastatingly effective – contributing to a massive fall in US influence: in 1995 the USA won 50.6 percent of the votes in the United Nations general assembly; by 2006, the figure had fallen to just 23.6 percent. On human rights, the results are even more dramatic: China’s win-rate has rocketed from 43 percent to 82 percent, while the USA’s has tumbled from 57 per cent to 22 percent. The New York TimesUN correspondent James Traub has detected a paradigm shift in the United Nations’ operations: “it’s a truism that the Security Council can function only insofar as the United States lets it. The adage may soon be applied to China as well.” Traub may be right. China’s capacity to influence the United Nations is increasing, and soon we may be complaining about Chinese behavior on big policy issues, rather than saying “if only the USA would act differently.”

  

Mark Leonard’s book What Does China Think? published by Perseus Books, is an insightful and provoking journey into one of the most important and least understood countries of our time.

  

Jie Yun Express: SWAT

a href=/media/print/jie_yun_express_swatimg src=http://adsoftheworld.com/files/images/SWAT.preview.jpg alt=Jie Yun Express: SWAT title=Jie Yun Express: SWAT class=image image-preview width=460 height=339 //apAdvertising Agency: Firstell Communications, Shanghai, Chinabr /
Creative Directors: Murphy Chou, Rich Shiuebr /
Art Directors: Rich Shiue, Jonnal Chang, Lii Chiagn, Kens Caobr /
Copywriters: Murphy Chou, Giant Kungbr /
Photographers: Lai, Jer-Ibr /
Published: December 2008/p

DQ LED Torches: To love and be loved

a href=/media/print/dq_led_torches_to_love_and_be_lovedimg src=http://adsoftheworld.com/files/images/To-love-and-to-be-loved.preview.jpg alt=DQ LED Torches: To love and be loved title=DQ LED Torches: To love and be loved class=image image-preview width=315 height=460 //apAdvertising Agency: Firstell Communications, Shanghai, Chinabr /
Creative Director: Murphy Choubr /
Art Director: Murphy Chou, Kens Caobr /
Copywriter: Murphy Chou, Yanli Songbr /
Published: December 2008/p

DQ LED Torches: Non cooperation with non violence

a href=/media/print/dq_led_torches_non_cooperation_with_non_violenceimg src=http://adsoftheworld.com/files/images/Non-cooperation-with-non-violence.preview.jpg alt=DQ LED Torches: Non cooperation with non violence title=DQ LED Torches: Non cooperation with non violence class=image image-preview width=460 height=315 //apAdvertising Agency: Firstell Communications, Shanghai, Chinabr /
Creative Director: Murphy Choubr /
Art Director: Murphy Chou, Kens Caobr /
Copywriter: Murphy Chou, Yanli Songbr /
Published: December 2008/p

DQ LED Torches: Let the freedom reign

a href=/media/print/dq_led_torches_let_the_freedom_reignimg src=http://adsoftheworld.com/files/images/Let-freedom-reign.preview.jpg alt=DQ LED Torches: Let the freedom reign title=DQ LED Torches: Let the freedom reign class=image image-preview width=460 height=315 //apAdvertising Agency: Firstell Communications, Shanghai, Chinabr /
Creative Director: Murphy Choubr /
Art Director: Murphy Chou, Kens Caobr /
Copywriter: Murphy Chou, Yanli Songbr /
Published: December 2008/p

DQ LED Torches: I have a dream

a href=/media/print/dq_led_torches_i_have_a_dreamimg src=http://adsoftheworld.com/files/images/I-have-a-dream.preview.jpg alt=DQ LED Torches: I have a dream title=DQ LED Torches: I have a dream class=image image-preview width=460 height=315 //apAdvertising Agency: Firstell Communications, Shanghai, Chinabr /
Creative Director: Murphy Choubr /
Art Director: Murphy Chou, Kens Caobr /
Copywriter: Murphy Chou, Yanli Songbr /
Published: December 2008/p

China Organization Against Domestic Violence: Mob

China Organization Against Domestic Violence: Mob

To her, being here feels safer than home.

Advertising Agency: DDB Shanghai, China
Creative Director: Michael Dee, Jody Xiong
Art Director: Jody Xiong, Eric Sun, Leo Wan
Copywriter: Meredin Xu
Illustrator: Jody Xiong
Photographer: A-bang
Published: February 2008

China Organization Against Domestic Violence: Wolves

China Organization Against Domestic Violence: Wolves

To him, being here feels safer than home.

Advertising Agency: DDB Shanghai, China
Creative Directors: Michael Dee, Jody Xiong
Art Directors: Jody Xiong, Eric Sun, Leo Wan
Copywriter: Meredin Xu
Illustrator: Jody Xiong
Photographer: A-bang
Published: February 2008