10 cosas que no sabía hasta la semana pasada

1. New York may be “the city that never sleeps”, but its pedestrians only rank eighth in a global study of walking pace.

2. Termites are a kind of cockroach, according to the Royal Society’s Biology Letters journal.

3. Denmark is the happiest country in Europe; Italy the unhappiest, according to a study carried out by Cambridge University in the UK. (Spain was 10th out of 15.) Contrary to popular belief, Mediterranean countries are actually the most unhappy in Europe, with countries in Scandinavia, Ireland and the Netherlands scoring highest both in terms of happiness and life satisfaction.

4. Chocolate is better than a passionate kiss, causing a more intense and longer-lasting buzz, and doubling the heart rate.

5. A quarter of Russia’s economy is currently owned by only 36 men. Fifteen years ago everything in Russia was owned by the state.

6. Lithuania is the most dangerous place to drive in the EU; Malta is the safest, in terms of deaths on the road. (Spain comes 10th, and is safer than Austria, Ireland, Italy and Belgium).

7. Men bitten by the Brazilian wandering spider can experience long and painful erections – a condition known as priapism.

8. If Sicilian children are naughty, they are told the “the Catalans will come and get them” – an historical relic of Catalonia’s medieval Mediterranean empire.

9. Spencer Perceval is the only British Prime Minister to have been assassinated (by John Bellingham, on 11 May, 1812 – 195 years ago today)

10. Apes communicate with gestures that have different meanings depending on the context – a chimpanzee with an extended arm and open hand may be begging for food, asking a female chimp for sex or reconciling with a male after a fight.

On ruts (Rutinas)

Interesante post escrito por Garret, nuestro archiconocido planer inglés. Como siempre lo dejamos en su idioma materno. Leerlo si queréis escapar de la rutina. On ruts We all get stuck in ruts. iPod ruts, for example. I find myself listening to the same 25 songs when I have, god, about 2000 to choose from. My weeks when I’m not travelling consist of moving around a very small triangle of Barcelona: home, work, a friend’s house or two. In a creative industry, ruts can be very debilitating. How are we supposed to think differently if we do the same thing, day in, day out? Some agencies have tried to do this by hot desking, getting people to move around each day, keep their stuff in a locker at night and sit around connected via wireless internet wherever they fancy. The trouble with this is that people like their corners, they like their little cubicles with Dilbert cartoons and pictures of their cat. The trick is to get people out of their ruts so they can think differently – but still have their comfy little corner to go back to and sit in. It even works for consumers, too. The current campaign for Sainsbury’s (a UK supermarket) with the tag line “Try something new today”, developed by BBDO, is all about getting people out of ruts. Research showed that when people go to the supermarket, they tend to repeat-buy a small range of products. A real insight – when I think about my own shopping behaviour, for example, it rings completely true. The idea of the campaign was to get people out of their ruts and to, well, try something new. So you’d go to buy your carrots, and a shelf-talker would suggest: why don’t you try cooking these in honey and sesame? So you think, mmm, that sounds nice, and go to the jam-and-honey aisle, where you’d never normally go, pick up some honey and some of that nice marmalade that you liked but had forgotten about. I guess the final thought is: how do we expect to influence consumers’ behaviour if we keep doing the same thing every day? Get out of that rut. Try something new today

Cpluv goes Ubiq

La gente de Computerlove lanza en breve (anunciaban para septiembre pero llegan tarde, ¿extraño no? XD) su nueva versión, como ellos mismos lo definen “a strange piece of art during 360 hours“. No sabemos de que va, ni cómo, ni si va a valer la pena, lo que si sabemos es que el proyecto en cuestión se llama “Ubiq” como la novela de ese crack que fue Philip k. Dick, la hemos leído y es realmente buena. Os ponemos el trailer que han preparado (¿lo de WB será por poner o tendrá algo que ver?):


Lo que más destacaríamos son los links que nos han dejado como “más info“: una búsqueda de Philip K. Dick en Google y la definición de omnisciente en la Wikipedia. Omnisciente es el que lo sabe todo ¿Cómo puede este término definir una obra online? . Sea lo que sea el trailer teaser y el post teaser nos han dejado con unas ganas terribles de ver lo que realmente están preparando, la verdad pinta bien, muy bien. Ya veremos.


ACTUALIZACIÓN: Ya podéis entrar en computer love para ver lo que han desarrollado. Por nuestra parte lo vemos flojo, una decepción. Ahora a esperar que vuelvan a su estado normal…


vía: cpluv

¿Tiempos difíciles?


 A nadie le queda ya ninguna duda de que la comunicación en general y el sector publicitario en particular está sufriendo el que quizá es el cambio más profundo desde el nacimiento de las primeras agencias a principios del siglo pasado. La profunda recesión, los nuevos escenarios sociales, un conjunto de medios nuevos y cambiantes o los fuertes recortes presupuestarios son sólo alguno de los hechos que están propiciando que estemos viviendo un nuevo paradigma.


Una situación que está provocando que, a nivel mundial, se produzca un éxodo masivo de muchos de los creativos y responsables de agencia más importantes y con mayor talento. Publicitarios que han tomado la decisión de salir de las agencias donde han pasado parte de su vida y comenzar nuevos proyectos dentro e incluso fuera del sector. El artículo que ha publicado la prestigiosa revista Advertising Age lo explica a la perfección, con ejemplos concretos de talentos como Alex Bogusky o Gerry Graf, y con una larga lista de razones del por qué. Un artículo largo pero de recomendable lectura para hacerse una idea de que nos enfrentamos a tiempos difíciles pero no por ello menos apasionantes.


Para aquellos que no estéis registrados, os he pegado el artículo completo después del salto.


NEW YORK (AdAge.com) — Late one night about three weeks ago, Gerry Graf had a bit of a freak-out.


The highly respected and much-awarded creative director had left a fat-salaried, high-profile job at a very large ad agency for the vagaries of the start-up life and he was, understandably, feeling edgy. The next day he phoned up David Droga, who had taken a similar risk four years ago, and went over to Droga5’s New York office on Lafayette Street, which now hosts 120 people serving a client list that includes Puma, Unilever and Microsoft. Mr. Droga’s advice for Mr. Graf went something like this: Not all the stars will line up at once, you don’t need a wacky point of view, get yourself a strong business partner and don’t pitch unless you get paid.


In other words, as Mr. Droga put it to me in an interview recalling the meeting, “You’re nobody’s bitch.”


That might as well be the ad business’ motto in 2010. Since the beginning of the year, a veritable Cannes jury worth of senior creative talent has shrugged off the leashes of big agency networks for their own start-ups or for creative pursuits outside the ad industry. A month before Mr. Graf’s news broke, Ty Montague and co-CEO Rosemarie Ryan announced their departure from JWT’s North American office and later started a collaborative brand studio dubbed Co. In July, Alex Bogusky told the world he was leaving MDC Partners to do … whatever it is he’s doing. Meanwhile, Eric Hirshberg ended a highly successful run at Deutsch, L.A., to go into the video-game industry. And just this month, Eric Silver left DDB, New York, to buy a majority stake in a small agency.


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Longtime agency watchers will say this kind of churn has always been part of agency life, but to dismiss the trend as part of some cycle is ignoring some key questions that agencies need to answer. After all, the pressure on these companies’ business model is intense. While the economic gloom might be lifting, for most it still lingers and, besides that, agencies are getting hit from all sides: Cost-cutting, conservative clients; procurement officers; more competition from small and midsize shops; newfangled concepts such as crowdsourcing agencies; and a business model still very reliant on the production of ads, not ideas.


“I can’t quantify this, but I have a strong feeling that the business is getting harder,” said Kevin Roddy, chief creative officer at BBH, New York. “Clients don’t strongly believe we’re capable of doing things that they can’t, and they’re more inclined to view us as vendors rather than partners.”


The result is that big agencies aren’t the most hospitable place for the creative mind, but, then again, they never really have been. That’s why “Mad Men” makes all those jokes at the expense of Grey and its ilk, depicted as places to cash in your chips and lounge with models, or perhaps with all the “retarded people” said to work at McCann. The difference now is that the paychecks and the profile aren’t making up for the deficiencies as incubators of breakthrough commercial ideas. And it’s getting more difficult to retain the big names who can do the thousand things that now make up the role of creative management.


The new reality
You can’t, of course, talk about this stuff without talking about the economy. Last year was brutal for ad agencies, with the world’s 10 largest suffering significant — in some cases double-digit — declines in revenue, according to the Ad Age Datacenter. Psychologically, it was a bottoming-out, a period in which people were either just happy to have a job or too busy firing other people to quit.


In 2010, reports of a recovery have been, in the best case, mildly exaggerated, and in the worst contradicted entirely by fears that the economy is once again slipping. Jobs haven’t come back and neither has consumer spending, so marketers are being conservative. You can see this in a number of trends: the decline of secure agency-of-record relationships and the consequent rise of looser arrangements that see clients parcel out work to a large group of agencies forced to compete for project work; the proliferation of specialist shops expert in one discipline, especially true in digital marketing; marketers’ willingness to experiment with non-agency solutions like crowdsourcing.


One agency CEO, who remained anonymous for fear of jettisoning all revenue from his company, put it like this: “Hal Riney and Phil Dusenberry were treated differently. Business then was much more civil and respectful. Now we work in an incredibly disrespectful environment. Clients are know-it-all assholes, with the exceptions being few and far between. There’s a lot of greed operating under the guise of ideas like ‘efficiency’ and ‘creating shareholder value’ and that grinds away at character.”


I asked Mr. Roddy what all this does to your typical hyper-talented creative manager. “Creativity used to be put on a pedestal, and I don’t think that’s the case anymore,” he said. “Creative people have become more of a commodity, and I think that takes the wind out of them. The creative ego is a very important thing, because it drives talent. But it’s also a very fragile thing.”


Mr. Graf might be the best example of this struggle. Known around the business as a relentlessly innovative creator who, as one executive put it, “doesn’t want to play the game,” Mr. Graf has, in a long career that’s spanned Goodby Silverstein, BBDO, TBWA and most recently Saatchi & Saatchi, racked up plenty of breakthrough ideas, among them stunning work for brands such as Snickers and Skittles. That’s not easy.


He came out of his Saatchi experience with the realization that, “I’d just rather be making stuff.” With that, it’s not surprising that Mr. Graf isn’t now armed with a complex new model or anything approaching one (though he is interested in exploring new compensation models and intellectual-property arrangements where it makes sense). “We live in a time when the best idea wins, and scale doesn’t matter much to the idea.” To that end, his new shop, Barton F. Graf 9000 (a reference to his father and to a weapon from the video game “Doom,” the BFG9000), due later this year, will strive for agency-of-record relationships and also do consulting and writing projects.


Roger Camp, who’s earned his fair share of hardware — including more British D&AD awards than any other American art director — is leaving his chief creative officer post at Publicis Hal Riney on Oct. 1. “I did a couple of interviews at big places for jobs which are conceivably some of the best out there, and I left feeling like that’s not really what I want. By all accounts, I should have been over the moon, and I wasn’t. Those big-agency jobs were already defined, and I’m looking to define the thing I want rather than fit someone else’s mold of what’s already been established.”


Mr. Camp said that’s the reason he’s not the only one running for the exit door. “People are looking to create new models, and that’s easier to do than taking existing structures and trying to reshape them.”


For the unhappy creative mind still toiling in a big agency, there are two choices: You can either, in Freudian terms, sublimate that ego or, in Lebronian lingo, you can take your talents elsewhere. These days, there’s a not-insignificant amount of funding chasing innovative agency models. One example is Jon Bond, a co-founder of Kirshenbaum Bond & Partners who recently left the shop and now has a $100 million fund to invest in agencies. Then there are more traditional sources, such as holding companies like WPP, Omnicom and MDC, known to be out scouting for new models. MDC, the owner of Mr. Bond’s old shop, has even started a contest that will award $1 million for the best new agency concept, in which it’ll hold a 51% stake.


The set of choices for agencies that need strong creative managers might be a bit smaller, stuck as they are between job requirements that appear to be in opposition. On one hand, agencies need the flash that a heavily awarded, famous chief creative officer can provide. On the other, there’s the need for someone who wants to take on the many, many responsibilities that come with running a large creative department servicing big international clients. Generally speaking, people don’t become copywriters or art directors because they want to someday sit in an endless rotation of endless meetings, hopscotch from airport to airport, handle clients, manage a profit-and-loss statement and only touch the work when it’s time to put it on an awards submission reel. Those people got into the business because they want to make stuff.


When Ad Age reported that Eric Silver was leaving the New York office of DDB to take a majority stake in the 34-person Amalgamated, Mr. Silver had this to say: “I wasn’t having that much fun at my last job, and when you’re not having fun, you’re not doing your best work.” He added: “As you climb the corporate ladder, it’s easy to lose sight of why you got into the industry to start, and this is as excited as I’ve felt in a long time.”


By now — and certainly after the news of the past few months that suggests a kind of burnout is going on — it’s becoming clear that agencies can’t go on with the same job description. “There’s a balance between hiring a star — the ‘kickass’ creative director everyone’s talking about — and hiring someone who’s ready for life in the big agencies,” said Anne-Marie Marcus, CEO and owner of the recruiting firm Marcus St. Jean. “Too often, that is not the life these guys want. Big clients, a lot of meetings, not a lot of fun. This is not like working at Cliff Freeman. These are serious jobs.”


Ms. Marcus’ big piece of advice for agencies is that agencies decide whether they want someone who can be easily plugged into an existing culture or someone they’re willing to build around. In the latter case, it’s about “using them for what they do and surrounding them with the right support system.” And that’s not an easy task when so often one of the jobs of a big creative hire is to come in and quickly turn around a massive agency or, at the very least, its creative reputation. If agencies were easy to change, these guys — or their roles — wouldn’t be necessary.


Another big question sitting before agencies is whether some of these roles have gotten too big for a single person to handle. Said Mr. Roddy, “It depends on the individual. Smart ones surround themselves with smart people who do the things they can’t or don’t have time for. The thing about creative management is that you’ve gotta let go and not try to do it all yourself.”


By all accounts, agencies are not finding it easy to replace those who have left, with some searches going on for months and months. There are many reasons for this, from a paucity of good candidates to more practical realities, not least the housing-market collapse making it difficult for people who would need to move to take on a new role. While Saatchi quickly named a replacement for Mr. Graf, searches are still going on at JWT, McCann, Deutsch and Euro RSCG. Colleen DeCourcy, who left her role as chief digital officer of TBWA in July and now has funding to start a shop, said she’s received a few calls for various creative jobs, for which, she freely acknowledges, she is not qualified. “I’ve never made a TV spot in my life.”


She has, however, strategized any number of digital programs, experience that’s increasingly in demand and related to an important trend: the rise of specialists. The vast increase in the number of channels available to reach consumers means that no one agency can master all, opening the doors for experts dedicated to any number of disciplines, from mobile and application development to branded content to crowdsourcing to word-of mouth. The model unveiled last week by Mr. Montague and Ms. Ryan is in part an attempt to foster and manage that collaboration for clients, and you can bet Ms. DeCourcy’s shop will take advantage of what she called the “many gaps in the market.”


A full break
Different from the mind-set of the creative director who decides to go smaller is that of the one who leaves the business altogether. Cue Eric Hirshberg, a rare ad creative who has successfully moved on to a parallel creative industry — in this case, the video-game business. In an interview, he said his decision to become CEO of Activision Publishing was a tough one, even though it’s a dream job for a gamer. Mr. Hirshberg was very insistent that his move did not come from dissatisfaction with the agency business but, at the same time, he spoke admiringly of some of the disruptions going on in the market.


“This is not a comment on Deutsch or Interpublic, but the startup trend is great because it recognizes that, at its heart, this is a boutique business based on creative personalities. The holding-company model naturally tries to mechanize and systemize things. Agencies need to continue to be boutiques. I think that is one of the reasons Deutsch L.A. has always thrived. We were always allowed to be us.”


Mr. Hirshberg gives no quarter to suggestions that the ad-agency business has gotten too rough. “Advertising can be a fatiguing way to go through the world. It’s a high-stress, high-intensity path, but it’s always been like that. To me, changes to the business model or economy haven’t changed that. The challenge has always been to get a great piece of work through the labyrinth. That’s hard, and rewarding, but nothing new.”


That might be true, but for the up-and-comers who are the ad business’ future, it also might not be especially relevant. I recently had separate chats with two ad guys in their 20s who have good strategic jobs that keep them close to the work at growing digitally-focused shops with full client lists and strong case studies. These are smart, ambitious thinkers with the right understanding of where the business needs to go. Each has already flirted with the idea of taking important roles at big agencies and the future will probably be relatively kind to them, but instead of focusing on that, they echo the same complaints associated with these senior folks: the limits of client-service models, difficulty to find the time or buy-in for innovation. Neither can really imagine long careers in this or any other client-service business — not when there are Facebooks to be built. Platform and product-development is where it’s at in their minds, the kind of work that allows you to make money while asleep. And advertising will pay the bills until the right idea — and the right deal with the right backer — comes along.


This, of course, might be idle kvetching that falls squarely into the category of “first-world problems” — what the Urban Dictionary defines as “problems from living in a wealthy, industrialized nation that Third-Worlders would probably roll their eyes at.”


Or it might be the beginning of a cascade of decisions that will lead them to go the route of an Alex Bogusky, whose oft-told tale does not need to appear here. His recent change to his Twitter bio says it all: “I worked in advertising for 20-plus years. That was fun. Still enjoy culture jamming.”

10 cosas que no sabía hasta la semana pasada.

Nuestro planner irlandés Garret, vuelve a la carga:

1. The average office desktop harbours 400 times more bacteria than the average office toilet seat, according to a study carried out by the University of Arizona.

2. Women’s desks have 3 to 4 times the amount of germs as their male colleagues, according to the same study.

3. The standard adult McDonald’s meal from the 1950s is still sold all over the world – you’ll be familiar with it as the Happy Meal now served to children, as a child’s size portion.

4. Only 7% of Spaniards still take the traditional midday siesta.

5. Barcelona is the world’s number one city for gym and sports club membership. Fully 20% of its citizens pay monthly fees to such clubs.

6. The smiley face was invented in 1963 by Harvey Ball, who was paid US$45 by the bosses of an insurance firm to come up with something to cheer up employees after a merger with another company produced disagreements among the staff.

7. Between 9 and 15 years of age the level of testosterone in a boy’s blood multiplies by a factor of 20.

8. 88% of white people show unconscious signs of prejudice towards those of different races in the Implicit Association Test designed by Harvard University.

9. A swarm of bees can ground a Boeing 737. 200 passengers on their way to Portugal from the UK were grounded for more than 11 hours after their plane flew into a swarm of bees

10. On the first day of filming Star Wars in the deserts of Tunisia, the country experienced its first major rainstorm in 50 years and a rest day had to be called.

Roca Barcelona Gallery

Hace más o menos un año y medio Roca, uno de nuestros principales clientes, nos explicó su intención de crear un edificio emblemático en Barcelona que sirviera como referente de  la marca, de sus valores y de su imagen. El proyecto lo adjudicó al estudio de arquitectura OAB (Office Arquitecture of Barcelona) de Carlos Ferrater. Y desde ese preciso momento nos involucró en el proyecto y nos pidió que trabajáramos conjuntamente con los arquitectos para definir y pensar cómo deberían ser los contenidos del nuevo edificio. Desde la agencia hemos creado todos los elementos audiovisuales del interior, desde mesas interactivas donde repasar la historia de la compañía y sus proyectos de sostenibilidad y futuro, proyecciones, un visualizador de espacios de baño interactivo o videos en 3D que crean una atmósfera intimista y futurista. Un trabajo con el que hemos contado con Boolab para toda la producción con Paul Freeth como director.

Proyección “Rituals”

Monitores

Mesas interactivas

El Roca Barcelona Gallery está ubicado en la ciudad condal y  supone todo un reto tecnológico y artístico: consta de 2.400 metros cuadrados repartidos en tres plantas y un exterior de vidrio laminado  espectacular que busca la sorpresa y permanecer en el tiempo de forma inalterable. Con la idea de asemejarse a una caja de luz, el edificio simula un enorme escaparate que juega con las transparencias y los efectos visuales mostrando su interior de forma distorsionada. Así, durante el día, y en función de la iluminación, se crean sorprendentes efectos visuales en el interior, mientras que cuando llega la noche, los cientos de leds alojados en su estructura logran una iluminación muy especial.

La planta baja está dedicada a concentrar la imagen de la marca, con especial prioridad al compromiso de la empresa con el ahorro de agua y la sostenibilidad. La planta superior está dedicada a mostrar una selección de los productos de Roca más vanguardistas del mercado. Y la planta -1 es un espacio libre y diáfano, denominado el “Triple Espacio”, que ha sido destinado para acoger exposiciones temporales y presentaciones sociales y culturales, un espacio que hoy alberga la exposición “El baño, una restrospectiva histórica” donde pueden apreciarse piezas de baño antiguas.

Planta baja

Escalera que comunica los 3 pisos

Roca Barcelona Gallery es sólo el principio de este nuevo concepto de Roca por transmitir sus valores a través de proyectos arquitectónicos llamados a convertirse en referencia social y cultural de la ciudad en la que se ubican. De este modo, a lo largo del año 2010, la empresa  tiene previsto la apertura del Roca Madrid Gallery, Roca London Gallery y Roca Lisboa Gallery en los que  también estaremos a su lado.

Más allá del resultado, lo que nos parece realmente relevante de este proceso es que hoy en día un cliente involucre a su agencia de comunicación en un proyecto de este tipo. Trabajar con arquitectos no es fácil, y supongo que para ellos trabajar con gente de publicidad y comunicación tampoco. Pero, a pesar de todo, el resultado ha sido enriquecedor  y positivo por ambas partes. Un trabajo en el que hemos sufrido pero también disfrutado mucho y del que nos sentimos orgullosos. Os recomendamos que os paséis por allí y nos déis vuestra opinión.

La cultura del cambio

Analicemos por un momento la siguiente situación:

En Barcelona la mítica tienda de Discos Castelló presenta concurso de acreedores. Y si eso no te sorprende quizá sí que lo haga saber que Virgin cierra su tienda de discos en pleno centro de Manhattan, ¡el buque insignia de las tiendas de discos!

En esto que, un importante grupo de comunicación español, de esos de toda la vida, parece que se hunde irremediablemente, y al mismo tiempo los diarios de papel viven una grave crisis pero siguen sirviendo muy bien para envolver el pescado. En cuanto a Telecinco, decir que sufre su peor audiencia en años, y para solucionarlo se dedican a dar palos de ciego, aplicando sin éxito fórmulas que antiguamente funcionaban, e intentando reanimar a sus programas de corazón que sufren una grave arritmia.

En otro orden de cosas, hoy aparece en portada de un famoso diario que la SGAE no ha dudado ni un momento en cobrar la cuota que le corresponde de un concierto de David Bisbal; el problema es que era un concierto benéfico donde David Bisbal actuó completamente gratis para recoger fondos y ayudar a un niño con una enfermedad terminal. Sin comentarios.

Mientras tanto, la amiga de los internautas, ¡la defensora de volver al ADSL a 512K! , esa ministra recién llegada y que responde al apodo de Sindescargas, ha desatado una ira sin precedentes nunca antes experimentada por un ministro de cultura e ¡incluso tiene su propio club de fans en Facebook con más de 30.000 amigos!

Y al mismo tiempo que todo esto sucede, yo voy en el metro y me doy cuenta que hace años solía escuchar la emisión en directo de la radio de ese gran grupo de comunicación, y ahora sin embargo escucho un interesantísimo podcast de cine grabado por dos chicos desde su casa en Mallorca, cuando no otro podcast magnífico sobre cultura audiovisual grabado por cuatro amigos en un estudio. Y entonces miro a mi alrededor y veo que mucha de la gente del metro disfruta de la lectura de libros, están enganchados al móvil, escuchan su mp3 o miran fijamente las pantallas de sus iphones haciendo no sé qué. Pienso en cómo las descargas por internet, tanto las de pago como las que no lo son, están en su mejor momento y subiendo como la espuma, mientras que a los marineros de La Bahía Pirata les intentan encerrar en la cárcel aunque el juicio no haya sido justo. Reflexiono sobre cómo, en España, aunque sigue a la cola de Europa, se leen más libros que nunca. Me viene a la cabeza la cantidad de amigos que utilizan discos duros multimedia y receptores de TDT con disco duro para poder ver sus programas de TV favoritos cuando quieren y cómo quieren. Y pienso también en mi primo el mediano, y cómo desde su ordenador, se pasa el día viendo series de televisión en versión subtitulada y descargadas un día después de su emisión en USA.

Y entonces reflexiono por un segundo y me digo:  los que se dedican a la industria cultural dicen que la cultura vive una crisis sin precedentes, cuando en realidad la cultura en todos sus estados, parece que goza de una salud envidiable, hoy más que nunca. La gente consume cultura sin parar y eso hace que los gustos sean más exigentes y las formas de consumir cultura evolucionen.  Mal que les pese a todos aquellos que forman parte de la lucrativa cadena de esa industria clutural, las cosas nunca más volverán a ser como antes y los cambios que vivimos, cada vez más se van a ir contagiando a la gran mayoría social; quizá no suceda mañana pero, sin duda, sucederá.

Y, más tarde, llego a casa, echo un vistazo a las descargas completadas de hoy, disfruto de una película que compré ayer y antes de ir a dormir, me apetece escribir este post.

Actualización:  Veo en las noticias del medio día que la SGAE se ha echado atrás y que además ha donado a la familia la misma cantidad de dinero que demandaban. Que cada uno saque sus propias conclusiones.

2012. El año de la Acción, el año de la Innovacion

¿Hacia dónde va la publicidad? ¿Hacia dónde van las agencias de publicidad? ¿Hacia dónde van los publicitarios? ¿Hacia dónde vamos todos? De una u otra manera todos llevamos ya algún tiempo preguntándonos cual va a ser nuestro futuro y cómo van a ser los próximos años de nuestra profesión. Y es justo en este momento del año, donde podemos ver cientos de predicciones, de tendencias, de futurólogos de la profesión que vaticinan cómo va a ser nuestro tiempo futuro. Sin embargo nadie lo sabe, nadie tiene ni idea, es más, ni la más remota idea de cómo va a evolucionar nuestra profesión. La misma idea que tenían todos esos economistas instalados en sus atalayas antes de la crisis financiera mundial y que ninguno de ellos supo vaticinar.

Sí, es cierto que hay principios que van a seguir inalterables. Se necesitarán ideas, buenas ideas, se necesitarán personas con talento, claro, y la tecnología va a ser el nuevo lenguaje en los que nos vamos a mover todos. Sí pero ¿ y qué mas ?  Durante este año en la agencia hemos pensado bastante sobre ello y hemos llegado a una conclusión. El futuro, nuestro futuro pasa por la Acción. Pasa por el Hacer con mayúscula, por Innovar.

Simplificando, la creatividad es tener buenas ideas, innovación es hacerlas realidad. Este nuevo camino implica un cambio radical en nuestra empresa, porque ya no es suficiente con esperar o perseguir a los clientes y las marcas para que nos expliquen sus problemas y solucionarlos con el binomio estrategia+creatividad . Este camino representa tomar la iniciativa y pensar en ideas nuevas que van a representar una innovación en diferentes sectores o categorías de productos, e incluso ¿por qué no? pensar también en nuevos productos.

 

Es un nuevo y radical planteamiento que necesita de nuevos perfiles y de algo que es la gasolina para que el motor funcione: ACTITUD. Sí, la actitud de quizás lo más importante hoy, casi por encima del talento. Porque una persona con buenas ideas pero sobretodo con ganas de hacerlas realidad es lo que necesitamos para salir adelante en un entorno tan hostil como el que nos rodea.

Feliz 2012.

Siscu Molina (@siscumolina)

A contracorriente

El blog The Ad Contrarian publicó hace unos días esta lista de hechos documentados que realmente impacta. Ante la avalancha de nuevos medios y de tecnología que contribuyen al caos generalizado que reina hoy en nuestra profesión vale la pena echarle un vistazo. Esperamos tus comentarios.


Top 10 Double-Secret Unknown Facts About Advertising


1) 99.9% of people who are served an online display ad do not click on it.


2) TV viewership is now at its highest point ever.


3) 96% of all retail activity is done in a store. 4% is done on line.


4) DVR owners watch live TV 95% of the time. 5% of the time they watch recorded material.


5) 99% percent of all video viewing is done on a television. 1% is done on line.


6) The difference in purchasing behavior between people who use DVRs to skip ads and those who don’t: None.


7) Since the 1990s, click-through rates for banner ads have dropped 97.5%.


8) Since the introduction of TiVo, real time TV viewing has increased over 20%.


9) Baby boomers dominate 94% of all consumer packaged goods categories. 5% of advertising is aimed at them.


10) TV viewers are no more likely to leave the room during a commercial break than they are before or after the break.


Here are my sources:
1. DoubleClick, Benchmark Report, 2009
2. Nielsen Three Screen Report, Q1 2010
3. U.S. Department of Commerce, Q2 2010; Nielsen Three Screen Report, Q1 2010
4. Duke University, Do DVRs Influence Sales?
5. Nielsen Three Screen Report, Q1 2010
6. Duke University, Do DVRs Influence Sales?
7. Li, Hairong; Leckenby, John D. (2004). “Internet Advertising Formats and Effectiveness”. Center for Interactive Advertising. And DoubleClick, Benchmark Report, 2009
8. NielsenWire, Nov. 10, 2009
9. Marketing Daily, July 22, 2010
10. Council for Research Excellence, May 10, 2010

Aguilera y Britney, carne de photoshop


A través de brandinfection damos con esta acción de “adbusting”. Ellos la han denominado “Photoshop Adbusting” y sus autores transforman un mediocre anuncio de promoción de los Cd’s de Cristina Aguilera y Britney Spears, en algo completamente distinto, enviando así un mensaje con mucha mala leche. La cosa es tan simple como se ve en las imágenes: sólo pegando unos stencils con la forma de las ventanas y las herrmientas de Photoshop, el mensaje cambia totalmente y la acción cobra sentido.




En los últimos años el “adbusting”, también llamado subvertising se ha puesto de moda. Pillas un anuncio convencional (da igual el medio) y lo sobateas al gusto con el único objetivo de lanzar un mensaje político, para realizar una denuncia social,  o simplemente para crear polémica y debate. En la red podéis encontrar infinidad de casos de “adbusting” pero, entre todos ellos, destaca la web adbusters, una revista realizada por unos tipos canadienses que llevan ya varios años recopilando todas las acciones de este tipo que se encuentran en su camino. También en este grupo creado en flikr podéis encontrar infinidad de ejemplos que los internautas van recopilando de todo el mundo. 


Sin duda, este “Photoshop Adbusting” realizado en las calles de Berlín, es uno de los más originales que nos hemos encontrado últimamente.