Tag Archives: advertising

Spam, Spam, Spam: All Natural

Google-search-natural-junk-food

Parents through the ages have often decried the mangling of their mother tongue by subsequent generations. Language is fluid after all, particularly English, and our youth constantly add their own revisions to carve a divergent path from their elders. But, the focus of our disdain for the ongoing destruction of our linguistic heritage should really be corporations and their hordes of marketeers and lawyers. Take the once simple and meaningful word “natural”. You’ll see its oxymoronic application each time you stroll along the aisle at your grocery store: one hundred percent natural fruit roll-ups; all natural chicken rings; completely natural corn-dogs; totally naturally flavored cheese puffs. The word — natural — has become meaningless.

From NYT:

It isn’t every day that the definition of a common English word that is ubiquitous in common parlance is challenged in federal court, but that is precisely what has happened with the word “natural.” During the past few years, some 200 class-action suits have been filed against food manufacturers, charging them with misuse of the adjective in marketing such edible oxymorons as “natural” Cheetos Puffs, “all-natural” Sun Chips, “all-natural” Naked Juice, “100 percent all-natural” Tyson chicken nuggets and so forth. The plaintiffs argue that many of these products contain ingredients — high-fructose corn syrup, artificial flavors and colorings, chemical preservatives and genetically modified organisms — that the typical consumer wouldn’t think of as “natural.”

Judges hearing these cases — many of them in the Northern District of California — have sought a standard definition of the adjective that they could cite to adjudicate these claims, only to discover that no such thing exists.

Something in the human mind, or heart, seems to need a word of praise for all that humanity hasn’t contaminated, and for us that word now is “natural.” Such an ideal can be put to all sorts of rhetorical uses. Among the antivaccination crowd, for example, it’s not uncommon to read about the superiority of something called “natural immunity,” brought about by exposure to the pathogen in question rather than to the deactivated (and therefore harmless) version of it made by humans in laboratories. “When you inject a vaccine into the body,” reads a post on an antivaxxer website, Campaign for Truth in Medicine, “you’re actually performing an unnatural act.” This, of course, is the very same term once used to decry homosexuality and, more recently, same-sex marriage, which the Family Research Council has taken to comparing unfavorably to what it calls “natural marriage.”

So what are we really talking about when we talk about natural? It depends; the adjective is impressively slippery, its use steeped in dubious assumptions that are easy to overlook. Perhaps the most incoherent of these is the notion that nature consists of everything in the world except us and all that we have done or made. In our heart of hearts, it seems, we are all creationists.

In the case of “natural immunity,” the modifier implies the absence of human intervention, allowing for a process to unfold as it would if we did nothing, as in “letting nature take its course.” In fact, most of medicine sets itself against nature’s course, which is precisely what we like about it — at least when it’s saving us from dying, an eventuality that is perhaps more natural than it is desirable.

Yet sometimes medicine’s interventions are unwelcome or go overboard, and nature’s way of doing things can serve as a useful corrective. This seems to be especially true at the beginning and end of life, where we’ve seen a backlash against humanity’s technological ingenuity that has given us both “natural childbirth” and, more recently, “natural death.”

This last phrase, which I expect will soon be on many doctors’ lips, indicates the enduring power of the adjective to improve just about anything you attach it to, from cereal bars all the way on up to dying. It seems that getting end-of-life patients and their families to endorse “do not resuscitate” orders has been challenging. To many ears, “D.N.R.” sounds a little too much like throwing Grandpa under the bus. But according to a paper in The Journal of Medical Ethics, when the orders are reworded to say “allow natural death,” patients and family members and even medical professionals are much more likely to give their consent to what amounts to exactly the same protocols.

The word means something a little different when applied to human behavior rather than biology (let alone snack foods). When marriage or certain sexual practices are described as “natural,” the word is being strategically deployed as a synonym for “normal” or “traditional,” neither of which carries nearly as much rhetorical weight. “Normal” is by now too obviously soaked in moral bigotry; by comparison, “natural” seems to float high above human squabbling, offering a kind of secular version of what used to be called divine law. Of course, that’s exactly the role that “natural law” played for America’s founding fathers, who invoked nature rather than God as the granter of rights and the arbiter of right and wrong.

Read the entire article here.

Image courtesy of Google Search.

 

Big Brother is Mapping You

One hopes that Google’s intention to “organize the world’s information” will remain benign for the foreseeable future. Yet, as more and more of our surroundings and moves are mapped and tracked online, and increasingly offline, it would be wise to remain ever vigilant. Many put up with the encroachment of advertisers and promoters into almost every facet of their daily lives as a necessary, modern evil. But where is the dividing line that separates an ignorable irritation from an intrusion of privacy and a grab for control? For the paranoid amongst us, it may only be a matter of time before our digital footprints come under the increasing scrutiny, and control, of organizations with grander designs.

[div class=attrib]From the Guardian:[end-div]

Eight years ago, Google bought a cool little graphics business called Keyhole, which had been working on 3D maps. Along with the acquisition came Brian McClendon, aka “Bam”, a tall and serious Kansan who in a previous incarnation had supplied high-end graphics software that Hollywood used in films including Jurassic Park and Terminator 2. It turned out to be a very smart move.

Today McClendon is Google’s Mr Maps – presiding over one of the fastest-growing areas in the search giant’s business, one that has recently left arch-rival Apple red-faced and threatens to make Google the most powerful company in mapping the world has ever seen.

Google is throwing its considerable resources into building arguably the most comprehensive map ever made. It’s all part of the company’s self-avowed mission is to organize all the world’s information, says McClendon.

“You need to have the basic structure of the world so you can place the relevant information on top of it. If you don’t have an accurate map, everything else is inaccurate,” he says.

It’s a message that will make Apple cringe. Apple triggered howls of outrage when it pulled Google Maps off the latest iteration of its iPhone software for its own bug-riddled and often wildly inaccurate map system. “We screwed up,” Apple boss Tim Cook said earlier this week.

McClendon, pictured, won’t comment on when and if Apple will put Google’s application back on the iPhone. Talks are ongoing and he’s at pains to point out what a “great” product the iPhone is. But when – or if – Apple caves, it will be a huge climbdown. In the meantime, what McClendon really cares about is building a better map.

This not the first time Google has made a landgrab in the real world, as the publishing industry will attest. Unhappy that online search was missing all the good stuff inside old books, Google – controversially – set about scanning the treasures of Oxford’s Bodleian library and some of the world’s other most respected collections.

Its ambitions in maps may be bigger, more far reaching and perhaps more controversial still. For a company developing driverless cars and glasses that are wearable computers, maps are a serious business. There’s no doubting the scale of McClendon’s vision. His license plate reads: ITLLHPN.

Until the 1980s, maps were still largely a pen and ink affair. Then mainframe computers allowed the development of geographic information system software (GIS), which was able to display and organise geographic information in new ways. By 2005, when Google launched Google Maps, computing power allowed GIS to go mainstream. Maps were about to change the way we find a bar, a parcel or even a story. Washington DC’s homicidewatch.org, for example, uses Google Maps to track and follow deaths across the city. Now the rise of mobile devices has pushed mapping into everyone’s hands and to the front line in the battle of the tech giants.

It’s easy to see why Google is so keen on maps. Some 20% of Google’s queries are now “location specific”. The company doesn’t split the number out but on mobile the percentage is “even higher”, says McClendon, who believes maps are set to unfold themselves ever further into our lives.

Google’s approach to making better maps is about layers. Starting with an aerial view, in 2007 Google added Street View, an on-the-ground photographic map snapped from its own fleet of specially designed cars that now covers 5 million of the 27.9 million miles of roads on Google Maps.

Google isn’t stopping there. The company has put cameras on bikes to cover harder-to-reach trails, and you can tour the Great Barrier Reef thanks to diving mappers. Luc Vincent, the Google engineer known as “Mr Street View”, carried a 40lb pack of snapping cameras down to the bottom of the Grand Canyon and then back up along another trail as fellow hikers excitedly shouted “Google, Google” at the man with the space-age backpack. McClendon, pictured, has also played his part. He took his camera to Antarctica, taking 500 or more photos of a penguin-filled island to add to Google Maps. “The penguins were pretty oblivious. They just don’t care about people,” he says.

Now the company has projects called Ground Truth, which corrects errors online, and Map Maker, a service that lets people make their own maps. In the western world the product has been used to add a missing road or correct a one-way street that is pointing the wrong way, and to generally improve what’s already there. In Africa, Asia and other less well covered areas of the world, Google is – literally – helping people put themselves on the map.

In 2008, it could take six to 18 months for Google to update a map. The company would have to go back to the firm that provided its map information and get them to check the error, correct it and send it back. “At that point we decided we wanted to bring that information in house,” says McClendon. Google now updates its maps hundreds of times a day. Anyone can correct errors with roads signs or add missing roads and other details; Google double checks and relies on other users to spot mistakes.

Thousands of people use Google’s Map Maker daily to recreate their world online, says Michael Weiss-Malik, engineering director at Google Maps. “We have some Pakistanis living in the UK who have basically built the whole map,” he says. Using aerial shots and local information, people have created the most detailed, and certainly most up-to-date, maps of cities like Karachi that have probably ever existed. Regions of Africa and Asia have been added by map-mad volunteers.

[div class=attrib]Read the entire article following the jump.[end-div]

The Business of Making Us Feel Good

Advertisers have long known how to pull at our fickle emotions and inner motivations to sell their products. Further still many corporations fine-tune their products to the nth degree to ensure we learn to crave more of the same. Whether it’s the comforting feel of an armchair, the soft yet lingering texture of yogurt, the fresh scent of hand soap, or the crunchiness of the perfect potato chip, myriad focus groups, industrial designers and food scientists are hard at work engineering our addictions.

[div class=attrib]From the New York Times:[end-div]

Feeling low? According to a new study in the Journal of Consumer Research, when people feel bad, their sense of touch quickens and they instinctively want to hug something or someone. Tykes cling to a teddy bear or blanket. It’s a mammal thing. If young mammals feel gloomy, it’s usually because they’re hurt, sick, cold, scared or lost. So their brain rewards them with a gust of pleasure if they scamper back to mom for a warm nuzzle and a meal. No need to think it over. All they know is that, when a negative mood hits, a cuddle just feels right; and if they’re upbeat and alert, then their eyes hunger for new sights and they’re itching to explore.

It’s part of evolution’s gold standard, the old carrot-and-stick gambit, an impulse that evades reflection because it evolved to help infants thrive by telling them what to do — not in words but in sequins of taste, heartwarming touches, piquant smells, luscious colors.

Back in the days before our kind knew what berries to eat, let alone which merlot to choose or HD-TV to buy, the question naturally arose: How do you teach a reckless animal to live smart? Some brains endorsed correct, lifesaving behavior by doling out sensory rewards. Healthy food just tasted yummy, which is why we now crave the sweet, salty, fatty foods our ancestors did — except that for them such essentials were rare, needing to be painstakingly gathered or hunted. The seasoned hedonists lived to explore and nuzzle another day — long enough to pass along their snuggly, junk-food-bedeviled genes.

[div class=attrib]More from theSource here.[end-div]

Suprealist art, suprealist life

[div class=attrib]From Eurozine:[end-div]

Suprealism is a “movement” pioneered by Leonard Lapin that combines suprematism and realism; it mirrors the “suprealist world”, where art is packaged for consumer culture.

In 1993, when I started the suprealist phase of my work, which was followed by the “Suprealist manifesto” and the exhibition at Vaal gallery in Tallinn, a prominent art critic proclaimed that it represented the “hara-kiri of the old avant-garde”. A decade has passed, and the “old avant-gardist” and his suprealism are still alive and kicking, while, as if following my prophecy, life and its cultural representations have become more and more suprealist.

The term “suprealism” emerged quite naturally: its first half originates from the “suprematism” of the early twentieth-century Russian avant-garde, which claimed to represent the highest form of being, abandoning Earth and conquering space. The other half relates to the familiar, dogmatically imposed “realism”, which was the only officially tolerated style under communist rule. Initially, I attempted to bring to the concept the structures of high art and images from mass culture. The most popular domain which attracted most attention was of course pornography. During my 1996 exhibition at the Latvian Museum of Foreign Art, in Riga, the exhibition room containing 30 of my “pornographical works” was closed. There were similar incidents in Bristol, where some of my pieces were censored, not to speak about angry reactions in Estonia. It is remarkable that it is art that highlights what is otherwise hypocritically hidden behind cellophane in news kiosks. But nobody is dismantling the kiosks – the rage is directed at an artist’s exhibition.

An important event in the history of suprealism happened in 2001, when the Estonian Art Museum held an exhibition on the anniversary of the nineteenth-century Estonian academic painter Johan Köler. The exhibition was advertised with posters representing Köler’s sugary painting “A maid at a well”, sometimes ten times the size of the original. Since during the Soviet rule, Köler was officially turned into a predecessor of socialist realism, our generation has a complex and ambiguous relationship with this master. When the 2001 exhibition repeated the old stereotypical clichés about the artist, I expressed my disappointment by relating the exhibition posters to modern commercial packaging, advertisements, and catalogues. It was the starting point of the series “Suprealist artists”, which I am still continuing, using cheap reproductions of classical and modern art and packages, puzzles, flyers, ads, and so on, belonging to the contemporary consumer world. I use them to make new visual structures for the new century.

The “rape of art” as an advertising method is becoming more and more visible: many famous twentieth-century modernists are used in some way in advertising, which brings the images of Dali, Magritte, or Picasso to the consuming masses.

[div class=attrib]More from theSource here.[end-div]