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  • 'Fragments of Humanity: Archaeology in Québec' at Pointe-à-Callière, Montreal

    'Fragments of Humanity: Archaeology in Québec' at Pointe-à-Callière, Montreal

    Fragments of Humanity: Archaeology in Québec is the first major exhibition dedicated entirely to Québec archaeology. Some 350 significant pieces will be featured, celebrating 50 years of archaeological discovery in Québec.

    'Fragments of Humanity: Archaeology in Québec' at Pointe-à-Callière, Montreal
    Several arrowheads and fragments of a necklace made of leather and native copper [Credit: Laboratoire et Reserve d'archeologie du Quebec, MCC — Jacques Beardshell]
    Many of the pieces are being taken out of storage at the Ministry of Culture and Communications’ (MCC) archaeological reserve for the very first time. Produced by Pointe-à-Callière, in collaboration with the MCC, the exhibition also features objects from about fifteen other lenders including the City of Montréal, Québec City, Pointe-du-Buisson/Musée québécois d’archéologie, the Musée des Ursulines in Trois-Rivières, Avataq Cultural Institute, and Parks Canada.

    The exhibition looks back at the events and ways of life behind fragments of humanity that, each in their own way, reveal various facets of our heritage. Taken out of the ground, these objects summon up stories and, when placed end-to-end, are invaluable material evidence that ultimately tells us about our history. Highlighting the richness and diversity of Québec’s archaeological collections, the exhibition is divided into four thematic sections relating to archaeology: ancient history or prehistoric archaeology, a land of trade and commerce, chronicles of daily life, and subaquatic archaeology.

    Imagining: ancient history

    The first part of the exhibition is dedicated to the era preceding the Europeans’ arrival on Québec land. Through archaeological discoveries, it has been possible to confirm that small groups of men and women had already trod upon Québec soil some 12,000 years ago. Without archaeology, this whole swath of Québec’s history would remain unknown and continue to elicit questions.

    Discovering: a land of trade and commerce

    The next section of the exhibition is devoted to trade between Europeans and Amerindians, and to commercial activities carried out on Québec land beginning in the 16th century. The Basques, Normans, Bretons, and French, drawn by such natural resources as marine mammals and cod, set up facilities along the banks of the St. Lawrence in order to exploit its assets. The artefacts found among the remains at dozens of archaeological sites also underscore the increasing number of trade areas and, starting in the 17th century, the development of local industries. Fishing tools, munitions, weaponry, coins, and other items of trade found on the sites of trading posts, forts, and the king’s stores are concrete examples of the meeting of peoples who socialized and mixed with each other in trade… or in competition.

    'Fragments of Humanity: Archaeology in Québec' at Pointe-à-Callière, Montreal
    Glass trade beads of various shapes, colours, and origins [Credit: Laboratoire et Reserve d'archeologie du Quebec, MCC — Jacques Beardshell]
    Making sense: chronicles of daily life

    Visitors are then invited to take a look at daily life in the 18th and 19th centuries, filling the void left by written documents. The theme is approached from three angles: food and the culinary arts, hygiene, and games and toys. An examination of found objects provides insight into our ancestors’ private lives, allowing us to consider changes in mindsets, practices, and styles. For example, while gatherings around the table among the upper-class in 18th century Québec City and 19th century Montréal are characterized by abundance, objects found in more modest milieus suggest a simpler diet in which soup was very popular!

    Several hygiene items found among the remains—such as chamber pots, lice combs, shaving basins, and toothbrushes—indicate that the practice of “dry bathing” was quite widespread: the elite, while decked out in fine clothing, only gave a cursory cleaning to the visible parts of their bodies. A number of medicine jars, bottles of alcohol, mineral water, and milk of magnesia have also been found, and show that the preparation of home remedies was a common practice. Lastly, evidence of 19th century industrialization can clearly be seen in games and toys that have been found, mainly in more affluent areas.

    Bringing to light: stories from the depths

    Subaquatic archaeology is featured in this exhibition, with the remains from five shipwrecks on display: the Elizabeth and Mary, the Machault, the Auguste, the Empress of Ireland, and the Lady Sherbrooke. Interest in subaquatic archaeology resides in its ability to provide a snapshot of the moment of the wreck, thereby bringing to life tragic experiences, using a precise technique and recognized expertise to recover, stabilize, and preserve the meaning of submerged artefacts. These include arms and munitions, clothing and shoes, jewellery, and moving personal objects evoking the lives of men and women during the months spent on board.

    Exclusive objects

    Several objects in the exhibition are being presented to the public for the first time. Some have even been restored specifically for the exhibition, notably some earthenware jars found in the Basque sites on Petit-Mécatina Island on the Lower North Shore, and objects relating to Amerindian funeral rites. These include the offerings from the first Amerindian grave to be brought to light in Québec during the refurbishment of Champlain Boulevard, in Sillery, in 1966.

    Without a doubt, the highlight of the exhibition is a dugout canoe made out of a single piece of wood, which was found in a lake in the Laurentians in the mid-1980s. Discovered by amateur divers, the 15th century dugout required special care to be properly preserved and to prevent it from deteriorating after having spent 500 years below the water’s surface. There are only about ten surviving prehistoric Amerindian dugout canoes in Québec, but none is in as fine a condition as that on display at Pointe-à-Callière.

    Fragments of Humanity: Archaeology in Québec is an exhibition produced by Pointe-à-Callière, in collaboration with the Ministry of Culture and Communications. This exhibition is funded by the Government of Canada. The Museum also thanks its sponsors, the InterContinental Hotel and La Presse.

    The exhibition will run until January 8th 2017

    Source: Pointe-à-Callière [February 24, 2016]

  • The Time of Changes

    The Time of Changes

    Time of changes

  • Toyota Camry Reinvented 2012 Ad Campaign

    Toyota Camry Reinvented 2012 Ad Campaign

    Built — Reinvented 2012 Camry — Release date Oct. 16, 2011

    Pit Stop — Reinvented 2012 Toyota Camry — Release date Oct. 24, 2011

    Press and Credits:
    Saatchi & Saatchi LA Creates Campaign for the Reinvented 2012 Toyota Camry

    “It’s Ready. Are You?” Touts Vehicle Innovation and Performance

    Saatchi & Saatchi LA today announced the launch of the reinvented 2012 Camry campaign, one of the largest integrated marketing campaigns the agency has developed for Toyota Motor Sales, U.S.A., Inc. “It‟s Ready. Are You?” demonstrates how the seventh-generation model addresses changes in consumers‟ vehicle needs, expectations and driving habits through the combination of new innovations and improvements to interior and exterior vehicle styling.

    The campaign centers around six TV spots, beginning with the 30-second “Built,” which will make its national debut on October 16 during NBC's Sunday Night Football. The spot uses stunning animation and visual effects to highlight the Camry‟s new features and visually demonstrate the reinvention of Toyota‟s signature model. As the 2012 model builds around its driver, the spot touches on several of the key aspects midsize car buyers expect to get with their next car purchase.

    “For nearly 30 years, Camry has been an icon of durability, quality and reliability. But with the new model, Toyota has made a serious upgrade in technology, safety, elegance, performance and flat out beauty,” said Chris Adams, executive creative director at Saatchi & Saatchi LA. “With the „Built‟ commercial, we had a lot of fun literally showing this reinvention in progress. It truly is a car built around the needs of today's drivers.”

    Another 30-second TV spot, “Pit Stop,” pays homage to the Camry‟s racing heritage with Toyota NASCAR driver Kyle Busch. The ad shows how Toyota‟s excellence carries from the racetrack to the roadway by transforming the car in the speed of a pit stop to highlight the Camry's performance capabilities and intuitive mobile technology. “Pit Stop” will make its television debut on October 24.

    Two additional TV commercials will roll out later this year. Further, broadcast momentum continues into next year with two spots in the Super Bowl and the Toyota Halftime Report.

    The campaign also includes print ads, digital media, out-of-home boards and social media elements. Additionally, digital billboards featuring Camry imagery will run atop the Walgreens building in New York‟s Times Square to spark the public‟s interest and build intrigue for the 2012 model.

    Beginning in November, consumers will have the opportunity to get behind the wheel of the 2012 Camry at over 125 events through March 2012. The Toyota Drive Center national ride and drive tour, along with activations at select Life Time Fitness locations across the country, will give the public a chance to experience the vehicle first hand.

    To set the stage for the 2012 model launch, Toyota and Saatchi & Saatchi LA launched the Camry Effect website, which is designed to connect the nearly seven million Camry drivers in the United States through an intuitive, interactive, online experiencehttp://www.toyota.com/camryeffect.
    The Camry Effect provides past and present Camry owners a platform to share stories, moments, memories and milestones of first dates, road trips, soccer games, interviews and college days while witnessing the collective “effect”

  • Motion Graphics Studio leftchannel Breathes Optimism into PSA for Natural Resources Defense Council

    Motion Graphics Studio leftchannel Breathes Optimism into PSA for Natural Resources Defense Council

    Looking to shed light on the disastrous effects plastics are having on the world’s oceans, the international environmental advocacy non-profit group Natural Resources Defense Council (NRDC) turned to leftchannel – the motion design studio led by Executive Creative Director and President Alberto Scirocco. Leftchannel was challenged to craft an entertaining yet informative public service announcement that would be a call to action for viewers to “reduce, reuse and recycle” plastic packaging.
    “The skills leftchannel brought to this project are valuable for translating a complex issue like this, to visually show this system and how we can make positive changes,” Leila Monroe, a Staff Attorney with the NDRC Oceans Program, says.
    After the organization approached leftchannel to translate the complex issue of plastic pollution to a visual platform with a positive message, Scirocco and leftchannel’s creative team (which included designer/animators Taehee Lee and Nick Schoener) set to creating a concept and script that avoided the usually negative tone found in most environmental PSAs. Rather, they harnessed the studio’s abilities to marry 2D and 3D character animation with motion design to inform viewers in a positive way.
    “Our goal was to remind people how important this issue is, without giving the impression that they were being criticized or that we were trying to scare them,” Scirocco says. “Americans have been recycling plastics for a long time, but the current recycling programs aren’t working anymore and NDRC wanted a new approach – one that informs and entertains in a constructive manner.”
    That new approach can be seen in the PSA entitled “The Great Plastic Purge” — a two-minute animated piece that was inspired by after school specials from the 1950s. The character animation style keeps the tone light, which helps engage the audience, while expressing important facts in a way that is never boring.
    The PSA opens with a shot of a young boy happily ripping open a birthday present that’s wrapped in numerous layers of plastic, all of which he cheerfully throws away. From there the piece follows the packaging from the boy’s home to the ocean floor, while a chipper voiceover informs about how Americans waste $8 billion a year due to plastics making it into the nation’s waterways.

    This project presented several challenges. According to Schoener, from a story telling perspective, effectively illustrating why the system was broken was challenging. “We had to first understand it ourselves,” he says, “then communicate it in a way viewers could easily connect with and understand.”
    For Lee, the most challenging scene to animate was the underwater scene. “It was complex because it contained a lot of different 2D animated trash objects that all needed to be integrated carefully into the scene. Because the scene connects to a 3D scene afterwards, the integration of the two was tricky — both 2D and 3D had to look consistent,” Lee says.
    Scirocco says, “It was a challenge to take a bleak story and turn it into an optimistic one. Overall, the animation needed to address three main points in a memorable, engaging manner: bring awareness to the issue; suggest that manufacturers be held responsible for coming up with innovative packaging solutions; and get consumers to take action to reduce, reuse and recycle.”
    Creative Credits:
    Client: Natural Resources Defense Council — www.nrdc.org/oceans/plastic-ocean
    Project: “The Great Plastic Purge” (2 minute PSA)
    Agency: Natural Resources Defense Council, New York (client direct)
    Animation/Design/Post: leftchannel, Columbus, OH — www.leftchannel.com
    Executive Creative Director/President: Alberto Scirocco
    Designers/Animators: Taehee Lee, Nick Schoener

  • A Body of Tobacco

    A Body of Tobacco

    Smoker

    Pregnancy

    Do you remember the pictures of black lungs we were shown at school? Tobacco Body is exactly the same thing done for the iPad age. It is a tool for teachers to show how tobacco changes our bodies. 358 Helsinki has been working with Cancer Society of Finland since the inception of their agency cracking the same problem: How do they get teenagers to think critically about smoking?

    This time they thought about the school world and soon realized that those pictures in the books are still the same. Isn't it time for an update? Can't technology make the shock effect more shocking?

    Client: Cancer society of Finland;
    Agency: 358 Helsinki;
    Production: !noob;
    Country: Finland;
    Creative Director: Erkki Izarra;
    Art Director: Maria Fridman;
    Art Director: Ville Kovanen;
    Copywriter: Jonathan Mander;
    Copywriter: Valtteri Väkevä;
    Copywriter: Anna Lundqvist;
    Account Director: Sonja Eiramo;
    Agency Producer: PEGGY PETRELL;
    Agency Producer: KRISTA DURCHMAN;
    Client: Virve Laivisto.

  • Cats In The Dark — Birra 08 Must Have App

    Cats In The Dark — Birra 08 Must Have App

    Now there's an app that can help prevent you from making bad choices at the bar before you bring him or her home.
    As we all know “at night all cats are grey”. Therefore, the Cats In The Dark app from Birra 08 (a traditional beer from Barcelona) measures how much our perception of reality changes given the time and the number of beers consumed. You just have to select the sex of the person you want to rate and enter a subjective rating. The camera of the application analyses the facial geometry and weights all the data to give an “objective” rating of the person selected. Now, the night will no longer confuse you.If this app is one you need from past experiences then head on over to to the Google Play Market and get it — play.google.com/store/apps/details?id=com.cats.inthedark

    Credits:
    Advertising Agency: DDB, Barcelona, Spain
    General Creative Director: José María Roca de Vinyals
    Executive Creative Director: Fernando Barbella
    Creative Director: Jaume Badia
    Art Director: Silvia Cutillas
    Copywriter: Javier Nuñez
    Technical Director: Emilio González
    Digital Partners: RSB Media
    Production Company: Igloo Films
    Director: Dani de la Orden
    Producer: Mireia Martinez