#Markus Lindblad

[beurich]

Jugend in Deutschland pfeift auf Verbot: Mehr als die Hälfte raucht unter 18 Jahren

In Deutschland rauchen in den letzten Jahren nicht nur mehr Erwachsene. Auch die Jugend greift vermehrt zu Tabakprodukten. In Deutschland rauchen in den letzten Jahren nicht nur mehr Erwachsene. Auch die Jugend greift vermehrt zu Tabakprodukten. Besonders in so jungen Jahren kann das Rauchen von Zigaretten massive Auswirkungen auf die Gesundheit und die Entwicklung haben. Aus diesem Grund ist es…

[vapolitique]

Consultation TPD : Plainte contre les manipulations du questionnaire de la Commission

Au moins une plainte a été déposée contre le questionnaire de la Commission européenne concernant « l’évaluation du cadre législatif pour la lutte antitabac » ouvert jusqu’au 16 mai prochain. « Le formulaire ne donne pas aux citoyens une chance équitable d’exprimer leur point de vue. Il est extrêmement biaisé de manière évidente », explique Markus Lindblad, responsable de la communication…

[hitzerot-prints-and-publications]

LET’S DISAPPEAR! - BUS126

The monographic publication on BUS126, Berlin avant-garde writer who started in 1986, will be released at this years Unlock Book Fair in Cologne 31.08-01.09.2019! The book consists of two separate chapters: Text (P. Vector Codierer, ZASD, AKV Stocklosa, Joachim Spurloser and SPAIR as well as a conversation with Markus Mai and Tobias Barenthin Lindblad) and photos. LET’S DISAPPEAR! comes in a unique handbuild carboard box by BUS126!

Check out the full review and photos in our shop. For everyone who can’t make it to the Unlock Fair, we prepared a little preorder stack online at Hitzerot.

[spurloser]

LET’S DISAPPEAR! - BUS126 The monographic publication on BUS126 (@chezbuselle), Berlin avant-garde writer who started in 1986, will be released at this years @unlockfair in Cologne 31.08-01.09.2019! The book consists of two separate chapters: Text (P. Vector Codierer, @zasd_zast, AKV Stocklosa, Joachim @spurloser and SPAIR as well as a conversation with Markus Mai and Tobias Barenthin Lindblad) and photos. LET’S DISAPPEAR! comes in a unique handbuild carboard box by BUS126! Check out the full review and photos in our shop. For everyone who can’t make it to the Unlock Fair, we prepared a little preorder stack online at www.hitzerot.com #hitzerot #bus126 #letsdisappear #book #letsdisappearbus126 #diamonds #graffiti #graffitiberlin #berlingraffiti #dmnds #spurloser #tobiasbarenthinlindblad #joachimspurloser #zasd #spair #pvectorcodierer #akvstocklosa #markusmai #unlockfair #unlockbookfair #cityleaks #cityleaksfestival (hier: 126 Jackson Bus Stop at Pulaski) https://www.instagram.com/p/B1YpmxvC8AA/?igshid=1ukotlsl57o9g

[akademinstrafikcenter]

Ny dag nya MC kort, idag var det Markus Lindblad som fick sitt! Stort Grattis! 🏍🥇👍🏻☀️ #atcenter10år2017 #akademinstrafikcenter #intensivkurs #bilkörkort #körkort #moppekurs #amkörkort #mckort #intensivteori #trafikskola #dreamcenteratl (på/i AB Akademins Trafikcenter) https://www.instagram.com/p/CC8qM6iF8Bq/?igshid=1oaab65vgro94

[kenkchow]

Burger King 🍔🤴 The Moldy Whopper

Burger King has pulled a surprising, global, integrated advertising campaign showing its iconic Whopper covered in mold. 👑 Yes, you read it right. 🔥 A Whopper sandwich covered in mold. Instead of featuring its product with the classic flawless and often perfect photographic style commonly used to showcase fast food products, Burger King let its most iconic product get rotten to make a powerful statement: The brand has achieved a milestone by removing artificial preservatives from the Whopper sandwich in most European countries and select markets in the United States*. Additionally, the brand has removed colors and flavors from artificial sources from all core sandwiches and sides in those European countries and across the United States.

From the bun to the freshly sliced onions, tomatoes and lettuce, and the 100% beef patty - the striking images show the real mold that grows on every piece of the iconic burger. The groundbreaking campaign makes a reference to the number of days that have passed since the sandwich was prepared, and a line reads, “The beauty of no artificial preservatives.”

Integrated advertisement created by INGO, Sweden for Burger King, within the category: Food.

Credits:

Advertising Agency: INGO, Sweden

Executive Creative Director: Björn Ståhl

Art Director: Max Hultberg

Copywriter: Magnus Ivansson

Planner: Simon Stefansson

Account Director: Rickard Allstrin

Account Manager: Mia Melani

Final Art: Åsa Eklund, Alexander Lundvall

Tech Director: Stefan Kindgren

Advertising Agency: DAVID Miami

Global CCO & Partner: Pancho Cassis

Group Creative Directors: Fernando Pellizaro, Jean Zamprogno

Senior Art Director: Camilo Jimenez

Art Director: Sergio Takahata

Group Account Director: Stefane Rosa

Executive Producer: Carlos Torres

Advertising Agency: Publicis

GLOBAL CCO: Bruno Bertelli

CCO: Eduardo Marques, Jorg Riommi

ECD: Pablo Dachefsky

Art Director: Ivan Montebello

Copywriter: Pablo Murube

Photographer: Pål Allan

Food stylist: Anna Lindblad

Photo assistant: Erik Ögnelooh

DOP: Viktor KumlinGraffer: Kalle Dahlberg

Art buyer / Producer: Jenny Steggo / Colony

Producer and director: Markus Ahlm

Producer: Lena von der Burg

Online: Erik Lindahl / Colony

Sound: Quint Starkie

Grade: Jean-Claude Soret / MPC London

Music Supervisor / Intro Composer: Maria Moritz, Stephan Moritz / MOKOH Music Berlin

Music / Director: Danny Simon / Mayflower

Co-Founder: Ryan Schinman

💬 #advertisement #advertising #advert #ads

[keensdesign]

Burger King 🍔🤴 The Moldy Whopper

Burger King has pulled a surprising, global, integrated advertising campaign showing its iconic Whopper covered in mold. 👑 Yes, you read it right. 🔥 A Whopper sandwich covered in mold. Instead of featuring its product with the classic flawless and often perfect photographic style commonly used to showcase fast food products, Burger King let its most iconic product get rotten to make a powerful statement: The brand has achieved a milestone by removing artificial preservatives from the Whopper sandwich in most European countries and select markets in the United States*. Additionally, the brand has removed colors and flavors from artificial sources from all core sandwiches and sides in those European countries and across the United States.

From the bun to the freshly sliced onions, tomatoes and lettuce, and the 100% beef patty - the striking images show the real mold that grows on every piece of the iconic burger. The groundbreaking campaign makes a reference to the number of days that have passed since the sandwich was prepared, and a line reads, “The beauty of no artificial preservatives.”

Integrated advertisement created by INGO, Sweden for Burger King, within the category: Food.

Credits:

Advertising Agency: INGO, Sweden Executive Creative Director: Björn Ståhl Art Director: Max Hultberg Copywriter: Magnus Ivansson Planner: Simon Stefansson Account Director: Rickard Allstrin Account Manager: Mia Melani Final Art: Åsa Eklund, Alexander Lundvall Tech Director: Stefan Kindgren Advertising Agency: DAVID Miami Global CCO & Partner: Pancho Cassis Group Creative Directors: Fernando Pellizaro, Jean Zamprogno Senior Art Director: Camilo Jimenez Art Director: Sergio Takahata Group Account Director: Stefane Rosa Executive Producer: Carlos Torres Advertising Agency: Publicis GLOBAL CCO: Bruno Bertelli CCO: Eduardo Marques, Jorg Riommi ECD: Pablo Dachefsky Art Director: Ivan Montebello Copywriter: Pablo Murube Photographer: Pål Allan Food stylist: Anna Lindblad Photo assistant: Erik Ögnelooh DOP: Viktor KumlinGraffer: Kalle Dahlberg Art buyer / Producer: Jenny Steggo / Colony Producer and director: Markus Ahlm Producer: Lena von der Burg Online: Erik Lindahl / Colony Sound: Quint Starkie Grade: Jean-Claude Soret / MPC London Music Supervisor / Intro Composer: Maria Moritz, Stephan Moritz / MOKOH Music Berlin Music / Director: Danny Simon / Mayflower Co-Founder: Ryan Schinman

💬 #advertisement #advertising #advert #ads

[maritimemanual]

European Commission Funded FLARE Project To Increase Passenger Ship Safety

As a part of the European Commission-funded FLARE project, NAPA which is one of the leading maritime software, services and data analysis provider has joined hands with over twenty industry leaders and academic bodies for the development of a methodology which is based on risk, that will allow ‘live’ flood risk analysis and control for the passenger area.

By making use of the experience of NAPA relating to safety and the simulation capabilities of NAPA Emergency Computer that checks the vulnerability of an intact ship along with its chances of survival in case of a flood emergency, the members in the flood risk workspace can monitor, assess and analyse the ‘live’ flood in a better way and thus, speed up the process of ship shore response.

Esa Henttinen, Executive Vice President at NAPA Safety Solutions, commented, “The concept for NAPA Emergency Computer arose from market demand in the cruise industry, and NAPA Loading Computer originated from collaboration with key stakeholders across the passenger sector.”

Henttinen continued, “NAPA is leading this work into the mitigation of flood risk through similar customer and industry collaboration. Upon completion it is expected that this methodology will globally align key stakeholders to improve passenger ship safety by increasing its simulation capabilities, and providing more accurate assessments of external factors, such as traffic and volatility of weather conditions.”

In June 2019, the FLARE project was started and it will be active for three year. It aims to develop a model that can tackle all incidents and provide a holistic risk model that can be applied to newbuildings and new solutions to the present ships. Horizon 2020 research and innovative programme has also provided fund for this project.

Markus Tompuri, Senior Technical Consultant at NAPA Safety Solutions and the NAPA lead on the FLARE project commented, “The highest risk for personnel on-board passenger ships coming from flooding accidents, and as a number of recent incidents have shown, there is an acute need for decision support systems which can enhance the abilities of officers in crisis situations.”

Tompuri continued, “Since its launch in 2015, NAPA Emergency Computer has become the industry benchmark for integrated decision support. It is used by almost all the major cruise lines, including Carnival Cruise Line, Royal Caribbean Cruise Lines, Norwegian Cruise Line, Viking Ocean Cruises, Genting Cruise Lines, Virgin Voyages, Saga Cruises, Hurtigruten and Lindblad Expeditions. Our partnership with FLARE will enable us to further study and enhance NAPA Emergency Computer’s assessments, and make passenger vessels substantially safer.”

  Reference: European Commission

from WordPress https://www.maritimemanual.com/european-commission-funded-flare-project-increase-passenger-ship-safety/

[hudsonespie]

European Commission Funded FLARE Project To Increase Passenger Ship Safety

NAPA, the leading maritime software, services and data analysis provider, has joined forces with more than twenty industry leaders and academic bodies, as part of the European Commission-funded FLARE project to develop a risk-based methodology that will enable “live” flooding risk assessment and control for the passenger sector.

By drawing on NAPA’s decades of safety expertise and the simulation capabilities of NAPA Emergency Computer, which assesses the vulnerability of an intact ship as well as its survivability in case of a flooding emergency, those in the flood risk workspace can improve their monitoring, assessment and analysis of a “live” flood, and in turn, accelerate ship-shore response.

This will enhance the provision of vulnerability monitoring and survivability assessments across the passenger sector.

Image Credits: napa.fi

Esa Henttinen, Executive Vice President at NAPA Safety Solutions, commented, “The concept for NAPA Emergency Computer arose from market demand in the cruise industry, and NAPA Loading Computer originated from collaboration with key stakeholders across the passenger sector.”

Henttinen continued, “NAPA is leading this work into the mitigation of flood risk through similar customer and industry collaboration. Upon completion it is expected that this methodology will globally align key stakeholders to improve passenger ship safety by increasing its simulation capabilities, and providing more accurate assessments of external factors, such as traffic and volatility of weather conditions.”

The FLARE project commenced in June 2019 and is set to run for three years with the overall aim of developing a generic (all incidents in one model) and holistic (active and passive measures) risk model with potential application to newbuildings and new solutions to existing ships. The project has also received funding from the Horizon 2020 research and innovation programme.

Image Credits: napa.fi

Markus Tompuri, Senior Technical Consultant at NAPA Safety Solutions and the NAPA lead on the FLARE project commented, “The highest risk for personnel on-board passenger ships coming from flooding accidents, and as a number of recent incidents have shown, there is an acute need for decision support systems which can enhance the abilities of officers in crisis situations.”

Tompuri continued, “Since its launch in 2015, NAPA Emergency Computer has become the industry benchmark for integrated decision support. It is used by almost all the major cruise lines, including Carnival Cruise Line, Royal Caribbean Cruise Lines, Norwegian Cruise Line, Viking Ocean Cruises, Genting Cruise Lines, Virgin Voyages, Saga Cruises, Hurtigruten and Lindblad Expeditions. Our partnership with FLARE will enable us to further study and enhance NAPA Emergency Computer’s assessments, and make passenger vessels substantially safer.”

Press Release

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from Storage Containers https://www.marineinsight.com/shipping-news/european-commission-funded-flare-project-to-increase-passenger-ship-safety/ via http://www.rssmix.com/

[hitzerot-prints-and-publications]

LET’S DISAPPEAR! - BUS126

The monographic publication on BUS126, Berlin avant-garde writer who started in 1986, will be released at this years Unlock Book Fair in Cologne 31.08-01.09.2019! The book consists of two separate chapters: Text (P. Vector Codierer, ZASD, AKV Stocklosa, Joachim Spurloser and SPAIR as well as a conversation with Markus Mai and Tobias Barenthin Lindblad) and photos. LET’S DISAPPEAR! comes in a unique handbuild carboard box by BUS126!

Check out the full review and photos in our shop. For everyone who can’t make it to the Unlock Fair, we prepared a little preorder stack online at Hitzerot.

[hitzerot-prints-and-publications]

LET’S DISAPPEAR! – BUS126

BUS126 is an oldschool writer who belongs to the first generations of the Berlin graffiti scene. Starting in 1986 with primary attempts in the south of Berlin BUS soon became known for his New York and Paris orientated pieces in the early nineties. After a time-out he had a comeback in the 2000s where he dropped into the sphere of avant-garde and trailblazing artists like AKIM and ZASD.

While still painting walls for example along the railway lines BUS126, inspired by new influences, began to break up the borders of traditional stylewriting in his pieces, started working on letter sculptures or let natural forms and structures have affect on his style (as in detail featured in Writing the Memory of the City).

In LET’S DISAPPEAR! he presents a selection of his artistic work since 2007 till 2019. As the title let’s assume the artist did not only made a retraction from public to mainly non-urban, abandoned or at least not easy accessible places and areas, but also dissolves his pieces more and more into abstract forms and spaces. Although in the publication is stated that “style is also extremely different to get rid of”, a personal style still remains even if elements like outlines or concrete letter shapes are hard to make out.

In addition to the 128 paged photo book LET’S DISAPPEAR! also includes a separated 64 paged text book with essays by P. Vector Codierer, ZASD, AKV Stocklosa, Joachim Spurloser and SPAIR as well as a conversation with Markus Mai and Tobias Barenthin Lindblad. While his companions wrote on BUS126 and his work, the talk gets more into depth and focuses on the artists roots, inspirations, style theory, repetition, anti-style and the ability to learn, master and break rules.

Both books come in an individual cardboard slipcase handbuild by BUS126! LET’S DISAPPEAR! is limited to 250 copies only. There will be no reprints so grab a unique copy before someone else does!

Now available at Hitzerot.

[hitzerot-prints-and-publications]

LET’S DISAPPEAR! - BUS126

The monographic publication on BUS126, Berlin avant-garde writer who started in 1986, will be released at this years Unlock Book Fair in Cologne 31.08-01.09.2019! The book consists of two separate chapters: Text (P. Vector Codierer, ZASD, AKV Stocklosa, Joachim Spurloser and SPAIR as well as a conversation with Markus Mai and Tobias Barenthin Lindblad) and photos. LET’S DISAPPEAR! comes in a unique handbuild carboard box by BUS126!

Check out the full review and photos in our shop. For everyone who can’t make it to the Unlock Fair, we prepared a little preorder stack online at Hitzerot.

[hitzerot-prints-and-publications]

LET'S DISAPPEAR! - BUS126

The monographic publication on BUS126, Berlin avant-garde writer who started in 1986, will be released at this years Unlock Book Fair in Cologne 31.08-01.09.2019! The book consists of two separate chapters: Text (P. Vector Codierer, ZASD, AKV Stocklosa, Joachim Spurloser and SPAIR as well as a conversation with Markus Mai and Tobias Barenthin Lindblad) and photos. LET'S DISAPPEAR! comes in a unique handbuild carboard box by BUS126!

Check out the full review and photos in our shop. For everyone who can't make it to the Unlock Fair, we prepared a little preorder stack online at Hitzerot.

[hitzerot-prints-and-publications]

LET’S DISAPPEAR! - BUS126

The monographic publication on BUS126, Berlin avant-garde writer who started in 1986, will be released at this years Unlock Book Fair in Cologne 31.08-01.09.2019! The book consists of two separate chapters: Text (P. Vector Codierer, ZASD, AKV Stocklosa, Joachim Spurloser and SPAIR as well as a conversation with Markus Mai and Tobias Barenthin Lindblad) and photos. LET’S DISAPPEAR! comes in a unique handbuild carboard box by BUS126!

Check out the full review and photos in our shop. For everyone who can’t make it to the Unlock Fair, we prepared a little preorder stack online at Hitzerot.

[hitzerot-prints-and-publications]

The Death of Graffiti

18 Thesen hat Oliver Kuhnert in „The Death of Graffiti“ zum vermeintlichen Tod von Graffiti niedergeschrieben. In seiner Fundamentalkritik benennt er Unzulänglichkeiten und Missverständnisse vor allem in der Selbstwahrnehmung von Graffitisten unter dem „Deckmantel von Autonomie, Idealismus und Kreativität“. Das Hauptaugenmerk wurde vom Autor dabei auf Stylewriting gelegt.

Ohne konkrete Beispiele zu nennen, beklagt der Autor eine zunehmende ästhetische Vereinheitlichung, Homogenisierung und Stagnation in der Entwicklung der Motive. Er unterstellt Einfallslosigkeit, gedankenloses Handeln und das Fehlen einer wirklichen Avantgarde – beherrschend seien Traditionalismus und bestimmte Modeströmungen.

Kuhnert bemängelt jedoch nicht nur ästhetische Standards, sondern stellt auch das Selbstbild der meisten Writer in Frage: „In Interviews bzw. Selbstdarstellungen geben sich die Graffitisten gern gesellschaftskritisch. Sie wenden sich gegen das kapitalistische Besitzdenken und Konsumverhalten, gegen die Monotonie im Alltags- und Berufsleben, gegen den Überwachungsstaat sowie gegen jegliche Norm- und Regelhörigkeit. […] Allerdings ist ihre Kritik oft klischeebeladen, undifferenziert und populistisch.“

33 vermeintlich reflektierte szeneangehörige und szenenahe Autorinnen und Autoren diente Kuhnerts Abgesang als Grundlage für ihre Antworten. Obgleich die verfasste Kritik zumeist kaum im Sinne des Initiators kritisch, sachlich und konstruktiv beantwortet wurde, liegt der womöglich größte Wert von The Death of Graffiti in den Erwiderungen auf seinen Text.

So finden sich in dem Diskursheft unterschiedlichste Reaktionen wieder. Von persönlichen Anfeindungen bis hin zu lediglich halbseitigen Statements, die in keiner Beziehung zum Ausgangstext zu stehen scheinen. Unabhängig davon ob man die in Teilen verallgemeinernde und subjektive Kritik von Oliver Kuhnert teilt oder nicht, zeigen die diversen, oft emotionalen und harschen Antworten, dass hier ein Nerv getroffen wurde.

Ob sich aus The Death of Graffiti eine tatsächliche Diskussion und Selbstreflektion wie vom Autor erhofft ergibt, ist offen. Sicher ist jedoch, dass es sich hierbei um das unterhaltsamste und interessanteste Textwerk zu Graffiti und Stylewriting der letzten Jahre handelt. Ob dies durch die Einblicke in die Denkweise der Autoren oder durch deren Enttarnung nach Kuhnert geschieht, bleibt dem Leser im Einzelfall selbst überlassen.

Mit Beiträgen von David Alexander, Tobias Barenthin Lindblad, Thomas Bratzke, BROM, CLINT 176, Paul Vector Codierer, Christian Driesen, Paul Luis Fechter, Lukas Fuchsgruber, Allan Gretzki, Frank Hartmann, HIDDEN INDEXES, Ilaria Hoppe, ID33, Dmitry Ilko, Matze Jung, Moritz Klein, Jule Köhler, Bianca Ludewig, Markus Mai, Christoph May, Peter Michalski, Tobias Morawski, Joachim Penzel, Sandra Rummler, SADE, Willi Schmudde, Paul Schweizer, Jenz Steiner, Josef Streichholz, Barbara Uduwerella, Eric Winkler & Georg Zolchow.

***An english translation of the mainthesis “The Death of Graffiti” and the answer of Paul Luis Fechter you can find in „Death and Afterlife of Graffiti“.***

Get it at Hitzerot.