At the end of September 2012, 1,270,000 households had digital cable television. The customer base of the operators in the Swisscable association grew by 25% within a year, while Swisscom's customer base grew by as much as 30%. This was announced by Swisscable, the trade association of Swiss cable TV companies, on Thursday.

Around 240 private and public companies are members of the association, providing more than 2.8 million households with radio, TV, HDTV, Internet, telephony and other services.
 

The previous, factual, informative and high-quality magazine is now to become a consumer medium with entertainment value, according to the agency. It looks behind the facades at the big and small challenges and success stories of everyday life and also shows the employees in their private environment. With a lively visual language, yellow color accents and large headlines, Impact is to become an eye-catcher that - printed on newsprint - will also be read on the construction site.

Impact has been published since fall 2012 with a new design and new content in three languages, three times a year.
 

Actually, we've always known it: Twitterers are better people. Dr. Christine Greenhow, Assistant Professor of Social Media and Education at Michigan State University, has now finally provided evidence for this assumption. In a press release, which she recently distributed via email rather than Twitter, she states: "Tweeting is changing the way we read and write. " Greenhow should know. After all, she teaches her students in her own course how to use Twitter - and how to use it "correctly". Whatever she thinks it is.

I think, so I'm crazy

Anyone who has been sending 140 messages around the world since the first fluttering of the light blue beeping bird may lean back in amazement at this information from Michigan and take a deep breath: "Oh, you have to study tweeting to do it right? Then we must have been doing something (or probably everything) wrong for years.

No wonder this is changing the way we read and write. Remember: the media used to be the "fourth power in the state", polished language as a drawn sword. Today, zero-value information such as "I'm off to take a shower" and "My father has a broken thigh" have become news worth reading. Model Jekami, also thanks to Twitter - or rather undank. Anyone who regularly reads such news zeros eventually finds them exciting and, in the most dramatic cases, ends up writing some themselves. Twitter not only changes the way we read and write, but also the way we think: "I thought that was interesting." Think again!

Twitter makes you fitter

But back to university: Greenhow claims to have found in her Twitter course that Twitter users concentrate better on lessons, are more interested in their fellow students and get better grades. So Twitter and other social networks benefit education and social behavior, she says. How nice.

Greenhow knows all this after only 949 of his own tweets (https://twitter.com/chrisgreenhow, as of November 4, 2012). Mmmmmm. Don't trust a study that you haven't faked yourself! The Twitter professor leaves open the scientific method she used to arrive at her findings. However, she makes it clear that she wants to show students, teachers and parents ways in which they can use Twitter to improve their education or the education of their pupils and children. Maybe like this: "@son: Off to bed and box off! Math test tomorrow. Mom."

All this sermon gives me the lasting impression that Ms. Greenhow tweeted a lot before distributing her press release. Or she's simply beeping.
 

Media - basic knowledge for media practice. The title is sober, but the foreword is lively and picks up the reader with clichés about media journalists. Media journalists are head over heels in love with their own profession, so much so that they do nothing but observe themselves and their peers, it says, for example. Or: media journalists tend to be masochistic. After all, they have to listen to their colleagues time and time again about being nest-smearers or doing PR on their own behalf. The contrast in the wording between the title and the foreword reflects the different facets of the book. For the most part, it is an entertaining read, but at the same time it provides well-founded analyses and manages the balancing act between practical and theoretical knowledge. The publication names media journalistic offerings, sheds light on people and fields of work in today's media journalism and provides concrete examples of practical cases. Various media journalists report on their research, successful colleagues are portrayed and case studies from media journalistic work and best practice models are given. Checklists round off the offer, such as a "Code of Conduct for Media Journalists" or a compilation of the relevant compulsory reading.
 
The practical approach is contrasted by a great deal of theoretical knowledge and a scientific perspective. Various topics such as the self-observation trap or anticipatory obedience are examined theoretically, with food for thought for practical application. The history of media journalism is also reviewed, from the emergence of radio and television in the 1960s and 1970s to more recent and ongoing developments. The 220 pages also include a critical examination of the industry. For example, the authors criticize the dwindling media coverage in the media. They do not accept the often-cited argument that media journalism is only of interest to professional colleagues. Media topics are not per se uninteresting for the general public, but attempts to get a wider audience interested in them have so far only been pursued half-heartedly. She calls for media topics to be presented in a way that is "effective for the public". The authors show that the clichés in the foreword, although exaggerated, are not taken out of thin air by going into detail about the challenges and special features of the profession. These include the difficulty of observing and fairly criticizing one's peers as a media journalist, being as close to them as possible, but still maintaining the necessary distance.

Jump start or knowledge comparison

The "compact textbook" is intended as a starting aid for young journalists, which is explained in the checklist "What should I do if I want to become a media journalist?" at the end of the book. (Co-author Christian Meier has summarized the most important "survival rules" for career starters for Werbewoche, see box on the right). However, the checklists, case studies and thoughts on future developments in media journalism also make the textbook interesting for practicing media journalists. Although international examples are cited time and again - internet companies from the USA are a recurring theme - the book focuses primarily on the German media landscape. In this sense, it offers Swiss journalists the opportunity to take a closer look at the media world of our northern neighbor. The different perspectives of the authors - one a media journalist, the other a media scientist - as well as their writing style make for a varied read. Christian Meier is deputy editor-in-chief of the online media portal Meedia.de, Stephan Weichert is a professor of journalism at the private Macromedia University of Applied Sciences for Media and Communication in Hamburg (MHMK) and also founded the media-critical portal Vocer in 2011.
 
Werbewoche met Christian Meier at the Medientage München and asked him about his new book. In the interview, he takes a closer look at the role of the media journalist, talks about changes in the profession, the alleged masochistic tendency of media journalists, his relationship with media science and the difficult and beautiful sides of his profession.  
 
Isabel Imper

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Media journalists should maintain their inner independence
 
WW: Christian Meier, how do you see the role of media journalists? Are they reporters who describe developments or rather investigative reporters who keep an eye on their colleagues?
CM: Both. Media journalists are chroniclers of media change. Every day we receive reports on how media companies are trying to cope with digital structural change. A publisher tests a new online business model, a TV station launches a new digital platform, another company buys a start-up. Media journalists record this news and categorize it. They try to explain to readers where the big lines are. How do the players in the media market behave? What recipes are there for media change? Incidentally, this task is not only performed by media journalists who write for the industry itself, but also by those who work for consumer media. The public reader also wants to know: What does it mean for me if the analog signal on television is switched off? Why will access to an online news portal cost money in future?
 
So media journalists are above all observers and reporters?
Not only that. In addition to the role of the chronicler, there is also that of the researcher. Media journalists have to look at what is happening behind the scenes. Who is talking to whom? And for what purpose?
 
Do media journalists perform this function sufficiently?
Well, enough is a relative value. Self-critically, it can be said that journalists in general - not just media journalists - too often stick to the surface in an increasingly fast-moving news world and allow themselves to be led by stories, only taking in the news and asking too little about the reasons behind a report. In media journalism, this tendency is further encouraged by the fact that reporting has expanded in recent years from researching traditional media to Facebook, Google and co. However, these US companies are black boxes. When Google launches a new service, it is adopted as such. Very often, however, you learn very little about the motives, about the internal processes within the company. I think there is a lot of catching up to do.
 
Is it even possible for German-speaking journalists to take a look behind the scenes at these companies?
German-speaking journalists must already have very good contacts in the USA. Most colleagues do not have these and therefore usually take over the research results of US colleagues.
 
In the book, you point out that media journalism in the traditional media has declined. At the same time, you emphasize the emergence of new blogs that report on the industry online. To what extent has this changed the work of media journalists?
Media pages in newspapers have been on the decline for years, that's true. The Berliner Zeitung has just given up its media page. Meanwhile, blogs have led to both qualitative and quantitative changes. Qualitatively, because it is an incentive when reports appear on a blog that you would have liked to have had yourself as an editor of a newspaper, for example. Good media journalism is not only done in traditional editorial offices. The quantity of work has also changed: It is no longer enough to appear once a day. Media news is generated almost around the clock, especially since we often report on developments in US media. Having an editorial deadline at 6 p.m. is far too early.
 
Media journalism is often labeled as irrelevant and has to justify its existence. Where does that come from?
If you report critically as a media journalist, you are often asked: "Why are you writing against the industry? Why do you constantly write that newspapers, publishers and TV stations are doing badly? Is that really so relevant now? Are there no other issues?" Perhaps this is where this accusation of supposed irrelevance comes from. Media journalists are also often confronted with the accusation that their profession is too self-centered, too self-referential. This accusation often seems like a pretext for discrediting annoying reporting.
 
How do you respond to such accusations?
Media journalism has a control function. The media should control the economy, the politicians and the country's key players. But who controls the media? There is no doubt that media journalism can develop self-regulatory powers. The mixing of editorial and advertising, for example, is an eminently important issue for media journalism. If there is surreptitious advertising in a medium, there must be journalists who expose such practices. Or if the entanglements of a media company are so opaque that journalistic power is being abused, this must come to light. Even if everyday reporting is not always so dramatic, media journalism remains a small but essential discipline of journalism.
 
Why do media journalists write so little about radio?
Radio is a rather neglected field. This is because it is sometimes wrongly declared to be an old medium, a secondary medium. People fail to realize that a very large number of people listen to the radio every day. Media journalists may also write little about this medium because the last twenty years have seen the emergence of more and more format radio stations with lots of music but only a few contributions of high journalistic quality. Media journalists would much rather deal with Der Spiegel, the NZZ or ZDF than with a radio station that may be commercially successful but does not have much journalistic expertise.
 
You wrote your book together with a media scientist. The relationship between practitioners and media scholars is not generally considered to be particularly good. To what extent did you as a practitioner benefit from the collaboration?
Journalists probably reflect little on their work in everyday life. They do research, talk to informants, discuss at conferences and at the end of the day have written or broadcast one or two articles. It's called routine. This reflection, the art of self-observation and sometimes self-knowledge can be learned from media studies. This collaboration has certainly helped me to question my own work. However, I wouldn't necessarily describe my relationship with media studies as bad, but rather as non-existent ...
 
Why is this the case?
I suspect that journalists think media scientists have no idea about journalistic practice. Media scientists, in turn, are offended when no one pays attention to their large-scale studies. You can speak of a bad relationship or simply of talking past each other. There is often no willingness to listen to what the other side has to say.
 
Do you have any suggestions on how this could change?
You simply have to talk to each other, there's no other way. Journalists should take the time to look at what studies there are on the topic of newsrooms or social media, for example. It can't hurt to take a bird's eye view of your own work. For their part, the institutes should approach the editorial offices and establish contact.
 
You write that media journalists tend to be masochistic because they have to listen to the same accusations over and over again. For example, of being a nest polluter or doing PR on their own behalf. Have you ever thought about quitting?
No, not at all. "Masochism" is perhaps a tad too drastic. However, as the book is primarily aimed at practitioners, we also wanted to express uncomfortable truths and not just use balanced and balanced scientific formulations. Indeed, media journalists have to put up with being harshly criticized by their own guild from case to case. If I, as a journalist, write a critical report about a business boss, I usually receive recognition from my colleagues. If, on the other hand, you criticize an editor-in-chief, it can happen that your own editor-in-chief gets in touch and asks: "Did you have to do that now? We don't want any trouble with this or that publisher." In this case, it is primarily important for a media journalist to maintain their inner independence.
 
What do you mean by that?
By this I mean that a media journalist must be able to free himself from his own media preferences and, conversely, from his prejudices. Let's say I enjoy reading the NZZ, perhaps even have colleagues who are friends there, perhaps would even like to work there one day. Nevertheless, or precisely because of this, I must be able to criticize the paper, the editor-in-chief, the publishing manager. And I must expect to be attacked by these colleagues when the report is published. Then the aforementioned support from the editorial team is important again, but many media journalists work as freelancers for the media, at least in Germany.
 
Are you criticizing the fact that media journalism is being delegated to freelancers?
Yes, trouble is occasionally "outsourced". In my opinion, media journalists should be permanently employed. They are particularly exposed to criticism from their own industry and need the protection of the editorial team, the editor-in-chief, in order to survive. Even more so than other journalists.
 
Media journalists must therefore be able to deal with criticism from their own industry. What do they get in return?
You will receive recognition from readers, viewers, listeners and colleagues who appreciate critical reporting. As an independent thinking and writing media journalist, you can earn a good reputation. Reputation is also the currency by which journalists should be judged.
 
Interview: Isabel Imper

Martin Rütschi is a very mobile person. As a photographer, he travels a lot. Once, however, a torn ligament tied him to a chair for three months. The visual artist, who has spent around a third of his time abroad so far, still wanted to make creative use of this enforced downtime. Rütschi had his doctor allow him to travel to Cuba, at least for his convalescence. He then sat there. In the same chair every day. And let the images pass him by. "That fascinated me. I photographed the daily routine with a small camera. Always from the same angle. I discovered that: Something was moving within these pictures." That was six years ago. Martin Rütschi has since been confronted with such "moving images" again in Milan. He discovered a Japanese artist at a design fair. He was showing images of a forest on three screens. Always the same setting. But in different times and moods. "Wisps of mist crept in between the trees. Shadows descended over the foliage. After thirty seconds, I had the feeling that I was in Japan and standing in a forest."

The rest can be told in fast motion. Award-winning photographer Martin Rütschi founded the company Moopho AG on September 19. He is joined by Walter Grolimund, former CEO and Chairman of the Board of Directors of Switzerland's largest photo agency, Keystone, and Gian Gregori. The latter started out as a polygraph, then studied tourism and organized "countless photo shoots" for Martin Rütschi at Zurich Tourism. Gregori is responsible for marketing at Moopho.

Versatile use

Who is Moopho aimed at? "These are moving images that combine photography with film," summarize Rütschi and Gregori. "With Moopho, we breathe life into the images. On platforms such as tablets or electronic advertising spaces, people have the opportunity to experience the natural movements of a subject at any time. This allows us to make the images breathe, bring them to life and let them speak for our customers," explains Rütschi. In terms of price, Moophos is much cheaper than film production - and thanks to 4K technology, the individual images can even be used in the print sector. This also requires Moophos on the web. An ideal length of seven to ten seconds has become the standard. A Moopho is moved like a movie at 25 frames per second. Suitable subjects can be found in the tourism sector, for example. "On the websites of a tourist region or a hotel, potential guests want to be able to feel the uniqueness of a landscape, a city or the ambience. An image has a more emotional impact if it moves in a subtle but surprising way," says Rütschi. Other clients come from the fashion, landscape architecture and watch advertising sectors. An unusual project was filmed for the Zurich-based media company You Productions. On iPhone and Android apps, the gently moving images accompany the viewer during concentration and relaxation exercises at home, on the move or in the office. These Moopho apps can be downloaded free of charge from You-Productions.com. "In the beginning, we were looking for images with the most spectacular movements possible. But the most exciting things are these very subtle movements where surprisingly little happens."

A Moopho has photographic qualities. But no dramaturgical plot. "The moving image shouldn't be a distraction," explains Rütschi. Although he has already attended a film school in New York "out of curiosity" as part of a sabbatical, Martin Rütschi consciously sees himself as a photographer. "I think in single images. That's what I can do and what I'm good at. But if I wanted to make films at the level I'm used to photographing, it would take a lot more effort. What has always fascinated me is authenticity. If you can tell a story with a picture, I've already achieved a lot as a designer. And the image becomes even more authentic if we bring it to life now."

First own agency at the age of 15

Martin Rütschi came into contact with photography at a very early age. "My grandmother was a very good photographer," recalls the son of a teacher. He noticed how his grandmother only took a simple camera with a 50 mm lens with her on her numerous trips, while his grandfather, who was also crazy about pictures, wanted to lug around countless lenses and other knick-knacks in a heavy photo bag. Nevertheless, his grandmother brought home much better pictures. At the age of eleven, grandson Martin was also caught out. "A farmer came by with a potato. It looked like a mouse with ears and a little tail. The farmer told me to make sure I captured this freak of nature in a photograph. " So Martin Rütschi put the tuber in front of a camera and sent the picture to all three newspapers that still existed in Zug at the time. And all three printed the potato. "That taught me a lot: you can earn money with a picture. And if you can sell it several times, it's more profitable because the basic costs remain the same." That was the start "and not much has actually changed since then". At the age of 15, Rütschi founded his first agency together with a colleague. With their "Pictura", the young entrepreneurs photographed sports images and sold them to all the newspapers in Central Switzerland. "We cycled to football and ice hockey matches in the region and then developed the films in our own laboratory in the basement."

At the same time, Rütschi also wanted to make his knowledge "official" with an apprenticeship as a photographer. This was followed by a first job at the Luzerner Tagblatt. As all his colleagues were now in the process of becoming doctors or lawyers, the photo reporter also wanted to broaden his horizons a little. Rütschi emigrated to America and studied political science in San Diego. "I deliberately chose to study in a foreign language because I wanted to force myself to improve my English at the same time." After two years in the land of opportunity, Rütschi felt confident enough to return to Switzerland. He contacted Keystone. "I had always wanted to work for this agency because it was an ideal model for me." For the next two years, Rütschi rushed from scene to scene as a news photographer. Then his curiosity about the world got the better of him once again. Rütschi sent himself on a two-year photo safari across the American continent.

On his second return, however, Rütschi no longer wanted to photograph the news. Hansueli Blöchliger, "who made Keystone the most important Swiss press photo agency", hired him anyway and "gave the photographer, who was now focused on carefully designed images, total freedom". The result was themed photography. "News photography was too fast-moving for me. Photographed today and in the waste paper tomorrow. I wanted to spend more time on a topic and take a good picture. You don't create a photo like this overnight. But it is printed not once, but a hundred times. This concept then developed into a successful model at Keystone."

Martin Rütschi currently employs six people at his own company. Moopho is still looking for talented freelancers in the creative field. In the technical area, the aim is to further perfect the offering with permanently employed specialists from the film post-production department.

Andreas Panzeri

 

After IGEM presented the new advertising tool at an event on June 21, Mediapulse and Kantar Media Switzerland now presented the new panel at an insider lunch. Since 1985, television usage in Switzerland has been measured using Telecontrol devices developed in Switzerland. This is now over after 27 years. The Telecontrol VIII devices last used will be completely replaced. As Mediapulse Director Manuel Dähler explained, from 2013 the measurements will be carried out exclusively in newly recruited households using new devices from Kantar Media Switzerland. The number of households will remain the same as before at 1870, but the results will be significantly more representative than before. This is partly due to the better coverage of the universe and partly to a new technology for measuring usage.

The new universe

Whereas previously only usage via the classic TV set in households with a telephone connection was measured, the new panel significantly expands the basis. This is based on the New Establishment Survey (NES), which has been conducted continuously since 2009. It is no longer based on the telephone directory, but on the address directory
of the post office. In a first step, houses are drawn from this. If they contain apartments, an address is drawn from them. Those households that can be reached by telephone are surveyed in this way, the others in writing. This revealed that 18 percent of households do not have a telephone number in the directory. The new panel households are now selected from this NES sample. From 2013, TV usage via PC or laptop will also be measured in the new panel households, as this usage is becoming increasingly important. According to the KommTech study by IGEM and Publica Data, the proportion of people who watch television via the internet at least once a week rose from 6.3% in 2010 to 10.4% in 2012.

Time-shifted usage was also previously a black box. It is now also measured and included in usage if it takes place within seven days of the initial broadcast. This interval is also used internationally in most countries because the TV programs have the same program structure for each day of the week.

The new technology

In order to record usage via PC and laptop, software is installed on all relevant devices in a panel household. If a household has high-speed Internet access, this is a prerequisite for being included in the panel at all. Unfortunately, however, iPhones and iPads, which are very popular in Switzerland, cannot be integrated because Apple does not allow apps that "listen". A solution will therefore be examined from 2013 to see whether the corresponding technology could be integrated directly into the provider's apps (e.g. Zatto, Wilmaa, Teleboy, SRF, etc.).

In the past, digital reception could only be measured on classic TV sets if it was via a set-top box connected via a Scart or HDMI cable. In the meantime, however, digital reception is increasingly taking place via TV sets with an integrated receiver. With such TV sets, the current measuring device would not be able to record the entire usage, which is why households that are currently equipped accordingly cannot be included in the panel. And if they buy a suitable device, they will be excluded from the panel and replaced. One technically possible solution would have been so-called watermarking. However, this would have required every TV broadcaster to send a corresponding signal. This is an unrealistic approach due to the high proportion of foreign content, as broadcasters without commercial interests in Switzerland (such as ARD, ZDF, ORF) would hardly have participated. And this would have meant that television usage would have been incompletely represented. The new panel therefore relies on audio matching, which is already familiar from radio research and is completely independent of distribution technologies. A tricky point here could be programs that are broadcast on several channels. These include programs with advertising windows, which can be received via satellite both in the original version and in the version with Swiss advertising. However, these channels can be distinguished on the basis of the household installation and the advertising broadcast. The cost of this new technology should not be underestimated. In order to be able to compare the audio signal recorded in households with that of the programs broadcast, no fewer than 400 channels have to be recorded acoustically at a total of seven locations in Switzerland. Nevertheless, at CHF 10.8 million per year, the total costs for the panel are only 8% higher than before. The majority of these costs are financed by the broadcasters. A new distribution formula is based 20 percent on the audience potential in the broadcasting area and 80 percent on the actual market share. In addition, the Mediapulse Foundation currently receives a contribution of CHF 2.5 million per year from reception fees towards investments in measurement technology.

The new measuring company

Kantar Media Switzerland is headquartered in Gümligen near Bern and was launched in spring 2012 with an initial staff of three. The managing director is Matthias Hartl from Valais. Although he is not from the industry, he has already managed a project in the ICT sector at Swisscom that had absolutely no delays (transition to the year 2000). Since the beginning of October, more than forty people have been working for the new company. At peak times, up to 26 technicians are employed for the introduction phase with the many household installations. Some of this support is even being provided by other Kantar Media subsidiaries. The recruitment of households is very challenging and basically on schedule; Hartl is convinced that the data will be delivered from January 1, 2013.

The new evaluation tools

New tools are also needed to analyze the new data. They were already presented at the IGEM event "New TV advertising tool" on June 21. In addition to the Media Wizard for advertising planning, the new basic evaluation software InfoSys+ is also included. It replaces the Media Reporter, which can be used to evaluate both programs and advertising. It is used worldwide and has now been adapted to the special conditions in Switzerland. All TV usage data dating back to 1995 is integrated into this software. Agencies wishing to work with program data require a corresponding license. It costs CHF 12,500 per calendar year including one workstation.

Ueli Custer

 

Is there a better argument for a ski than Lindsey Vonn, Aksel Lund Svindal, Ted Ligety, Julia Mancuso, Bode Miller, Jon Olsson and Simon Dumont fighting over it? The agency / department, based in Zurich and New York, is relying on the popularity of these world's best alpine and freestyle skiers with a sophisticated interaction. The new "all-in-one" REV head ski is being advertised. This innovation is the first ski to be positioned in such a way that it is the ideal choice for carvers, all-rounders and occasional skiers, both on and off the piste.

The campaign is being launched with a film. In the two-minute clip by Shining Pictures, directed by Luki Frieden, the viewer travels up close with Lindsey Vonn and her colleagues in a car through an attractive mountain landscape. The ski stars have made themselves comfortable in the back seat and are playing "Rock, Paper, Scissors". This international classic board game - known in this country as "Rock, Paper, Scissors" - is about being able to predict your opponent's actions. Rock beats scissors, scissors cut paper and paper beats rock. In the movie, the winner gets to ride the new head ski at the end. To dramatize the fact that the "All in one" model can really be used for all needs, only one pair of skis is mounted on the ski rack of their car for all seven ski legends.

The film was shot on the way to Sölden, just a few days before Ted Ligety won the first World Cup race of the season with a massive lead. The ski stars were filmed in a very relaxed and therefore likeable atmosphere. And the second part of the campaign is also designed with as much personal closeness as possible between ski star and fan.

Gaming against the stars

In an online game on www.facebook.com/headski visitors to the micro-site can also pit themselves against Lindsey Vonn and the other athletes in an interactive game of "Rock, Paper, Scissors". There will be "meet and greet" prizes with the stars of the alpine and freestyle scene as well as a brand new Head REV. The seeding of the film that leads to this game is being broadcast via the athletes' channels. Lindsey Vonn's fans alone guarantee 700,000 views. In total, the riders under contract with Head have a fan base of 2.5 million followers. The clip can also be seen on selected TV channels in the USA.

The agency/department, which was founded twelve years ago and now employs 15 people, has been working for Head Skis on a global level for five years. The team of Ollie Brunschwiler and Johne Eisenhut won the budget in a pitch. The former snowboard pros, who entered advertising as career changers, were brought in as "wild cards" against well-known agencies from Berlin, London and Chicago. Since then, Head and /Department have fought their way back from fifth place to become the world's number one in skiing. The headquarters of the American company is now located in Austria. The world's best speed athletes currently ski for Head. The job of /Department is to position them not as racers, but as "the pirates" in the ski circus.

Department also for Oakley sunglasses

The /Department has also designed a new commercial for Oakley for worldwide use. This was realized as part of the global Oakley "Beyond Reason" campaign. Like the Vonn clip, the clip featuring exceptional athlete Aksel Lund Svindal was produced by Shining Pictures, this time co-directed by Stefan Bircher, and will be released just in time for the start of winter.

Andreas Panzeri

The company is part of UD Medien Holding and focuses on sheetfed offset printing. UD Print is now certified according to the DIN ISO 12747-2 process.

Customers who already receive Internet services from Yetnet were to be informed specifically about the telephony offers. The customers were contacted with a personalized mailing. A card in A5 format was sent, on which a note was attached that appeared to have been written by Yetman himself. The mailing directed the customer to a personalized website where a message awaited them. By entering their name, the customer is then taken to their personal landing page. There, Yetnet's telephony offers are presented, with the option of ordering the offers immediately and benefiting from premium discounts.

In addition to the landing page, a tool was programmed that was made available by the call centers for following up with customers and includes a report function. The tool also allows the response rate of the campaigns to be checked at any time.

Responsible at Yetnet: Peter Kohler, Hanspeter Meili. Responsible at Inter-Punkt: Fabian Koch (consulting, concept), Christoph Zimmermann (graphics, concept), Christian Birnbaumer (programming), Carla Wilhelm (text).

The British regional newspaper "Lancashire Evening Post" lies on the table, next to it an iPad and a test person with oversized headphones presses the corner of the newspaper on which a "Play" button is depicted. This is how 4-c.at describes the experimental set-up that will form the basis for what will influence the everyday lives of newspaper readers in the foreseeable future: The interactive newspaper. According to 4-c.at, it is being tested at the British universities of Dundee, Surrey and Central Lanashire. They are researching whether it is possible to develop the daily newspaper as a multimedia gadget. Conductive inks are to be used to enable a WiFi connection, Jon Rogers, lecturer in product design at the University of Dundee, told 4-c.at. In this way, the paper could be connected to the Internet and thus reach a server. However, the interactive newspaper will not be the only application. Posters, brochures and advertising signs will also benefit from the same system. All that will be needed to play audio content is to press an interactive button on the paper.

If you're thinking: "But the Internet already exists. And iPad newspapers. So why connect a newspaper to the Internet when Apple and its various interactive devices already exist?", India has forgotten. At least that's what Jon Rogers believes. Because "the Western middle class can afford expensive products like an iPad, but the majority of the world's population can't," he tells 4-c.at. So if you think of the huge newspaper market in India, the potential of audio pieces becomes clear, "there are articles in any dialect or language directly from the newspaper. That's why we are researching and developing solutions for people from different geographical and social backgrounds," he explains.

However, the reading that Rogers has in mind also necessarily requires output devices. This means that in countries with few smartphones and tablets, a solution would also have to be found for this, or even one that works without wireless LAN.

In the third quarter, earnings before interest, taxes, depreciation and amortization Ebitda fell by 4.4 percent to 150.6 million euros. This was announced by the publishing house. Sales of the Bild and Welt publisher declined by 0.7 percent to around 787 million euros.

In Switzerland, Axel Springer is the publisher of the Handelszeitung, the Beobachter and the TV program guide Tele, among others. Compared to the prior-year quarter, German newspapers lost 7.1 percent in revenues, German magazines 9.8 percent and international print media 11.2 percent. By contrast, digital media sales rose by 15.9 percent to 281 million euros.

However, due to the good first half of the year, total sales for the months January to September were 3.9 percent higher than in the same period of the previous year at 2.41 billion euros. Progressive digitization is shaping business development, it said. For the full year, the company expects a single-digit percentage increase in Group revenues and slightly higher Ebitda than in the previous year. (SDA)

The campaign was developed in cooperation with the agency Humans Berlin. It aims to educate the industry about the purpose of market and social research. In this way, the association not only wants to actively inform people about its work, but also motivate the Swiss population to participate in surveys. Using polarizing topics, the campaign shows that those who take part in surveys can make their opinions heard and thus have a say in important issues.

With the campaign, the association also wants to distinguish serious market and social research from activities often perceived as disturbing, such as sales and telemarketing. To this end, the aim is to publicize the new seal of quality "Swiss market research. No sale - Wisschenschaftlich-Anonymous" as an important distinctive mark of serious market and social research, as the association writes in a press release. These quality standards are ensured by the collective brand VSMS Swiss Interview Institute, which is managed by the association and registered in the trademark register. 34 market, opinion and social research institutes are united in this collective brand.

This is because calls are often made to pretend to be a survey. "The result is then, unfortunately, that calls from reputable market and social research companies are equated with or confused with telephone calls made for the purpose of direct marketing and sales," says Roland Rosset, President of the VSMS. It is therefore no wonder that fewer and fewer people are willing to take part in surveys conducted by market and social research institutes. On the one hand, respondents must be made aware of the benefits of market and social research, and on the other hand, they must be made aware of the difference between this and telemarketing and sales.

At the heart of the campaign are three ad motifs that will be placed in all major daily newspapers throughout Switzerland (planned reach 83 percent), as well as banners, an information brochure and the campaign website Switzerlandmarketresearch.ch.

Responsible at VSMS: Mitja Ruggle, Roland Rosset, Barbara Felix, Nicole Rosset. Responsible at Humans Berlin: Res Matthys,Sebastian Jerez.