In addition, Carole Pochon has been in charge of advertising at Gruner + Jahr Zurich since November 1. She replaced Rahel Filipponi, who is going freelance.
At the beginning of January 2001, Christine Purgly will take over as Managing Director of Scotti Werbeagentur, Zurich. Until then, she will continue to work for Publicis as Account Director.
Thorsten Huneke is the new sales manager for BlowUP in Switzerland. He is the successor of Annette Greilinger.
The online advertising marketer Active Agent is opening a branch office in Lausanne as of December 1. The office will be headed by Frédéric Rudin, who previously worked for Publicitas.
Since November 1, Michael Bohren has been in charge of setting up and developing the e-Promotions department at Impiric. Roger Della-Pietra continues to expand the department as promotion manager and supervisor of the promotion agency all access. Also since the beginning of the month, Johannes Raggio has joined as a junior copywriter.
Since the beginning of September, Urs Heer has been strengthening the consulting and production area at Freiburghaus and Banderini as project manager. He comes in for Roland Schwarz, who is moving to Swiss Post.
On November 20, Renato Oliva joins Musti Asaf as reinforcement to the Stocks advertising team. Oliva was most recently advertising manager femina at Senger Media AG.
Erwin Muggli has joined the free newspaper Baslerstab as sales manager. He was previously advertising manager for Basellandschaftliche Zeitung.
The Advertising & PR department of Migrosbank is now headed by Cinzia Sartorio. She succeeds Jost Bühlmann. New members of her team are Marlies Keck and Andrea Vetter.
Bernese FDP Grand Councilor Susanne Bommeli takes a stake in AdConsult Holding, parent company of the Fruitcake advertising agency and FMH Marketing + Kommunikation SA, which deals with advertising for doctors. Susanne Bommeli becomes Vice President of the Board of Directors and joins Fruitcake as a consultant.
As part of the cooperation with Tamedia, online marketer Adlink is expanding its sales team. Phillippe Uhlmann, previously Marketing and Sales Manager TA-Online, is to continue building up the sales department as Sales Director. Ivano Celia joins from TV3 as Senior Key Account Manager.
On November 1, Astrid Tellenbach took over as head of The Cover Media branch in Herrliberg. She previously worked at Radiotele and Cinecom.
The PR agency Trimedia Communications is expanding its IT/telecommunications and public affairs divisions. Stephan Werle brings expertise as a consultant: He was communications manager of the Strategy & International division at Swisscom. David Affeltranger acts as junior consultant. Jean-Fred Bourquin and Marc de Perrot are responsible for Public Affairs.
Gabriele Spiller, still Head of Marketing at IP Multimedia (Switzerland), is moving to Publisuisse as of March 2001. She will become Head of Business Development there. The department is responsible for evaluating new business areas for Publisuisse (see also page 41).

The Federal Council has granted the Solothurn regional station Radio 32 the license for a second program.Fax Radio 32: second program coming
Radio 32 Goldies, with a music focus on the sixties, seventies and eighties, is to be broadcast via cable in 2001, but according to Radio 32, Cablecom does not want to put the program on because of frequency shortages.
Ticino press on the move The left-wing Ticino weekly Area is getting competition. Trade unionist Giuseppe Sergi is launching a bi-monthly newspaper under the name Solidarietà. It appeared for the first time last Friday, with a circulation of 3500 copies. Solidarietà needs few resources, since all the authors work on a voluntary basis. With 1000 subscribers, the new magazine can finance itself, according to Sergi.
Close-up and Kult expandCinema magazine Close-up and trend magazine Kult are expanding their offerings next year. Close-up expands
the editorial team and introduces new sections such as "Making of" and "Background. Kult will be published eleven times a year instead of ten.
Demonstration for wage increaseAbout 200 employees of the Edipresse publishing group in western Switzerland demonstrated in Geneva and Lausanne. Journalists and printing staff generally demanded four percent more pay. They are demanding the rapid commencement of wage negotiations and systematic compensation for inflation. Paul Miskiewicz, General Director of Edipresse Switzerland, expressed his lack of understanding for the action. He said the company was complying with the collective labor agreement for journalists and the agreement for printing staff.
Newspaper beats web in job searchWeb users prefer to look in the newspaper than on the web. This is the result of a study by the consumer research company Pro Active International. Although 66 percent of the European Internet users surveyed said they use the Web when looking for a job, as many as 73 percent use newspapers. But as many as 73 percent of users reach for the newspaper. They look for information about potential employers on the web.
Partnerwinner with Version RomandeThe Tamedia contact platform Partnerwinner is expanding into French-speaking Switzerland. The new offering was launched under the name "rencontres" as a channel of the Bluewin portal in French-speaking Switzerland. In 2001, the remaining online platforms in the Winner family are also to be launched in French-speaking Switzerland.
Hanspeter Spörri Bund Editor-in-ChiefThe former Deputy Editor-in-Chief Hanspeter Spörri will take over the management of the Bernese daily newspaper Der Bund in 2001. He replaces the previous Editor-in-Chief Konrad Stamm, who is stepping down after six years for personal reasons. Stamm will take up a new position as journalistic advisor in the Regional Newspapers Division of the NZZ Group.
Edipresse now boss at SwissimoThe three founding companies of the real estate database Swissimo (www.swissimo.ch) reallocate their shares. Lausanne-based publishing group Edipresse increases its stake from 24 to 55 percent, while real estate broker de Rahm reduces its share from 52 to 20 percent. Publigroupe holds 25 percent. Swissimo also wants to make its real estate and housing offering accessible to the general public. Investments of four million francs are planned for this purpose. Until now, Swissimo has been aimed exclusively at business customers.
"Kassensturz" relaunches websiteThe consumer program "Kassensturz" has renovated its online presence. The new website (www.kassensturz.ch) is intended to encourage viewer feedback and cooperation. Comments and suggestions via e-mail, forums and surveys contribute to this. In addition, information about the next program can be called up via SMS. The contributions to a program can then be viewed as real-player films. The redesign was realized by the Zurich web agency Chili Solutions.

Swisspool is increasing its rates by 3 to 3.6 percent next year, and is also increasing its circulation by the same percentage. "We have not yet included the new situation resulting from the expansion of the two commuter newspapers in the rate adjustment," says Hans-Jürg Klöti, Head of Advertising Market at Tamedia and Chairman of the Swisspool publishing group. The aim was to give customers an advantage of around ten percent again compared to individual advertising. Klöti: "We didn't want to have a knock-down price. "Swisspool has the following new prices: For Swisspool I with Tages-Anzeiger, Berner Zeitung (BZ), Basler Zeitung, Neuer Luzerner Zeitung and St.Galler Tagblatt, a four-color, full-page ad costs CHF 83869.10 net (previously CHF 80953.30). Swisspool II (Swisspool I with 24 Heures and Tribune de Genève) now costs CHF 109619.50 (previously CHF 106395.80).
The circulation of Swisspool I will increase from 781309 to 811347 copies (plus 3.8 percent), and that of Swisspool II from 947125 to 979368 copies (plus 3.4 percent). This increase is thanks to the BZ, which will increase its circulation by 38,000 copies thanks to the new cooperation in the Bernese Oberland. It does not appear in the new Swisspool circulation figures because losses at Tages-Anzeiger and St.Galler Tagblatt have been taken into account.
Swisspool I now has 1596,000 readers and an LpA reach of 39.7 percent. Based on this, it has a thousand-reader price (TLP) of 52.55 francs. The previous TLP on a K1 basis was CHF 46.98. Swisspool II has 2006,000 readers, a reach of 37.6 percent and a TLP of CHF 54.65 (CHF 48.69). (mk)

Studies show in a product-color matrix for which category the use of humor is suitableI
From Wolfgang Koschnick
The small pleasures of everyday life, such as cigarettes or a bottle of wine, are successfully advertised with humor. Expensive products with high social prestige, on the other hand, are seen as a serious purchase.
When scientists research the effect of funny advertising, they do so with a frightening seriousness that makes you lose even the most modest hint of a smile. It's hard to believe that they deal with humor... Nevertheless, sometimes a little something comes out of it.
In the mid-1990s, US advertising researchers M. G. Weinberger, H. Spotts, L. Campbell and A. L. Parsons investigated the use and effect of humor in various advertising media. To do this, they used the product-color matrix widely used in US marketing, based on the distinction between high- and low-involvement products and functional products with high utility on the one hand and expressive prestige goods with high emotional value on the other. The colors white, red, blue and yellow symbolize prototypical products in each category.
Along one dimension of the matrix, the goods were divided into functional products and expressive products, and along the other into high-risk and low-risk products. In the case of low-risk products, involvement is naturally lower, as many decisions are made routinely or the costs are so low that emotional or mental effort is hardly worthwhile.
Expressive goods cover needs, have an emotional benefit and positive purchase motivation. Functional items help to fulfill a task, to achieve a specific goal. They provide no emotional benefit and have a negative purchase motivation.
The purchase of white goods is associated with a higher risk. These are large appliances such as fridges, washing machines, cars or insurance policies. Rational ads achieve a high level of attention and motivation for systematic information processing.
Red ("red goods") stands for extravagant, expressive, role-specific prestige products such as motorcycles, eye-catching clothing and jewelry, which serve as a means of expression for the individual and involve a high level of risk, not only financial but also social. Here, advertising can count on a high level of attention and motivation to systematically process information. However, as the products also offer many emotional benefits, it should be both rational and emotionally oriented.
Blue ("blue goods") stands for habitually purchased, small, functional products (toilet flushers, personal hygiene, basic foodstuffs, medicines). The willingness to process information is low, but there is still a certain interest in relevant information. The emotional benefit is low, but advertising should work with a rational-emotional mixture.
The yellow products ("yellow goods") are the small pleasures of everyday life like wine or cigarettes: risk-free routine purchases. The willingness to process information is low. Affect transfer and mood purchases are frequent. Advertising is emotional. Humor could be successful here.
The study combined results from four different data sets from TV, radio and magazine advertising.
The results show that radio commercials used humor in 30 percent of cases and TV commercials in 24 percent. Magazines, on the other hand, used humor much less frequently. This could be due to the fact that the pace of use of printed material is determined by the reader. It allows for detailed messages and explanations. With radio and TV, on the other hand, the recipient has to follow the pace of the media. They remain passive and want to be entertained; and humor is an important means of entertainment.
In the case of expressive, high-risk prestige products ("red goods"), the tendency to use humor was lowest in all three media: no TV commercials, only 6 percent of magazine ads and 10 percent of radio commercials used humor for these personal, expensive and also socially risky products.
In contrast, the small, risk-free pleasures of everyday life ("yellow goods") were most frequently advertised with humor in all three media (radio: 41 percent; TV: 38 percent; magazines: 18 percent).
The everyday consumer goods ("blue goods") also relied relatively frequently on humor in all three media, less frequently than the yellow goods, but more frequently than the red goods.
In comparison, white goods, with their high risk and functionality, are just as frequently advertised humorously on television (24%), but much less frequently on the radio (14%) and in magazines (8%).
Radio advertisements with humor for high-risk and functional white goods were less well understood and received less attention than those without humor. In magazines, humor had a positive effect on attention to advertising for white goods, but a negative effect on comprehension.
The expressive high-risk products ("red goods") showed interesting contrasts: Humor had a positive effect on attention and understanding in both the radio and the ads. However, this was only the case when the humor was related to the product. If the humor was detached from the product, it tended to have a negative effect, especially on comprehension, and was more likely to cause confusion.
The risk-free blue goods use humor in their advertising far more frequently than products in the high-risk categories. On the radio, product-related humor had a slightly positive influence on attention and understanding. Humor without product reference on the radio performs less well. For magazines, the results are not as favorable; humor, whether product-related or not, tends to have a negative effect on attention and comprehension.
In the case of "yellow goods", humor in magazine advertising had a very positive influence on both attention and ad comprehension, regardless of its product reference. This was the only one of the four product groups in which humor had a positive effect on consumers' ability to associate the print ads with the brand (comprehension). In radio, humor also had a positive effect, provided it was product-related.
Seven key points for humorous advertising An analysis of more than a hundred studies from all over the world has produced the following statements about the effect of humorous communication:
1. attention: Humorous messages attract attention. This has been confirmed time and time again in virtually every study.
2. understanding: Humorous messages can impair the understanding of an advertised product; in many cases, however, they can also increase the understanding of the message.
3. distraction: Humor can distract the addressees, reduce the effectiveness of counterarguments and increase the persuasive effect of a message.
4. persuasion: Humorous appeals appear to be persuasive, but at best their persuasive effect is no stronger than that of serious appeals. In other words: humor does no harm, but it does no good either.
5. credibility: Humor often - but not always and certainly not necessarily - increases the credibility of the advertiser. However, it depends very much on the context and the advertised product. The public perceives humorous advertising as appropriate for some products and extremely inappropriate for others. For example, humor is rarely used in advertising for high-involvement products such as cars or for intelligent products such as white goods and is considered less suitable by the creatives themselves. Recently, however, advertisers seem to be breaking through this taboo. Toyota has been very successful with downright slapstick advertising, and Renault has successfully penetrated the name of its "Kangoo" with the help of horny rhinos.
6. differentiation: Certain characteristics of the recipients can thwart the effect of humor. For example, low intelligence can make comprehension more difficult. To put it more simply: a clever advertising joke doesn't work with very stupid people because they don't get the punch line. But even for people who are not quite so stupid, funny advertising requires quite a lot of attention to the content of the advertising message. But this is not exactly a prerequisite for someone who quickly zaps through various TV programs.
7. sympathy: A humorous context practically always increases sympathy for the brand and for the advertising medium and creates a positive mood, which in turn can only benefit the advertising effect.
Proportion of advertising media with humor Total advertising with humor (%)
TV 24%
Magazines 10%
Radio 30%
White products
TV 24%
Magazines 8%
Radio 14%
Red products
TV 0%
Magazines 6%
Radio 10%
Blue products
TV 22%
Magazines 12%
Radio 35%
Yellow products
TV 38%
Magazines 18%
Radio 41%
How advertising really works With this article by Wolfgang J. Koschnick, WerbeWoche continues its series of articles on the impact of advertising. Each article in this series aims to provide answers to burning questions about the current state of knowledge on the impact of advertising.
This should also be seen as an invitation to the readers of WerbeWoche. If you have any questions on aspects of advertising impact, please send them to the WerbeWoche editorial team (info@werbe woche.ch). We will answer them to the best of our knowledge.
In selecting topics for this series, Koschnick can draw on several hundred scientific studies on advertising impact that have been published in Germany and abroad over the past 50 years.

SBB locomotive as the new advertising medium for SwisspoolBy Anita Vaucher Since November 10, the SBB Swisspool locomotive has been rolling along the Swiss rail network in a highly visible manner. It was christened the day before in Yverdon in the presence of representatives from the advertising and media industry.
Although this advertising campaign does not directly address Swisspool's target audience, Hans Jürg Klöti, Director of the Advertising Market at Tamedia, expects this new advertising medium to attract a lot of attention.
"A train that circulates everywhere, especially between the big cities, is noticed by everyone. It is therefore an ideal advertising medium for the press." And: "A locomotive is a symbol of power and speed, it connects people. And it pulls in one direction. The locomotive therefore stands for the same values as Swisspool."
The advertising locomotive will be at the center of Swisspool's communication activities over the next year and will be used for various customer events in the larger Swiss cities. Hiring the moving advertising vehicle costs CHF 240000 per year, and the contract with SBB can be extended for a further three years. The concept for the locomotive's appearance was developed by Publicis, Zurich.
Swisspool, formerly known as SwissKombi, was founded eleven years ago with a view to Switzerland's domestic situation in the European market. Swisspool brings together the seven largest daily newspapers in the most important regions of Switzerland: Tages-Anzeiger, Berner Zeitung, Neue Luzerner Zeitung, Basler Zeitung, St.Galler Tagblatt, 24 Heures and Tribune de Genève. Swisspool's turnover amounted to around CHF 100 million last year.

Jürg AemmerR has enriched the creation of Wirz WerbungHead of the week since November 6 "I fight for content-based advertising".
He is very creative, but still a pleasant person and an asset to Wirz, says CD Matthias Freuler about Jürg Aemmer, who has been working as an AD at the Zurich agency since November 6. "I have never met so many friendly people in advertising," comments the 31-year-old on first impressions.
Aemmer was drawn to Wirz because he found former colleagues here, such as Hans Tanner and Matthias Freuler, who support his view of communication: "Advertising is not there to take people for fools. It has to be designed responsibly because it has an influence on culture, socioculture and people's behavior. That's why I fight for content-based advertising," says the deep-pocketed advertiser.
Aemmer has been shaped by two cultures: The Frenchman, who was born in Valais, spent twelve years of his childhood and youth in Monrovia in the West African country of Liberia. "Africa is my second home; when I'm not here, I'm there," says Aemmer, who would have liked to become a dentist or photographer, but then entered the Zurich School of Applied Arts and passionately trained as a graphic designer.
However, he did not like to work as a graphic artist after his apprenticeship. He began exporting cars to Africa. In Abidjan on the Ivory Coast, the busy man finally got stuck in a French advertising agency, where he worked as a graphic designer until his residence permit expired. Aemmer began to take up advertising in New York, where he worked as a graphic designer with ex-GGK people such as Gerd Hiepler.
Back in Switzerland, Aemmer worked for two years as a "fire department freelancer" for "actually all the big agencies". Then Jean Etienne Aebi offered him a job as a young art director. Under the guidance of great masters like Edi Andrist, he developed campaigns for Swisspool, Honda and Elvia. Later, Aemmer helped shape Smart's advertising for a year and WHS Zurich's advertising for three more years.
Aemmer's creative talent was passed on to him by his mother, for whose puppet theater Pao-Pao he built sets and invented stories at a young age. His father passed on business acumen and pragmatic thinking to him.
Jürg Aemmer's great hobby is the polar dog Bursa (from Lake Baikal). He took her over from the animal protection. Before Bursa was "discarded," she whelped 36 puppies and was a sled dog champion twice. "Keeping this dog is an act of respect," says the dedicated animal lover, who would open a zoo with African animals today if he weren't an advertiser. Ernst Weber

A book titled *The XEMEX Watches by Ruedi Külling* has been published as part of the «Modern Classics» series by Form Publishing. In addition, author Christian Jaquet has also highlighted the graphic designer’s posters, corporate design, and product design. In the 1960s, Külling was considered the creative force behind the advertising agency Advico, until he sold his shares to the global network following the merger with Young & Rubicam. He became world-famous in 1970 with his poster for BIC ballpoint pens, on which he wrote the name “Bic” using a ballpoint pen.
Opposition to the Ban on Advertising for Addictive Substances in Geneva. The advertising industry, as well as alcohol and tobacco retailers, are fighting back against Geneva’s ban on billboard advertising for tobacco products and alcoholic beverages. They have filed a constitutional complaint with the Federal Supreme Court. The Grand Council of the Canton of Geneva had passed a corresponding law in June. The ban applies to all public and private areas visible to the public. However, the ban applies only to beverages with an alcohol content of more than 15 percent.
Switzerland Sweeps the Cresta Awards. At the Cresta 2000 International Creative Awards, seven awards (out of a total of 63) went to Switzerland. In addition to the two previously reported Print Awards for McCann-Erickson’s landmine campaign for the ICRC and the «shaken martini» poster (from the Geneva agency), Honegger von Matt received a New Media Award for the «Exit Sign» for the Zurich restaurant Tres Kilos. In addition, four Swiss TV commercials were honored: «Police Control» by McCann, Zurich, for Alcoholics Anonymous (production: Pumpkin Films), the Kuoni series by Advico Young & Rubicam (Outsider, London), «Swissair Barcode USA,» also by Advico (Frame Eleven), and “Forever Young” by Studer & Wohlgemuth (Pumpkin). The network with the most winners was McCann-Erickson (9 awards); the most honored individual agency was Springer & Jacoby, Hamburg (4 awards).
A gift from heaven. When Honegger von Matt was awarded the communications budget for the Lucerne-based Eichhof Brewery in September, the agency kept quiet about the new partnership. But now, strategists and creatives no longer have to rack their brains until the campaign launches next year. That’s because the competition from Rheinfelden provided the most compelling USP: With the entry of the Danish company Carlsberg into Feldschlösschen’s brewing business, Feldschlösschen’s brands are losing not only their local flavor but also their quintessentially Swiss identity. By encircling the country code in its logo, Eichhof made it unmistakably clear who still embodies the values of home and tradition in the beer market.
Swatch’s PIRATE PR. With a little pun about the U.S. election, Swatch once again caused a stir with an original ad. Last Friday, the Swiss trend brand ran the slogan «Congratulations Mr. Gorebushoff» in The New York Times, with the small-print addition: «Don’t be too small-minded.» For Swatch CEO Nick Hayek, this kind of spontaneous advertising falls under the technical term “pirate PR.”.
Database for TV commercials. Spotdata.de is the name of a new online database of commercials where, for a subscription fee, users can access over 10,000 commercials from around the world. In addition to the commercials, Spotdata also provides extensive production data. Spotdata is operated by Milberg Film & Fernseh Produktion GmbH in Munich, which, among other things, produces the show «Die dicksten Dinger» for RTL 2.
A kiss from your old aunt. The message was splashed across page 8. There, on November 14, a certain Markus found a half-page ad. The image showed a heart. The text read «Markuss»—to be precise. The congratulations, presented as a modified agency logo, were addressed to Markus Bircher, co-founder and co-owner of the By Heart agency. «He certainly deserves more than just a kiss for his 40th birthday after six years with us,» said his agency friends, expressing their joy in the first section of Markus Bircher’s favorite newspaper, the NZZ.
Green parking spaces for Ferrari drivers. Modest budgets usually only allow for filler ads, which, by definition, struggle with the handicap of low appeal. Hesskiss now aims to break out of this vicious cycle for the gardening and landscaping company Grüen AG. With a fresh corporate identity and a headline campaign featuring chlorophyll, the classified ads in text-heavy publications are meant to stand out «like a sunflower in a potato field,» according to copywriter Tamás Kiss.
SGV Awards Prize for Graphic Designers. On November 17, the Swiss Graphic Designers Association (SGV) will present its prize for the tenth time. The prize, which comes with a cash award of 12,000 francs, aims to «promote emerging professionals in terms of quality, innovation, and design responsibility.» Before the winner is announced, a series of lectures on the topic «Design and…» will take place starting at 2:00 p.m. at the Bourbaki Panorama in Lucerne. For more information, visit [email protected] or call 01 201 07 37.
Tobacco Retailers See Success for OK Campaign. The campaign against the sale of cigarettes to minors under 16 appears to be having an effect. The Swiss Tobacco Retailers Association has conducted an initial evaluation of its campaign, which was launched at the end of October. It found that sales staff were more aware of the issue. However, the campaign’s reach is still insufficient. In addition, ways to circumvent the rules and «rude reactions» from underage smokers indicate that families and schools also have a role to play in curbing smoking among young people.
Editorial

Humor alone—that can't be it
«Nobody buys from clowns,» was Claude C. Hopkins’s credo. The father of modern advertising considered humor to be completely out of place as a lubricant for commercial communication. In his view, consumers buy products they consider nutritious, time-saving, or affordable—not because the manufacturer tells jokes in its ads. David Ogilvy, too, advised restraint when it came to humor in his seminal work on advertising: «…there are very few writers of truly funny commercials. Unless you’re one of them, you’d better not even try.» And in his view, entertainment should never take precedence in a commercial…
Ogilvy’s advice doesn’t fit well in today’s fun-loving society. The ads that win awards in Cannes every year are incredibly funny and entertaining. The Cannes reel has since achieved cult status and is enjoyed in movie theaters as an entertainment film that people pay to see. For John Hegarty of the London agency Bartle Bogle Hegarty, humor and irreverence are the most important building blocks of an effective campaign. And success seems to prove the advertising guru right. Both laypeople and professionals consider British advertising to be the best in the world. Year after year, the British defend their reputation as the world’s most creative advertising nation at international festivals—thanks to their dark and often outrageous humor. But is humor suitable for every product? Radio spots (30 percent) and TV commercials (24 percent) rely on humor most frequently, while only one in ten print ads does so. Wolfgang J. Koschnick explains on pages 15 through 19 that the joke and its connection to the advertised product are anything but simple. Samuel Helbling

SMS as an advertising medium requires a sense of privacyBy Bruno AmstutzSMS is an established form of communication - but sending advertising with it is tricky. Cell phone owners feel easily disturbed.
The cell phone should actually be the ideal advertising medium: A broad target audience can be reached directly, regardless of location, and a high level of attention is guaranteed. Nevertheless, the possibilities for using cell phones as an advertising medium are limited. Firstly, SMS as a text-only medium cannot accommodate graphics and secondly, it does not offer much space for advertising messages. WAP technology, on the other hand, which no longer has such obstacles, is not yet user-friendly enough.
On a pure SMS basis, it is possible to integrate sponsor messages into text messages. These usually appear when SMS messages are sent free of charge from websites or when subscription services send their messages to a registered subscriber base. The sponsorship messages are primarily intended to generate traffic to the corresponding website. The third advertising option is an SMS that is designed exclusively as an advertising message.
Combinations of SMS and WAP offer more options. A text message can be used to send a request to visit a WAP page with more information. WAP pages offer similar advertising opportunities to those on the Internet: Banners, links or so-called interstitials, full-screen advertising messages that can either be clicked away or disappear after a few seconds. Recently, telephone connections can also be made directly via WAP links.
Permission marketing is the magic word
The great advantage of cell phones, their widespread use and proximity to the user, also has a delicate side. The cell phone is perceived as a personal object. Unsolicited advertising can quickly become annoying. Broadly distributed unsolicited advertising mailings are frowned upon as spamming in the e-mail sector. They are not currently banned in Switzerland, but can prove to be a shot in the arm.
"Professional marketers do not engage in spamming, it proves to be counterproductive," explains Martin Radelfinger, Managing Director of the Swiss branch of Internet marketer AdLink. A few months ago, AdLink added SMS and WAP advertising to its range of services. Robi Weber, who holds a consultancy mandate for marketing and communication at Pagemedia, has a similar view: "SMS is an extremely sensitive medium," says Weber, "users very quickly feel that their privacy is being violated." Pagemedia is a content provider for SMS services. Weber sees these services as the best way to place advertising messages.
Users who receive information on selected topics by text message also agree to receive advertising on these topics. This permission marketing is practically the only way to define target groups from the flood of cell phone numbers. "Reputable providers must engage in permission marketing," says Erwin Schnee, head of the Telecommunications Division of the Swiss Direct Marketing Association, with conviction, "there is a very fine line between acceptance and harassment." The lure of a cheap and fast distribution channel must be handled with care.
"With SMS advertising, it is important that the user perceives the message as a personal benefit," explains Werner Fuchs, member of the management team at Dolphin Systems. With eCall, the company offers a web-based SMS service that can be used to send mass mailings, request confirmation of receipt and send messages at predetermined times.
According to Fuchs, there is still a lot of untapped potential in the SMS sector. Companies could inform interested recipients quickly and cheaply about the latest offers or services, remind customers of appointments or send out collection invitations. This is the most direct way to combine advertising with customer benefit.
WAP is too unstable with today's technology
WAP technology is currently getting poor marks. The applications are too slow, the connections are too unstable and the dial-up procedures are too expensive and cumbersome. Nevertheless, WAP offers interesting prospects for the future. Roberto Donati, Managing Director of Kauf.com, is very optimistic about this. His company provides various WAP services, such as Wapitout, one of the largest WAP search engines.
However, according to Donati, WAP advertising is already generating more clicks than banners on the Internet, mainly because it is better perceived due to the small cell phone displays. "WAP is also evolutionary," adds Donati, "the Wireless Application Protocol is just the basis, and the transmission technologies will develop rapidly." Of particular interest for advertising is the possibility of geographic localization of cell phones. Local-based marketing is the appropriate buzzword.
Scenarios are conceivable in which, depending on their location, cell phone users receive advertising from stores in their area on their WAP applications. "Then, for example, the bakery next door could also run electronic advertising," predicts Donati, "the Internet is not really suitable as an advertising platform for such companies." In future, the nearest cinema could be shown on a city map on the cell phone display, the trailers for the latest films would be played on the phone and tickets could also be reserved by cell phone.
However, reality is still a long way from such visions at the moment. Telephone companies will integrate local-based solutions into their services from the beginning of next year. At the same time, GPRS, a more powerful transmission technology, will be put into operation. However, there is still little interest in wireless advertising on the part of advertisers.
Skepticism prevails in the advertising industry
"We are aware of SMS and WAP, but so far it hasn't fitted into any advertising campaign," says Peter Döbeli, Managing Director of the media agency Micom Carat. "SMS is a tool that can be used in special cases," says Heinz Bischof, Managing Director of the media agency Media Planning, assessing the situation, "I'm skeptical about WAP as it presents itself today."
Beverage manufacturer Rivella, on the other hand, has already gained concrete experience with WAP advertising. In connection with the Olympic Games in Sydney last September, the company placed links on WAP pages that generated a response by means of a competition. "Rivella is a dynamic company. New technologies and their acceptance by our consumers are taken seriously and implemented," says Catrin Wetzel from Rivella Marketing, explaining the strategy.
She sees the importance of WAP in flanking measures for promotions and campaigns with a strong focus on topicality. Rivella's first experiment in a new media direction has certainly lived up to expectations.
Service

The history of commercial art
With his publication "Swiss
Style" is the first comprehensive presentation of Swiss graphic art. The author comments on how and why numerous great graphic artists made significant contributions to the visual culture of the 20th century between 1914 and 1964. In an essay, he discusses the sociological and creative characteristics of this branch of art. A chronology also lists all the commercial art events of the time. Finally, "Swiss Style" provides an overview of the literature published to date with a bibliography. The book costs 48 francs and is published by Chronos Verlag, Zurich, tel. 01 265 43 43. ISBN: 3-905313-69-3.
"Typographical Correctness" In "Typolemik/Typophilie", Hans Peter Wildberg scrutinizes the typography scene with a keen eye and a great deal of humour. He critically documents the typographic scene. The publication aims to encourage readers to form their own opinions. "Typolemics/Typophilia" is also intended to serve as a textbook. The book can be ordered for 38.80 francs from Verlag Herrmann Schmidt, Mainz, tel. 0049 06131 50 60 30. ISBN: 3-87439-541-3.

Andi Albonico is Impiric's new Creative Director and Executive Board Member since AugustHead of the Week "I don't do anything for the sake of a career".
This man is steadfast. After all, he has kept his promise of almost thirty years ago. Back then, he vowed never to marry, not to do military service and not to become a career-minded paper tiger. "The ideology of '68 has perhaps influenced me a little too much," laughs Andi Albonico, and adds: "But that's a good thing.
He's comfortable with the way things are. Says, "I could never do something just to have a career." Emphasizes, "It's important to me that I enjoy what I do." That he nevertheless enjoys professional success is logical. Andi Albonico is attracted by the great responsibility. He loves working on big projects. He sees it as a challenge to "optimize the environment so that a team can perform at its best.
He therefore didn't have to think twice when Impiric offered him the position of Creative Director and member of the Executive Board. "I realized right away that I would feel right at home here." First, he says, Impiric is exactly the kind of agency he loves: "It has 52 employees, a great network, offers a broad spectrum - from classic advertising to event marketing, promotions and CRM marketing to brand experience - and is full of interesting people." Second, he said he immediately hit it off with the people in charge at Impiric and knew "this type of role is made for me. Here I can fully input, work on a project from A to Z, and not have to run after some administrative tasks."
His first big job at Impiric was also one of his most gripping to date: For Vontobel y-o-u's newly founded electronic bank, he and his team developed a suitable name, a classic campaign and direct marketing in a rush. "This assignment was super fun for me," Albonico enthuses. The fact that he has been "quite challenged" in the process suits him. "After all, I want to develop something and make an impact," he says.
To give it his all, to be creative, to bite his way through: The former Art Director of TBWA Zurich, JWT Zurich and the Group Head Creation Publicis Zurich has no intention of slowing down due to his age. In his private life, too, the 45-year-old has his hands full: For years, he has been remodeling his farmhouse, searching for old garden furniture at flea markets in Switzerland and abroad, restoring it and photographing people. His next project: with a camera and a translator, he wants to explore remote places in Cuba and, with the consent of the locals, shoot portraits and interview them about their lives - as he did in Nepal in 1996. However, he has so far lacked the time to classify the images of Nepal. "Maybe I'll have it when I retire," he smiles. Annelies Friedli

Tamedia hands over the marketing of its online media exclusively and on a long-term basis to AdLink Internet Media.Fax Adlink markets Tamedia exclusively
At the same time, it is taking a 33.3 percent stake in AdLink Switzerland. Thanks to the partnership, Tamedia wants to be able to concentrate on expanding the content of its platforms. Adlink CEO Michael Kleindl emphasized that nothing has changed in the marketer's independence as a result. The losers in the agreement are Qualiclick and Real Media, which had previously sold advertising space on Tamedia sites.
Swiss Fun in Basel Cablecom's Swiss Fun digital TV service is also making its way into Basel: From Wednesday, the station package will be broadcast on the Balcab network. The package comprises 25 radio and 30 television stations. Included are N3, M6, ERT, RTS and CNBC; these will be switched off as analog stations on the Balcab network. NBC will be newly switched on, Balcab announced. A decoder is required to receive Swiss Fun.
TV 3 continues to growIn October, TV 3 was again in second place in terms of primetime market share. The Tamedia station had captured this position in September with a programming offensive (namely the launch of "Big Brother"). In October, TV 3 gained another 1.4 percentage points among 15- to 49-year-olds to 10.1 percent, according to Telecontrol data reported by TV 3. Number one remains SF 1, which also made slight gains (24.4 percent). TV 3's highlight was the October 29 vote-out from the "Big Brother" container, which was watched by 445500 people of all ages (30.4 percent market share among 15- to 49-year-olds).
Radio Central wants second programThe local station Radio Central, domiciled in Brunnen SZ, wants a license for a second program. Central 2 is to broadcast folk and popular entertainment music for the mountain and rural region on VHF. Radio Central announced that the license application will be submitted to the Federal Office of Communications in the next few days.
Swiss News recordSwiss News, Tele 24's national news program, reported a new viewer record in October. On average, Swiss News was watched by 277,000 viewers. This represents a 44 percent increase over the same month last year. The previous record month was August 2000, with about 240,000 viewers.
La Quotidiana without Engadine editorial staff At the Rhaeto-Romanic daily newspaper La Quotidiana, the Engadine editorial staff will be laid off at the end of January next year. Three journalists are affected, as the newspaper announced on Thursday. Editor-in-chief Martin Cabalzar told SDA the layoffs are a direct reaction by publisher Hanspeter Lebrument to the federal government's rejection of a project to distribute the newspaper in the Engadine as unconstitutional. The project envisaged that the Lia Rumantscha and the Südostschweiz publishing house would have subsidized the distribution with 50000 and 20000 Swiss francs respectively.
Radio Grischa and Radio L with CombiThe two private stations Radio Grischa and Radio L will advertise together at the beginning of next year. For this purpose, the Grisons and Liechtenstein stations are establishing an advertising platform called "2-Länder Radio-Combi". The stations together cover the area from Lake Constance to the Engadine, the radios announced. The secondary tariff is on average 10 percent below the individual tariffs of the two stations.
11 Swiss on IP Top shortlistAt the international IP Top Award, which honors outstanding Internet content, the jury shortlisted 58 of 204 entries. Of the 38 Swiss applicants, 11 are still on the list. These include NZZ Online, Tages-Anzeiger Online, eBund and the PDA offering from Bluebanana. Among others, ZHOL, the Zurich portal of award sponsor Ringier, did not make it onto the list. With three finalists, Screenlight Interactive, Zollikon, is the best-represented Swiss agency.

In addition, Jacqueline Friederichs will be the new publishing director of Ringier's program guide Tele and Tele Programm Service (TPS). She succeeds Thomas Tetzlaff. Friederichs is currently head of reader marketing domestic and foreign markets at Neue Zürcher Zeitung.
Karin Magaletti joined the Communications Directorate of Renault (Suisse) SA on November 1. She takes over the position of Assistant to the Communications Directorate in the Press Division.
The former advertising manager of the Basler Zeitung, Henri Robyr, will in future devote himself to the newspaper Le Temps as the new director of Espace Pub. His successor is Otto Walter, who had previously served as operational manager of Publimedia Basel.
On October 9, Sara Gabathuler joined the CRM team at impiric. The career changer is simultaneously training to become a marketing communications planner at Spok. In addition, Thomas Stelling joined the team on October 16 as a new consultant.
24/7 Media has a new marketing director for Europe in Egbert van Acht. Van Acht was previously marketing director at Procter & Gamble Benelux.

A share of the SRG fees for small private TV broadcasters and relaxed advertising guidelines for all private broadcasters, but not for the SRG - these are the demands that Telesuisse, the association of private TV broadcasters, wants to include in the revision of the Radio and TV Act (RTVA). At least that is what its members agreed at an extraordinary general meeting, explained Telesuisse President Claude-Alain Stettler, who will continue to negotiate the desired share of the fees, but Telesuisse wants to demand more than the twelve million francs requested three years ago. According to Stettler, only local and regional broadcasters should benefit from fee splitting, while regional language broadcasters such as Tele 24, TV 3 or Star-TV should go away empty-handed.
Regarding the loosened advertising guidelines, Stettler hinted that the private broadcasters want to interrupt their programs with advertising more often than they are currently allowed to. Other sources have said that the private broadcasters also want to broadcast political advertising.
No final position was adopted at the AGM. A paper will first be drafted to be discussed at another AGM in January.
According to Stettler, it was difficult to reconcile the interests of all members at the AGM. However, Stettler denied that the members' different arrangements with the SRG could trigger conflicts of interest within the association. Telesuisse has 17 members from all language regions, with Tele 24 being the only broadcaster from a language region. (mk)