As of January 1, 2024, the 16 association municipalities of Allmendingen, Bern, Bolligen, Bremgarten, Frauenkappelen, Ittigen, Kehrsatz, Kirchlindach, Meikirch, Muri, Oberbalm, Ostermundigen, Stettlen, Vechigen, Wohlen and Zollikofen will once again be responsible for organizing their own official publications, according to the municipal association. Bern Region Scoreboard announced on Friday.

The main reason for this dissolution was the publication's deficits, which the sponsoring municipalities repeatedly had to compensate with additional payments. This has come to a head in recent years, as this business model was profitable at the beginning. In addition, the larger municipalities in particular would like to rely on a digital official publication, the statement added.

Canton of Bern allows digital official publication

The possibility of placing official publications, for example building applications or municipal resolutions, online will exist from January 1, 2023 and the amendment of the municipal law of the Canton of Bern. With the dissolution of the association, the 16 municipalities will be able to make use of this from January 1, 2024.

The Canton of Berne Display Association, in which the Association of Municipalities Bern Region Scoreboard is involved, is busy setting up a standardized publication of its own. In addition to an electronic publication, this should also be able to generate a paper edition. Smaller communities in particular are dependent on such a product.

Köniz goes first

The municipality of Köniz had already decided to leave the association of municipalities in 2021. From January 2023, the municipality publishes its official publications on the website epublication.ch. In September 2022, the population approved an amendment to the municipal code with 66 percent in favor, which made this change possible. (SDA)

Freihof Küsnacht works with people with addiction problems and or a mental illness and with delinquents on their future and has been offering services in the areas of social therapy, residential support and work integration for over 40 years. Its fundamental goal is a reality-compatible and sustainable integration through inclusion and the building of skills to be able to deal independently with the demands of life and society.

"The relaunch of our website was the starting point for a successful and effective new look. Thanks to the new structure and information hierarchy, we can now provide our extensive range of therapies with work, integration and employment programs in a clear and understandable way," explains Katja Cangero, Managing Director of Freihof Küsnacht.

While revising and refreshing the primary basic elements of the corporate identity, a redesign of the logo was an obvious choice. In line with the newly defined corporate typeface, the logo takes first place and functions as the most important identifying mark. The punctuation of the square bracket visualizes an open field of work with a clearly defined scope of action. The typographic design in two colors is intended to create an unagitated typeface and is combined with a sophisticated visual language, which is intended to round off the overall appearance in a positive and sympathetic manner.

Responsible at Freihof Küsnacht: Katja Cangero (Managing Director), Beat Stark (Deputy Managing Director), Beatrice Betschart (Head of Work Education & Supported Employment; Member of the Executive Board), Isabel Hammer (Head of Projects), Responsible at Sofies Kommunikationsdesign: Kevin Casado (Consulting, Strategy), Roger Steck (Creative Director), Anja Meier (Design), Pasquale Li Voti (Consulting, Digital), Luca Moor (Code), Timo Buff (Code), Melissa Federer (Code), Pawel Streit (Photography).

In the future, customers of the universal service will be able to choose between the current Internet access with a download and upload speed of 10 Mbit and 1 Mbit per second, respectively, and the new Internet access of 80 and 8 Mbit/s, respectively, as the Federal Council writes. This will benefit those who live in areas where no corresponding offers are available on the market.

A price cap is also set. Faster Internet access costs a maximum of CHF 60 per month.

Technology allows progress

Access to reliable, high-performance broadband services is essential for all sections of the population in all parts of the country, writes the Federal Council. This was also made clear by the Covid 19 pandemic. With the revision of the ordinance on telecommunications services, the offer will be adapted to social and economic needs and the state of the art.

The amendment to the ordinance now explicitly provides for the principle of subsidiarity. If the market already provides an alternative, no provision is made for a universal service. The universal service is implemented in a technology-neutral manner. This means that peripheral regions can also be served via mobile communications or satellite solutions. According to the Federal Council, this is to ensure rapid implementation.

End of three-number telephone service

Swisscom currently holds the universal service license, which expires at the end of 2023. The Federal Communications Commission Comcom, which is responsible for awarding the universal service license, can now launch the award of the future license from 2024.

In addition to the higher Internet speed, there is another innovation: the telephone service with three telephone numbers is being removed from the basic service. This service can be used to serve several phone numbers at the same time, which makes it possible to make several calls in parallel.

According to the Federal Council, the reason for the cancellation of this offer is, on the one hand, the decline in demand. On the other hand, the market has sufficient alternatives for making calls with multiple numbers, such as web-based applications. (SDA)

In December, the nights are definitely no longer quiet, but rather covered with intrusive sound carpets: from festive (Werbemuzak) to reproachful (Salvation Army) to bawling (mulled wine parties). Quiet quitting is the most common thing to do at this time of year: "Quiet quitting" is what they call it lately. Especially around the holidays, the silent goodbyes begin in offices and home offices every year.

"Another year gone and no improvement in sight," employees seem to think at the turn of the year. Maybe that's because everyone has time to reflect over the holidays and meet relatives and friends who brag to them about what a great life they had. Immediately afterwards: first check LinkedIn and lo and behold - here, too, only successes are posted, people gossip and comment. How great everyone is! As you scroll, your own dissatisfaction grows and the goodbyes take their course. But already in the first week of the new year, most people lose heart and the planned job change turns into a retreat, and instead of saying goodbye properly, they say goodbye quietly.

Service by the book

The German version of "Quiet quitting" sounds more military and doesn't quite get to the point. Quiet quitting fits better. Saying goodbye to the motivation to work for a company. Saying goodbye to the amenities that suddenly seem like disadvantages or to colleagues who were already cooler than they are now. This is called subjective perception, bias or self-fulfilling prophecy. Instead of a logical argumentation, pseudo-arguments talk everything badly that was and is, so that what could be becomes justifiable.

Does this sound familiar to you? Or are you perhaps thinking to yourself as you read these lines that there are also rational reasons for wanting to change jobs? Of course there are. That's why "quiet quitting" is not just a Generation Z buzzword, but indicative of one of the most important discussions that should be taking place in the world of work right now.

We need to talk about how work and life can be viewed holistically alongside work - out loud. Together, exploring the ideal between self-optimization and performance and profit optimization. After all, this debate offers the chance to talk about the meaning and purpose of working together, about opportunities, perspectives, expectations and well-being, about quality, performance or the future of work in general.

Employers should urgently consider whether it would not be better to tackle employees' issues head-on instead of complaining that they are hiding in their home offices and saying goodbye to them internally. Employees would be advised, instead of resigning, to be honest with themselves and their employer, to stand up and voice their needs. As is mandatory in any relationship. In this sense: Merry Christmas of love!

In this year's pre-Christmas period, the mood in many households is rather depressed: In addition to high electricity and gas costs, bad news about the increasingly unsettled times in Europe and the world flutter into the house.

On the occasion of the Swedish Lucia festival on Wednesday, when candlelight is supposed to chase away the darkness, Ikea therefore sent a very special package insert to around 6000 households. It is a typically untypical Ikea instruction, which explains however not, how one sets up a piece of furniture, but how one spreads light and warmth. The twist: the instructions are printed on sustainable beeswax and can be rolled into a candle. The instructions invite you to light the candle and share a video of it on social media.

"Not every idea has to pretend that it will save the whole world. But this idea easily delivers what it promises: to bring a little bit of joy into rather joyless times," says Manuel Wenzel of TBWA\Zurich. "With this campaign, we want to share our Swedish customs and bring a little light and warmth into our customers' homes in a creative way," adds Patrizia Lamprecht from Ikea.

In addition to the 6000 canduals sent out, an additional 4000 copies are available in branches throughout Switzerland.

For this reason, it is deducting the additional expenditure from the subsidies available for 2023, as the Federal Council announced on Friday. 30 million Swiss francs are available to the federal government for the indirect promotion of regional and local daily and weekly newspapers.

As of October 1, 2022, 148 titles in the regional and local press met the requirements for a delivery allowance under the indirect press subsidy. They have a total annual circulation of 112 million copies.

Compared to the previous year, one title fell below the circulation floor of one thousand copies, namely the City Gazette Opfikon/Glattbrugg ZH. Another appears only every two weeks, namely the Corriere dell'Italianità. These two titles can therefore no longer benefit from indirect press subsidies.

The titles of the membership and foundation press will receive an unchanged 18 centimes per copy in the coming year. (SDA)

The shortage of skilled workers is also affecting the Swiss creative industry. The search for talented employees is difficult, confirms Executive Creative Director and Wirz partner Caspar Heuss, who is responsible for the campaign: "We know the Zurich and Swiss creatives. Many good minds already work for us. But we need a young, fresh look."

It was against this background that Wirz came up with the idea for this special recruiting campaign: The poster with the slogan "Nothing against Berlin. But you don't seriously want to grow old here, do you?", will be touring the German capital for a week and will be parked in front of the biggest local advertising agencies for a day at a time.

The headline is meant to make you think: Maybe a job in Zurich is at least as good as Berlin, at least for a while? Or maybe someone would like to stay in the city on Lake Zurich for the rest of their life?

On the associated landing page, interested parties can find information about the city of Zurich and also about the advantages of working for Wirz. Those who are convinced can apply directly for a vacancy using the contact form.

59-year-old Michael Bolliger has worked at SRF since 1993. Until 2006, he worked as an editor in various functions before becoming involved in setting up what was then DRS 4 News in 2007. As deputy head, he played a key role in shaping the radio station's current affairs programming. In 2010, Bolliger took over as head of the information program and thus became a member of the editorial team Radio (Werbewoche.ch reported). Bolliger is currently Deputy Editor-in-Chief Audio and Head of the Regional Editorial Offices.

As of June 2023, Michael Bolliger will move to the Culture department as multimedia topic planner. In this role, he will share responsibility for the content of the multimedia teams "Reports & Talks" and "Series & Long Form". Networked topic planning across the various channels will be one of his core tasks in the future.

"I am very much looking forward to topic planning in the culture department, to working for different formats and narrative forms, as well as to working in a newly set-up and agile organization," Bolliger is quoted as saying in an SRF statement. "The move to the culture department opens up the opportunity for me to develop further in a new journalistic environment in the coming years."

The position will be advertised in the new year, according to SRF.

Until now, Tamedia has been responsible for marketing, the digital revenue model as well as printing and logistics of the regional newspapers, among other things. Bernese Oberland and Thuner Tagblatt. Now the journalistic responsibility for the regional editorial office is added, according to the statement.

With the complete takeover by Tamedia, the publishing future of the two regional newspapers is secured. The Competition Commission still has to approve the transaction. It could take effect in the second quarter of 2023 at the latest, the report continues. (SDA)

Bonanza is intended to ask and answer questions that tend to get lost in the current media landscape, writes the publisher Ringier Axel Springer Switzerland in a statement on Friday.

The name Bonanza is on the one hand inspired by the television series of the same name. For Bonanza, that was Ben, Adam, Hoss and Little Joe Cartwright - role models for adolescent males for fourteen years. Bonanza but stands above all for happiness and prosperity, for a found vein of gold, in other words for a good time and a good mood. This positive basic attitude is to characterize the new magazine from Ringier Axel Springer Switzerland.

Werbewoche.ch: Sophie Toth, on Sunday the second season of your hit series "Tschugger" will premiere on Swiss television. The show has already been available on Sky Switzerland since mid-October - but the TV launch is something even more special, isn't it? 

Sophie Toth: Yes for sure! Many of my friends and family and also numerous fans have told us that they are waiting for the start on linear TV.

After the success of the first season, expectations are now likely to be high. Nervous?

Of course, we are now very excited about how the second season will be received, since we no longer have the surprise effect and newcomer bonus and, on the contrary, have to prove ourselves. Our expectations of ourselves are also always very high, and that's why I have a good feeling, to quote Andreas Möller in good "Tschutter" language. After all, we're running right after the World Cup final.

Will you also watch the first episode of the new "Tschugger" season on TV?

Certainly, even if we are still allowed to do various bingewatching sessions in cinemas on the weekend. SRF will show two episodes at once on Sunday and I will certainly watch them with my son and friends at home on the beamer.

Rarely has Switzerland waited so eagerly for a TV show produced in Switzerland. How do you explain the "Tschugger phenomenon"? 

Tschugger is a collage that anchors a universal story locally and brings with it a very unique visual style and also humor. We draw on everything we like ourselves - be it Beverly Hills, Fargo or Lilyhammer, the non-touristy side of Valais or hip-hop culture. And I think a lot of people also like our characters because they're not perfect. And also don't take themselves completely seriously. Apart from that, the timing certainly played into our favor. In addition to the many heavy topics, people were probably also in the mood for this kind of humor.

You had already shot the second season before the first season aired. Even though it was a while ago, which events and anecdotes from the shoot do you remember most? 

There would be so much to tell! Every day there was a bigger or smaller drama and a lot of comedy, even behind the camera. For example, on our very first day of shooting on the Simplon Pass, we started in a snowstorm and all the cars were struggling extremely. By the time we arrived, the director of photography had tried to move the stuck car by trying to push empty Coke Zero cans under the tires.

That sounds very exhausting.

But there was not only drama. The shooting also saw the start of a real romance between certain police employees. But the specter of the Covid pandemic was breathing down my neck every day during the filming of both seasons. And other illness-related incidents were also very challenging. For example, during the filming of the second season, we had to rewrite the final scene with the villain because the actor was out due to an acute medical emergency. I also had to stand in for the camera once and double our federal police officer Annette, gun and all.

So if you look closely, you'll discover Sophie Toth herself in season 2.

Exactly. Bax's stunt puppet also had a few stints on the set. And when she wasn't in front of the camera, people were constantly scared by her, because she was usually lying on the floor somewhere and looks very much like Bax.

What was the end of the shooting like?

The last day of shooting of the second season and thus the final evening was also my birthday. The equipment team had created a magically cozy corner in the factory hall where we had set up the studio, with the caravans, sofas and lamps. That really blew me away emotionally. The day after, the first season came out. That everything came together like that was really incredible.

One of Shining Film's core competencies - and an important focus of your work - besides the production of "Tschugger" is the production of audio-visual content for advertising and brand communication. Hand on heart: What do you enjoy more? 

Of course, fiction gives me a lot of pleasure. Being able to tell my own stories and work on them with a great team over a long period of time gives me a lot of energy. I've done a lot of successful commercials over the years, and got a taste for longer formats together with David Constantin for longer commissions - web series for Swisscom and the Openair Gampel. So it was only a matter of time before we wanted and were able to tell our own stories. Now I have various other fictional projects on the table besides "Tschugger".

How do the two fields differ? 

Apart from the fact that both end products are audiovisual works and the contributors are partly the same, the production processes are very different. Both sides have their charms. The brevity and manageability of a commercial production has its charm. We develop over months and can never be on set during the writing process. On the other hand, the shooting takes months. We still have a lot to get used to.

Both good advertising and good TV shows thrive on outstanding storytelling. As a producer, you are not primarily responsible for this, but - from your experience: What makes a story a "good story"? 

For me, a story is good when the characters telling it pick me up. If I believe the problems and challenges of the characters and feel for them, the story works. But for me, there are also audiovisual projects that touch me in a different way. For example, through music or striking images.

What projects are you particularly looking forward to in the coming year? Perhaps the filming of a third "Tschugger" season?

I'm looking forward to all the projects and the challenges that come with them. We have big dreams and hope that some of them will come true next year. If and how it will continue with Bax and the others is not yet clear - but we are super busy...

The ADCE Awards are considered the most important pan-European creative competition. The jury, consisting of 54 creatives from 20 European countries, first judged online at the end of November and then met physically in Barcelona to discuss the best creative works from all over Europe. On Thursday, the award winners were announced online: Switzerland can look forward to two gold, four silver and 18 bronze awards.

Stefanie Huber, ADC Vice President and herself a jury member of the ADC Awards 2022, is delighted about the great success for Switzerland: "The jury composition at ADCE is not only international, but also very diverse due to the different cultural backgrounds of the various European countries. I am all the more pleased that Switzerland was able to convince and inspire with outstanding works on relevant clients in almost all categories. Congratulations to all the winners!"

The jury awarded gold to "Pistenfarbe" by Swisscom and Andy Lusti for Swisscom in the category "Integrated & Innovation - Integrated Campaigns for commercial brands". The work also picked up a bronze award in the "Interactive & Mobile - Social Media Campaigns" category.

The second Gold for Switzerland goes to the viral hit "No Drama" by Wirz Group for Switzerland Tourism in the category "Film & Audio - Online Videos".

Ruf Lanz and Welti-Furrer Fine Art Transport won two silver medals for "When art has to move" in the "Outdoor" and "Print Advertising" categories. With this campaign, Ruf Lanz has already been honored at the Epica Awards and the Eurobest excellent.

Thjnk Zurich and Hamburg can be pleased about no less than four awards: "Runtime" for Ochsner Sport takes silver in the "Film & Audio" category and bronze in the "Interactive & Mobile - Interactive campaigns" and "Integrated & Innovation - Branded Content" categories. "Share Your Fire" for Ochsner Sport receives a bronze award in the category "Film & Audio - Craft - music and sound".

Three awards go to "Handbutts" by Wunderman Thompson Switzerland for Geberit International: Silver in the category "Interactive & Mobile - Social Media Campaigns" and bronze in the categories "Film & Audio - Online Videos" and "Print & Outdoor - Digital Screens". In addition, there is a bronze award for "Lakers Red" for Schützengarten Brewery and Lakers Sport in the category "Integrated & Innovation - Product / Service innovation".

TBWA\Switzerland wins three bronze medals: With "Born Equal" for Terre des Femmes in the category "Film & Audio - Craft - animation, VFX, CGI and 3D", "Comment Contest" for McDonald's in the category "Interactive & Mobile - Social Media Campaigns" and "Porsche Taycan - Tesla Targeting" for Porsche Switzerland in the category "Integrated & Innovation - Best use of data".

With "Recipes Rewritten" for Krebsliga Schweiz, Farner won bronze twice in the categories "Interactive & Mobile - Interactive & Mobile for non-profit/public service/NGO" and "Integrated & Innovation - Integrated and Innovation for non-profit/public service/NGO".

Also winning two bronze medals is "La Punition (The Punishment)" by Havas Village Geneva for Canal+, in the categories "Film & Audio - TV/Cinema Commercials" and "Film & Audio - Craft - direction, cinematography and editing".

Sir Mary can be happy about bronze for "Epic Mode" for Samsung Switzerland in the category "Interactive & Mobile - Interactive campaigns" and "Share your fire" for Allianz Suisse in the category "Integrated & Innovation - Product / Service innovation".

"Filmar en América Latina 2021" by WePlayDesign for Filmar en América Latina receives a bronze in the category "Design - Graphic Communication".

The same applies to the work "Zurich Film Festival - Eye to the World" by Great Garbo for Zurich Film Festival in the category "Film & Audio - Craft - music and sound.