Noticias de Comunidad

Initiative nombra a Pablo Rodríguez como Presidente Regional Latam

07 de febrero de 2011

07 de febrero de 2011
Líder de la cuenta de Unilever asciende a un puesto regional clave

Initiative, compañía de medios de comunicación orientada a la performance, ha designado a Pablo Rodriguez como Presidente de Latinoamérica.
Previamente Pablo ocupaba el puesto de Vicepresidente de Latinoamérica y tenía a su cargo la cuenta de Unilever en la región. En su nuevo rol, Pablo responderá a Mauricio Sabogal, Worldwide Managing Director de Initiative y Presidente de Mediabrands Latinoamérica. Pablo se unirá al equipo de liderazgo mundial de Initiative y encabezará el equipo de Latinoamérica.

Como Presidente Regional, Pablo se hará cargo de un importante portfolio de clientes que incluye: Unilever, Kimberley Clark, Burger King, Taca y Embratur. En los últimos 12 meses, Initiative Latinoamérica ha atravesado un crecimiento significativo, ganando cuentas claves como, Banchile, 3M, Citroen, 3G Motion, Sofitel, y Makro. La región ha sido también reconocida por su creatividad y trabajo orientado a los resultados, ganando así los premios dos premios Effie de oro en Chile por Unimarc, un premio de oro por Unilever en los Premios Eucol de Colombia, y tres premios Tótem por Burger King en México.

Pablo (42) tiene más de 20 años de experiencia en la industria de la publicidad. Empezó su carrera en el ámbito de las agencias creativas, uniéndose a FCB en 1989, antes de cambiar a otras agencias de publicidad líderes como Lintas, Saatchi & Saatchi, y Euro RSCG. Pablo se unió a Initiative en 1999 como Director de Cuentas y ascendió a Director Regional de Planning de Initiative, y Chief Operating Officer de Brand Connection Latinoamérica.

Mauricio Sabogal, Worldwide Managing Director de Initiative, dijo: “Pablo es uno de los talentos más creativos y estratégicos de Initiative en la región y su promoción es muy merecida. Ha demostrado su habilidad para proveer a los clientes de soluciones orientadas a la performance, incluyendo Unilever, y esto será de gran beneficio para Initiative y nuestra búsqueda por seguir haciendo crecer el negocio en Latinoamérica”.
Pablo Rodriquez, Presidente de Latinoamérica de Initiative, dijo: “Initiative es muy respetada como líder en soluciones de comunicación orientadas a la performance en Latinoamérica, y estoy ansioso por llevar a la región al siguiente nivel en cuanto a su trabajo creativo y enfocado en los resultados para nuestros clientes”.

Acerca de Initiative

Initiative (www.initiative.com) es una compañía de comunicación que transforma el intercambio de medios en resultados de marketing a través de su compromiso con la performance. Initiative sostiene que toda actividad de marketing debería ser dirigida a la performance. Datos, análisis, insights e innovación son parte central de nuestros servicios, los cuales están enfocados a la concreción de los objetivos de negocios de nuestros clientes. Este compromiso con la performance es parte central y distintiva de nuestra cultura y procesos. Propiedad de Interpublic Group, Initiative es parte del grupo de gerenciamiento de medios Mediabrands y socio de Magna, la entidad centralizada de negociación de medios de IPG. Initiative emplea a más de 2.500 talentosos profesionales que trabajan en 91 oficinas en 70 mercados en todo el mundo. Nuestro rango de servicios de comunicación ajustado a objetivos de marketing incluyen: investigación y análisis, planificación y compra de medios, soluciones en comunicación digital, creación de contenidos, y servicios de asesoramiento y auditoría.

Schematic: Art Project de Google.-

04 febrero 2011

Millones de personas pueden visitar virtualmente los mejores museos del mundo gracias -en gran parte- a talento costarricense. Programadores ticos, que trabajan para la transnacional Schematic, empresa asociada a ASCAP, participaron en el ambicioso proyecto lanzado esta semana por el gigante Google.

Art Project permite a los usuarios “caminar” por los pasillos de reconocidos centros de arte en Londres, París y Nueva York. Para lograr esto se tuvieron que incorporar múltiples aplicaciones, según explicó el Director de Tecnología de Schematic, René Zuleta. El desarrollo del proyecto tardó 9 meses.

Art Project se accede en: http://www.googleartproject.com/

Transcribimos una entrevista otorgada por el señor Jason Brush a este respecto:

Last week, Google unveiled a Street View-esque project that brings viewers face to face with some of the greatest art on earth.

Known as Google Art Project, the initiative will give users remote access to the priceless paintings, sculptures, and other artifacts from 17 of the world’s most famous museums, including New York’s Metropolitan Museum of Art and Museum of Modern Art, London’s National Gallery and Tate Britain, the Museo Reina Sofia in Madrid, the Uffizi Gallery in Florence, the Van Gogh Museum in Amsterdam, and others.
In a blog post announcing the effort, Amit Sood, head of the Google Art Project, explained that users will have initial access to at least 1,000 works from the 17 museums, including one from each institution that will be presented in high-resolution using “‘gigapixel’ photo-capturing technology.”

The project is based, in part, Sood said, on Google’s Street View technology.

(Credit: Schematic)

But Google didn’t do this project on its own. Rather, it partnered with a company called Schematic, which helped integrate many of the technologies that together form Google Art Project, and which took on a lot of the heavy lifting in dealing with the various museums. Yesterday, Jason Brush, the executive vice president for user experience at Schematic, sat down for a 45 Minutes on IM interview about the effort, and talked about working with some of the greatest art collections ever put together, about collaborating with Googlers trying to do exciting things with their “20 percent” time, and about the challenges of building a powerful experience around what could be some people’s first-ever interaction with some of the most important paintings in history.

Q: Thanks very much for joining me for this. I appreciate it. Maybe you could start by telling me what it felt like to learn you were going to be instrumental in bringing some of the world’s greatest art to a global audience?

Jason Brush: First, I was awestruck by the idea itself, which the Googlers with whom we collaborated on the project had invented. It was a project that really reflects the full potential of what the Web can achieve, and is the sort of concept that got me interested in new media to begin with. I could just imagine a child at a public library, somewhere in the world, who might never be able to afford airfare to travel to these museums, and who might not even have access to high-quality reproductions in books, being able to wander the halls of the great museums that the site brings together. It was a real honor to be brought on board by Amit Sood, who led the project at Google.

For a lot of people, this could be their first-ever interaction with some of the world’s great art, as you suggested above. How much pressure did you feel to make sure that their experience was a good one?

Brush: I’ve worked on projects before that were groundbreaking, for which there was a great deal of pressure to get the experience right—the site we built to broadcast the Beijing Olympics online, for example—but this was different. For some reason the pressure on this project was different—I’m sure for everybody involved. Partially, it was because of the restraints. It wasn’t just a matter of putting up the artwork and making it accessible. There was also a lot of pressure to make sure that we weren’t making any explicit curatorial decisions. An interface can of course say something specific in and of itself, and we worked very hard to make sure that we weren’t imposing a point of view on the display of artwork.

Talk a little more about the pressure not to make explicit curatorial decisions. Why not, and how did you resist making decisions like that?

Brush: Well, one of the first issues we had to face was making sure that the site wasn’t itself a meta-museum. The museums themselves have the cultural and civic onus to present the artworks in their collections in whatever way that’s appropriate to their mission. We didn’t want to usurp that. So, the pressure stemmed from not just making sure that the site was enjoyable and easy-to-use because of it’s cultural value, but also because we needed to create a model that drew a clear distinction between the live, in-person museum-going experience—which we hope the site will encourage people to have—and the experience you get online. We were in essence creating a whole new model for viewing art, which was a great responsibility.

Tell me a great story about working with these museums?

Brush: At Schematic, we didn’t work directly with the museums—the photography of the artworks and the capture of the Street View imagery was coordinated by Google, with the help of some other partners. So, we didn’t have much interaction with the museums themselves.

The museums that are involved hadn’t worked all together before on this kind of project. What was it like to help coordinate them working?

Brush: This was indeed one of the notable feats of the project—creating a forum that all the many institutions could participate in. This also was handled by the team at Google. So, while we weren’t involved in the negotiations, we did make some design decisions vis-a-vis unique aggregation of content from many museums. For instance, on the home page, we chose to randomize which museum gets highlighted on load. We didn’t want it always to be the museum at the top of the list.

From your perspective, how much does this collection miss having the Mona Lisa?

Brush: I think you could make the same statement about, say, Picasso’s “Guernica,” but I don’t think that the site as a whole suffers per se from not having certain artworks. it’s really up to the museums to decide what they want to make available. I hope the catalog expands, but I don’t think that the achievement is diminished at all by the fact that it doesn’t house every world famous painting. And of course, some artists’ work—James Turrell, Richard Serra, Olafur Eliasson—needs to be experienced in person.