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Recent scientific research conducted by German psychologists looked at the manner in which the brands condition, stimulate and influence our brains and therefore the manner in which we perceive reality. How do brands affect our brains and how also do incorrect information on the brands in question alter our perception right into the furthest recesses of our neuronal cavity. These are the questions that were asked by researchers Simone Kuhn and Jurgen Galllinat.
Learnedly entitled "Does Taste Matter? How Anticipation of Cola Brands Influences Gustatory Processing in the Brain", their very serious experiment involved having MRI scans conducted on some 15 people (all perfectly sane, with no particular neurological or medical history, explain the researchers who also emphasise that "they were all right-handed" - doubtless because in left-handed people, the brain lobes are the other way round). Two specific areas of the brain were targeted: the orbitofrontal cortices, the home of subjective thought that given to different products one sees, and the ventral striatum, the area connected to reward and pleasure. An area which, as we will see, can "light up" at the slightest mention of a known brand, suggesting all the promises of "pleasure" that it is supposed to bring us.
 

The MRI guinea pigs were given four samples of a cola drink through a tube for them to give their opinion of each sample on a scale from 1 to 8. However these samples were not anonymous - and prior to each ingestion (repeated several times in different quantities), the logo of the brand was quickly shown on a screen: Coke, Pepsi, River Cola (a cheap brand that is well-known in Germany) and an imaginary T-Cola. To reinforce the guinea-pigs' belief, they were allowed to see four large syringes, all different, duly labelled with the name of the various brands.
Unsurprisingly, Coke and Pepsi won the vote hands down, leaving the other brands streets behind. Certain participants, the study explains, even express their b preference for Coke and Pepsi and their dislike of other brands. The glitch? The four mixtures were perfectly identical, and all strictly composed of a mixture of Coke, Pepsi, River and T in equal parts.

The result of the MRI scan showed that the orbitofrontal cortex where worth is evaluated was less used in the case of well-known or recognised brands, because this worth is retained and accepted in our connections. If one transposes this into the realm of watchmaking, one could say that on the scale of watchmaking brands, the orbitofrontal cortex does not need to get involved when it hears the word "Rolex", but will work overtime at the sound of the brand "Von Graffenried & Cousins", for example.
On the other hand, the ventral striatum which is the centre of reward and pleasure becomes active at the very name of a known brand - while it remains completely "silent" when it comes to unknown brands. Brands therefore have the power to arouse those neurones responsible for pleasure, reward and satisfaction to the point of preventive titillation.
 

Continuing with the methodology used in the cola experience, could one apply the same research methods to watchmaking? This would not be about tasting an undetermined liquid, but rather for example being given a chance to discover the most recent model of a brand in an exclusive sneak preview.
We might thus manufacture a watch representing a hybrid of several different models, including for example an Omega case, with a Rolex bezel, an Ice-Watch dial, Von Grafenried & Cousins pushers and Rochat & Meylan hands...The movement, also a perfect hybrid, could be presented as a Patek Philippe or alternatively a movement made in Shenzen and the strap leather as being made by Hermes or imported from Albania.
The consumers undergoing the MRI would be told that they were going to be given an exclusive presentation of a brand new Rolex, Omega, Rochat-Meylan, Boomtime or Von Grafenried & Cousins model, a claim borne out by the logos on the watch.
What do you think the result would be? How, for example, would the ventral striatum react to the announcement of a totally new Von Grafenried & Cousins model? Probably a scientifically measurable flat encephalogram, whereas on the contrary, one might well imagine that the very mention of the upcoming discovery of a brand-new Rolex model would trigger a whole host of neurones - especially among bloggers, whose ventral striatum would quite likely start performing a belly dance!
Poor us!
We thought that only our sacrosanct "free will" determined our choices and our intimate desires, but this does not appear to be the case. Something like Pavlov's dog which started salivating and slobbering simply when it heard the bell ringing signalling its food - and even if the food never appeared again - we unconsciously vibrate and get excited at the mere thought of promised pleasures that for most of us will always be unattainable.
 

HODINKEE - 15 October 2012

Turn down a side street off one of London's most famous roads, and you'll find yourself on a block that could be nearly anywhere in central London. Rows of identical townhouses in faded brick line both sides of the narrow paved lane, and there is something sleepy about the place. But hidden on an upper floor of one of these nondescript residences sits the Bamford Watch Department.
The Bamford Watch Department is the brainchild of George Bamford, a charming, amiable Londoner with a love of spy novels (which inspired the semi-hidden headquarters) and a very earnest telling of the inspiration for his company. For his eighteenth birthday, George was given a Rolex Daytona and thought he had received the coolest watch on the planet. But quickly, after finding numerous friends with the same Daytona on their wrist, he started thinking of ways to make his watch more "his."

George is passionate about Rolex and historic sport watches, and collects them feverishly. He wanted to work within this framework while also creating something personal and unique for himself (and now his customers). Rather than designing new watches from the ground up, George decided to take the classics he loves so much and customize them.
The foundation of a Bamford watch is the super high quality PVD coating. But on top of this there are numerous options. Dial finish, hours/minutes markers, hand configurations, bezel treatments, and a number of other things can be tweaked and adjusted to suit the customer's preferences. The goal is to deliver a watch that is unique and personal to the wearer. It is important to note that Bamford was indeed the first to customize a Rolex, and is considered to be the highest quality of the now many after-market customizers. No expense is spared. To give you an idea, Bamford is currently working on a special engraved case for a client, and they've hired ex-Purdey engravers to do the work. If you know Purdey, you know what that means - the absolute best.

Entering the discrete Bamford Watch Department headquarters feels like stepping into a Bond novel. Up the plush stairs and through a heavy door is a watch lover's dream lounge. Outfitted with chalk-striped Ralph Lauren furniture, photographs of BWD watches, white orchids, a model Ferrari, decades-old watch books, and even a few bottles of Rolex's Perpetually Yours cologne, the room feels more like your cool best friend's living room than a place to buy watches. And Bamford's love of Rolex is more apparent nowhere than in this room.
During our recent trip to London, George was kind enough to sit down with team HODINKEE to walk us through his latest offerings. Opening the sleek case he brought with him, George showed us a California Dial Submariner, a Sonar Milgauss, a Ghost Milgauss, a Paul Newman-esque Daytona, and a handful of other interesting BWD watches. The quality of every details was extremely high across the board - these are a far cry from most after-market modifications. Very cool indeed.

George gets excited when he talks about meeting clients with interesting ideas (whether they share his particular taste or not), listens more than he speaks, and seems genuinely excited about giving people a product for which they can feel a real sense of ownership. The "I did it for myself and it just happened to become a business" story doesn't sound contrived or fake at all when George tells it, and by the end of our afternoon together, I was already trying to figure out which configuration I might want most.
Click here to check out more from the Bamford Watch Department, and view their recently redesigned website.

MUSIC
Ben Frost (Australia) chosen by mentor Brian Eno (United Kingdom)

Australian composer, producer and musician Ben Frost, 30, is recognized for his music that is at once compelling, mystifying, disturbing and beautiful. In 2005, after receiving a degree in fine arts in Melbourne, Frost relocated across the world to Reykjavik, Iceland, where he co-founded the Bedroom Community record label.
His genre-defying work, influenced as much by Classical Minimalism as by Punk Rock and Metal, includes three emotionally powerful and critically acclaimed albums: Steel Wound (2003), Theory of Machines (2007) and By the Throat (2009). Frost's multidisciplinary collaborations linked him with renowned choreographers Gideon Obarzanek, Erna Ómarsdottír and Wayne McGregor, and with artists as diverse as Amiina, Tim Hecker, Nico Muhly and Björk. He is currently composing the score for the forthcoming massive multiplayer online game, World of Darkness, and working on several commissions for film and dance, including a reworking of Tarkovsky's Solaris and music for the new Random Dance production, Flesh in the Age of Reason.

"In my works I celebrate being South African. I look at my ethnic identity, gender identity and colonial heritage," says 34-year-old visual artist Nicholas Hlobo. Since graduating with a degree in Fine Art from the then Technikon Witwatersrand in Johannesburg, in 2002, Hlobo has demonstrated the singularity of his artistic vision at group and solo shows from Cape Town to Rome and Boston. "The ideas he explores are as deliberate and dense as the stitches he uses to unite his signature materials - rubber, gauze and paper," observes Kerryn Greenberg, assistant curator at London's Tate Modern where, in 2008, Hlobo exhibited four works, entitled Uhambo, at the Level 2 Gallery for emerging international artists.
The distinctive use of evocative materials is a hallmark of Hlobo's sculptural installations and performances, which are rooted in his native Xhosa culture and language. Among his most recent successes, he won the prestigious 2009 Standard Bank Young Artist Award for Visual Arts.

A naturally gifted dancer and fledgling choreographer, Lee Serle, 28, is a much sought after performer in his native Australia. Since receiving a bachelor of dance degree from Melbourne's prestigious Victorian College of the Arts in 2003, he has contributed to the work of several, mainly Melbourne-based, companies, notably Lucy Guerin Inc and Chunky Move, with which he has performed both nationally and internationally.
His choreographic credits include A Little Murky, a small-scale piece that experiments with subtle characterization and showcases his powerful and theatrical style, and I'm in Love, for the Next Wave Festival in Melbourne. Serle relishes the Rolex mentorship as a "oncein- a-lifetime opportunity" of extending himself under the tutelage of such a "seminal influence" as Trisha Brown. "The chance of becoming a dance artist in New York is a personal goal," adds Serle, whom Brown describes as a dancer of "tremendous promise", ready to expand his horizons internationally.

Annemarie Jacir, 36, a visionary, Palestinian film director and poet living in Jordan, was named one of Filmmaker magazine's 25 New Faces of Independent Cinema in 2004, a year after graduating with a Master's in Fine Arts from New York's Columbia University.
Co-founder of the Dreams of a Nation project, dedicated to promoting Palestinian cinema, Jacir deftly incorporates a nuanced analysis of cultural and political issues in her films, including like twenty impossibles (2003), an Official Selection of the Cannes Cinefondation. Her widely acclaimed debut feature, Salt of this Sea (2008), the first feature film by a female Palestinian director, premiered at Cannes and was an Academy Award submission for Best Foreign Language Film. It also won the FIPRESCI International Critics' Prize. Currently working on a new feature, Jacir cites Zhang Yimou's Raise the Red Lantern as a source of inspiration. "Films that I find the most inspiring are about the human spirit," she says.

For over a decade, Lebanese actor, writer and aspiring director Maya Zbib has been impressing critics with her subtle portrayals in widely diverse roles. The multi-genre work of the 29-year-old bridges theatre and performance by marrying the two practices through a variety of techniques.
Having acquired a Master's in Performance Making in 2007 from Goldsmiths, University of London, Zbib has created and performed in solo work, including The Music Box, a performance-installation staged in people's houses and showcased at international festivals. She currently comanages Beirut's Zoukak Theatre Company and Cultural Association, which she co-founded in 2006, and also teaches at Lebanese University's Institute of Fine Arts. In 2009, she was invited to participate in the British Council's Cultural Leadership International programme. Dedicated to theatremaking that has an impact on society, Zbib says: "I am very inspired by Mr Sellars' advocacy of theatre as a force for change."

The Rolex Mentor and Protege Arts Initiative
The Rolex Mentor and Protege Arts Initiative is an international philanthropic programme devised by Rolex and run by a team at the company's headquarters in Geneva. It seeks out highly talented young artists from around the world and brings them together with great masters for a year of creative collaboration in a one-to-one mentoring relationship.
History and objectives
The Rolex Mentor and Protege Arts Initiative was launched in June 2002. It runs biennially and is now beginning its fifth cycle (2010-2011). Its objective is to help perpetuate the world's artistic heritage. In keeping with its tradition of supporting individual excellence, Rolex is giving emerging artists time to learn, create and grow.
Programme format
Rolex invites masters in dance, film, literature, music, theatre and the visual arts to provide individual guidance to gifted young artists. In six disciplines, a senior artist (the mentor) agrees to foster and counsel a young artist (the protege) for one year. Each pair decides the most effective way of interacting.
Selection of mentors
Every two years, a new Advisory Board of distinguished artists and arts practitioners suggests and endorses potential mentors. Once the mentors have been approached and have agreed to take part, Rolex works with them to establish a profile of the protege they would like to work with.
Selection of proteges
Then, six Nominating Panels - one panel per discipline - are assembled. The panels are made up of experts qualified to identify suitable potential proteges. To ensure that the process is impartial, panel members remain anonymous during the selection period. Artists do not apply directly to the programme. Each Nominating Panel recommends potential proteges, who are then invited by Rolex to submit applications. The Nominating Panel studies all the applications and recommends three finalists. The entire process has an invaluable spin-off, as it allows the panellists to become aware of about 20 talented young people in their field. Rolex then arranges for the mentor to meet the finalists and choose his or her protege.
Year of mentoring
Mentors and proteges spend a minimum of six weeks together, though many spend considerably more time sharing knowledge and experience. The place and time of these interactions are arranged by mutual agreement. The form of the interaction is flexible, ranging from a protege being granted access to a master at work, to mentor and protege actually collaborating on a work. During the year, Rolex keeps in contact with the mentors and proteges to provide logistical support as required.

Protege grant
Each protege receives a grant of US$25,000 during the mentoring year, in addition to money to cover travel and other major expenses. Proteges are also eligible to receive a further $25,000 after the year is over. This is offered specifically towards the creation of a new piece of work, a publication, a performance or public event.
Documentation
To help give exposure to both the proteges and the programme, Rolex documents the year of mentoring in a publication and a film. A website - rolexmentorprotege.com - also describes the programme.
Outcome
After the mentoring year is over, Rolex continues to keep in touch with the proteges, following their careers with interest. The outcome for proteges varies: a new novel, a new stage production, a dancing career with the mentor's company and a collaborative artwork with the mentor are all examples of proteges' achievements through the programme. However, Rolex is aware that the full benefits of the programme for many of the young artists may continue far into the future.

Global creative community
Since the launch, in 2002, of the Rolex Mentor and Protege Arts Initiative, 256 artists, arts leaders and other cultural luminaries have participated in the programme. This includes 67 advisors who have helped select mentors and 147 nominators who have identified potential proteges. Programme participants contribute from across the globe, building a Rolex community of artists spanning more than 40 countries that grows in depth and scope with each mentoring year.

WORLDTEMPUS - 20 March 2010
It could have been an uneasy herd of impatient fans prior to a rock concert about to start for onlookers that did not have an interest in horology, but just happened to stroll by Hall 1 in Basel. However the impatient herds of bloggers, collectors and journalists did not wait for a big-ticket name in the music business to go on stage, but for a ditto in Swiss horology, Rolex, to reveal its novelties.
Every year watch related websites start discussing what the leader of Swiss watch making might introduce of novelties once the doors open. Yet nobody knows for sure, since Rolex is as secretive with their novelties as their Oyster-cases are waterproof.

This year, however, the introduction of a steel Submariner with maxi case and ceramic bezel insert was not much of a surprise. Such is the evolution of Rolex. Gold first, then steel/gold and now steel. The "aaaaahhhh" reaction did arise though, when the first impatient souls reached the mirror polished exhibition windows on Wednesday March 17th, when Baselworld opened its doors. The surprise reaction was due to a green dial and ditto ceramic bezel version of the Submariner of steel that paired up next to the black version at Rolex's impressive stand.

Green may not be a colour embraced as joyfully by everyone as the Irish on St. Patrick's Day. This could be why Rolex decided to introduced a 39 millimetres version of what could easily be considered as one of the best looking models of all time, the legendary Explorer. A watch famed by Sir Edmund Hillary and Tensing Norgay's Mt. Everest exhibition in 1953. Both of them wore Rolex Oyster Perpetuals, creating yet another achievement for the Swiss watch company who used the world as a laboratory to test its watches under real conditions, since the young Mercedes Gleitze swam across the English Channel, wearing a Rolex Oyster, in 1927.

The clean military look of the Explorer has not changed. But the new size of 39 millimetre - which is three millimetre bigger that the earlier version, ref. 114720 - is a perfect reason to rediscover a watch that has too long been considered too small for men and too masculine for women. This said, many women might just embrace this new size Explorer, as big watches are still popular on female wrists.