RefeRencingcultuRalcontents onthe inteRnet,pRescRibingcultuRe ?November 2011
RefeReNciNg cultuRalcoNteNts oNthe iNteRNet, pRescRibiNg cultuRe ?
Referencing cultural contents on                            the contents of web pages so that they canthe internet, prescr...
Etude de l’Atelier BNP Paribas pour le Forum d’Avignon – Novembre 2011    ing and prescribing their content on the Inter- ...
In 2011, many cultural players have visibly                    investments. The majority of the current In-taken the measu...
Etude de l’Atelier BNP Paribas pour le Forum d’Avignon – Novembre 2011    search engines25 or via the specialised search  ...
content, and in consequence their prescrip-                torrent38: 17%; YouTube: 10%; Flash Video:tion service is extre...
Etude de l’Atelier BNP Paribas pour le Forum d’Avignon – Novembre 2011     In addition, social networks are already dis-  ...
Thomas Paris49 draws attention to the fact                 gaps in the current ecosystem where a de-that cultural prescrip...
Etude de l’Atelier BNP Paribas pour le Forum d’Avignon – Novembre 2011     or in a specialised community usually does not ...
formance of online and off-line prescription                        search for micro-content. Facebook, whose visitors rem...
Etude de l’Atelier BNP Paribas pour le Forum d’Avignon – Novembre 2011     particularly those whose shelf life is very sho...
hits, and Parthenon slightly more than 1.5 million.             of the “customer experience” on the InternetIn an Interbra...
Référencer les œuvres                              médias : TV, Radio, Presse, affichages publici-                        ...
Atelier BNP Paribas : Referencing cultural contents on the internet, prescribing culture ?
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Atelier BNP Paribas : Referencing cultural contents on the internet, prescribing culture ?

  1. 1. RefeRencingcultuRalcontents onthe inteRnet,pRescRibingcultuRe ?November 2011
  2. 2. RefeReNciNg cultuRalcoNteNts oNthe iNteRNet, pRescRibiNg cultuRe ?
  3. 3. 4
  4. 4. Referencing cultural contents on the contents of web pages so that they canthe internet, prescribing culture ? present these references in response to que- ries launched by users via keyword searches4.On digital networks, content, references and Each reference consists of a hyperlink and aprescription are inseparable summary, placed inside a new web page cre-To reference a cultural good on the Internet, ated dynamically in response to each userit is sufficient to evoke its existence through query. On the Internet, the best referencesa text, a photo, a sound recording or a video, are in themselves regarded as valuable con-or to signal the existence of digital cultural tent and as an important source of traffic forcontent with a hyperlink, a website address, web sites and search engines.the name of a Facebook profile, a Twitter1account name or hashtag, or a keyword to Paid referencing includes publishing onlineuse on your favourite search engine. Each advertising references, either by associatingunit of content can refer to other references the references with content (Display Adver-and other cultural artefacts that have not tising5), or by associating them with searchonly an online presence, but also a physical terms on search engines (Keyword Advertis-existence: the address of a historic building ing6). Keyword advertising enables advertis-or a neighbourhood bookstore, the date and ers to place commercial references in thevenue of a concert or a ballet, the title of a results pages generated by search enginesCD, DVD or a book. On the Internet, culture- based on the keywords selected by usersrelated content is de facto a reference to cul- when formulating their queries.tural artefacts and to artists. References to cultural goods and servicesNatural referencing is a set of best practices carry a de facto form of prescription, such asthat allows website administrators to ensure an educational value for Wikipedia articles, athat their contents are visible to and acces- community and social value for recommen-sible by Internet users. These best practices dations on Facebook and Twitter or a com-include, among others, the ability to create mercial value for sponsored links. Accordingdirect links to other content within the pages to Bruno Racine7, a cultural player who op-of the same website, ensuring that the pages erates on a global scale must aim for com-and content of a site can also be referenced prehensive referencing, as the prescriptiondirectly by other web sites and by all chan- of any material published on the Internet isnels and Internet media (email, photos, vid- the result of a constraint linked to this goal ofeos, games, news media), and generally by all comprehensiveness.forms of media: TV, radio, print media, adver-tising displays, mobile services, etc. The referencing and prescription of cultural content on the Internet follows the rules laidFree search engine referencing2 is a process down by the Internet leadersin which software programmes known as As it currently stands, cultural players haverobots create dynamic references3 based on not yet developed specific rules for referenc-1- On the social networking and microblogging tool Twitter (2006, USA), an account name is referenced by the @ sign and the subject of a tweet (a message with a maximum of 140 characters) by the # sign, which is called a hashtag.2- The main search engines are Google, Bing (Microsoft), Baidu (a Chinese search engine) and Altavista (Yahoo!)3- In other words, they are created automatically and for a limited period of time.4- Not all search engines operate on the basis of keywords (e.g. parametric engines, navigation search engines etc.), but search engines destined for use by the general public generally favour the simplicity, for the user, of keyword searches.5- Banner ads6- Sponsored links7- Bruno Racine is the Managing Director of the Bibliothèque nationale de France (BNF - French National Library) 5
  5. 5. Etude de l’Atelier BNP Paribas pour le Forum d’Avignon – Novembre 2011 ing and prescribing their content on the Inter- digital environment to develop new practices net. The rules that apply to cultural content without their input. These new global play- are the same as those that apply to all other ers, driven by their long-term strategic fo- content available on line. They were devel- cus, have invested heavily in developing and oped and implemented by the stakeholders implementing the new rules of the game. who are most invested in the digital economy. This holds true for all traditional media12, but unlike the book and music industries, whose Google has been in existence since 1998. Its online product referencing is now fairly ex- contribution to the development of the Inter- haustive and for whom legal and profitable net and digital networks can be estimated at distribution models are now operational, the about $100 billion, expressed as the sum of film and video industries in particular are still its operating costs between 2001 and 20108. struggling to promote their products via the This figure represents, in a sense, the effort Internet. The VoD13 sector has not under- expended by the company in its bid to climb stood how (or has failed) to innovate to any to number one in terms of traffic and audience9. significant degree in terms of referencing or prescribing its products via the Internet; for Amazon has been in existence since 1994. Its the distribution of legal online videos, the contribution to the development of e-com- main business models have in general have merce and the digital economy in general can remained very traditional, despite some be estimated at about $132 billion, expressed breakthrough initiatives such as that of Net- as the sum of its operating costs between flix14 in the United States. 1995 and 201010. This figure represents, in a sense, the effort expended by the company The digital strategy of traditional cultural in its bid to climb to number-one position in players remains immature terms of online retail sales. Mats Carduner15 notes that the Internet strat- egy adopted by traditional cultural and media Many experts in culture, technology and the players is not yet mature, as it is still essential- economy are in agreement in thinking that ly based on attempts to transpose traditional the traditional cultural players have not always models to the new channel and is designed been successful in innovating to meet the to maintain established positions in the very changes brought about by the Internet revolution. short term. Many players have adopted an at- In interviews given for the 2011 Forum d’Avignon, titude of defiance and rejection of the new two players in particular stressed this fact. mechanisms, which cannot, in his view, bear fruit in the long term “as it is essential for Some media are still finding it difficult to in- them to embrace the subject, to know how to novate in the digital environment take risks and to adopt a dynamic approach Marc Tessier11 recalled that during the early of permanent experimentation.” years of the Internet revolution, the media as a whole were effectively paralysed by the fall But many players within the cultural ecosys- in prices inherent in the digitisation of their tem have a clear vision of the new rules of content. They allowed the leaders in the new the game 8- Cf. 9- According to 10- Cf. 11- Marc Tessier is the President of Video Futur Entertainment Group SA 12- Traditional media are those that have not historically used digital media forms 13- Video On Demand 14- Cf. 15- Mats Carduner is the CEO of Fifty-Five, a company specialising in the analysis and development of Internet traffic conversion solutions. Previously, he was the Managing Director of Google France6
  6. 6. In 2011, many cultural players have visibly investments. The majority of the current In-taken the measure of the digital revolution on ternet leaders are companies that have, firstboard. According to Marc Tessier, the Internet and foremost, developed services that havehas become in itself a form of cultural heritage. attracted users en masse, prior to identifyingAs for Bruno Racine, he believes that we need to their business model.fundamentally rethink the referencing tools andaccess to resources if we are to participate in Google’s total revenues between 2001 anddeveloping the new rules of the game. The French 2010 were approximately $144 billion, andcompany MyMajorCompany16 demonstrates its net profit was about $31 billion. Google’sthat it is possible to develop a traditional profit margin is significant, but it is achievedmusic production business using the mecha- primarily through B2B services23 with onlinenisms of the social web (crowd funding). advertising. Its Internet services provided to the public are predominantly free.Simon Istolainen17: “MyMajorCompany is a record label18 inthe traditional sense, but it uses the mechanisms of the webcommunity to launch and develop the careers of its artists. Amazon’s cumulative net income betweenIt remains in essence a record label, but it has developed a 1995 and 2010 was approximately $1.3 bil-unique business model to exploit the opportunities presented lion. Its net profits were negative betweenby an Internet platform.19” 1995 and 2002. Its business, the majority ofComprehensive content, ease of use and at- which is generated through B2C sales24, pro-tractive prices are the three golden rules of duces a very low profit margin. In 2010, theInternet referencing company reported a profit of $1 billion onFor Andrew Cecil20, comprehensive referenc- sales of $35 is the number one objective in order tooffer customers the best possible online ex- Automation is essential for referencing allperience. For Annina Svensson21, this is the online contentonly way to establish credibility in the face Free search engine referencing is an industri-of piracy websites – a conviction that is also al mechanism in which search engines createshared by Marc Tessier. According to Maxime dynamic references from all of the web pagesTiran22, comprehensively referencing the en- that they access. Google has become thetire contents of the web is an impossible goal; world’s leading search engines thanks to theyet this is Google’s mission. performance of its algorithms and computing centres. Historically, its ability to automatical-Annina Svensson: “Access to music should be as simple as ly manage very large volumes of informationpossible in order to capture and retain users. These prin- enabled it to take an early advantage over itsciples, which were set out in 2006, remain the basis of Spo-tify’s strategy.” main competitors, particularly Yahoo!, whose initial service was a directory assembled fromMaking life easier for users at acceptable a selection of sites by specialised personnel.prices is one of the laws of the Internet econ- Today, dynamic search engine referencing hasomy, largely supported by the U.S. innova- established itself as an essential tool for cul-tion ecosystem through significant financial tural access, whether through large generalist16- cf. www.mymajorcompany.com17- Simon Istolainen, co-founder of MyMajorCompany.18- MyMajorCompany also publishes books and comic books. Cf. and www.mymajorcompanybd.com19- As opposed to the German website, which is an online record production platform.20- Andrew Cecil is Public Policy Director at Amazon EU21- Annina Svensson is France Country Manager at Spotify22- Maxime Tiran is an engineer at Google France23- Business To Business.24- Business To Consumer. 7
  7. 7. Etude de l’Atelier BNP Paribas pour le Forum d’Avignon – Novembre 2011 search engines25 or via the specialised search spontaneously create newsgroups, forums, engines that are now integrated as standard wikis, blogs, Facebook groups and Twitter into the majority of content provider websites. accounts, through which through billions of references to artists and their favourite works Content sites are the main referents and are published. Finally, there are sites of pub- prescribers of cultural goods on line lishers, institutions, information portals oper- Natural referencing consists of publishing ated by leading media companies, Internet content on a website and creating links to this access pages by companies such as Orange content, or allowing links to be created by all in France, and sites from the new leaders in Internet applications. the distribution and sale of artistic goods on line (YouTube, Netflix, Amazon, iTunes, Spotify, Direct links are probably those that drive the etc.). majority of traffic to websites: in other words, references between pages within a site. But In 2008, Google’s crawler29 scanned more there are also links stored by Internet users than 1,000 billion pages to index several bil- themselves; for example, by using a website lion of them. It thus created several billion address as the home page of a browser, via new pages per day30. Between June and Sep- bookmarks stored in a browser, inputting a tember 2011, the estimated size of Google’s URL26 directly into a browser’s address bar, index ranged between 40 and 50 billion web and through links stored in personal applica- pages (the equivalent index created by Bing tions installed on a user’s PC, tablet or smart- varied between 6 and 18 and billion, while phone. Yahoo! Search ranged between 10 and 18 bil- lion)31. It is not unusual for these web pages In 2011, Google (Search, News & Maps) was to contain dozens of indexed URLs32, which the entity that drove the most traffic to the are themselves references to Internet con- 25 largest news sites in the United States27, tent. It is not possible to count the references with rates of between 20% and 40% for the included in the form of non-clickable con- seven leading sites – but it was not the domi- tent (text, images, video, animations etc.), nant source of traffic. Direct links represent- but they probably increase the total number ed an average of 60 to 65% of traffic, against of references on the Internet several-fold. 35 to 40% for indirect links to external sites Among these uncountable references are (including links from search engines)28. those referring to non-digitised resources (ti- tles of paper books, the addresses of monu- On the Internet, websites provide the ma- ments, dates of events etc.). The referencing jority of cultural references. These include of physical objects and places will be one of pages by artists who create their own sites the challenges of internet referencing in the and allow these sites to be hosted on com- years to come, and a major challenge for munity and social internet platforms such as search engines. MySpace, Daylimotion, YouTube, Facebook Despite their goal of comprehensiveness, and Twitter, and those of their fans who search engines cannot index all Internet 25- Cf. Google, Yahoo!, Baidu, Bing, Ask, Yandex 26- Unique Resource Locator: a unique address that provides a means of locating content on the Internet 27- With the exception of: The Wall Street Journal, BBC News, Reuters and Bing News. 28- According to a study carried out in 2011 by Nielsen and PEJ Research. Cf. sis_report/who_drives_traffic_news 29- This is a generic term for any programme (such as a robot or a spider) that automatically discovers and scans websites by following links from one website to another in order to generate a list of search results 30- 31- Source: 32- Over the years, the website claims to have crawled through around 353 billion different web pages and to have identified around 3 billion URLs, which represents an average of 10 URLs per page8
  8. 8. content, and in consequence their prescrip- torrent38: 17%; YouTube: 10%; Flash Video:tion service is extremely basic compared to 4%. In third place, web (http) traffic repre-the types of prescription in place on content sented 17% of Internet streams.sites. Although they represent the most pop-ular brands on the Internet, they are not the Facebook, which is currently the dominantmain prescribers of culture on line. social network, has not achieved the same level of influence as Google in terms of traf-Search engines are the gateways and inter- fic generated for websites. However, its his-sections of Internet traffic torical progression is very similar to Google’s,In May 2011, the audience for all Google sites and social networking could eventually be-combined reached one billion users33, or ap- come the world’s most popular Internet ser-proximately half of the total number of Inter- vice, overtaking users worldwide34. In September 2011, Facebook was generat-By way of comparison: ing just under 0.64% of the references on the web (for every 10,000 links followed, 64 wereMicrosoft has served more than 900 million from Facebook), against just over 0.1% forInternet users YouTube, 0.02% for Twitter and 0.001% forFacebook, more than 700 million Google+.39Yahoo! more than 690 millionWikimedia35 approximately 400 million. While social networks have not yet reachedAccording to Mats Carduner, Google acts as the level of influence achieved by searchan air traffic controller, and search engines engines, their progress is rapid and they arein general have become key players with already the most important players in termsrespect to referencing not only because of of traffic sources for entities whose businesstheir technical performance and unmatched model relies on community mechanisms.operational excellence, but also because they Annina Svensson: “Facebook is the number one source ofare an important, and sometimes dominant, traffic for Spotify, ahead of the search engines”.source of traffic for sites with cultural con-tent. But search engines are not the main In 2010, Facebook generated up to 10% of thesource of traffic for websites in general, and a quarterly video traffic for online media sitesnumber of issues will challenge their perfor- (against 1% for Twitter and 60% for Google)40.mance in the coming years, including issuesrelated to video36, real time, social networks In March 2011, Facebook was already anand mobile services. important source of traffic for the 25 largestIn March 2011, the Internet traffic generated news sites in the United States41, with ratesby Netflix on fixed networks in North America ranging from 1% to 8% of the traffic for lead-exceeded that of all other Internet applica- ing sites. Facebook was the second or thirdtions37. In addition, four of the five most most important source of traffic for Huffing-popular types of streams were video streams: (8%),, MSNBC.Netflix accounted for 25% of the streams; Bit- com, Topix and The New York Times.33- According to www.comscoredatamine.com34- In March 2011, the number of Internet users globally amounted to over 2 billion people. Cf. www.internetworlds- For example Wikipedia, Wikibooks etc. Cf. The leading search engines have essentially been designed to analyse pages of text37- According to www.sandvine.com38- A file-sharing platform predominantly for video and audio files39- According to www.netmarketshare.com40- According to the study conducted by BrightCove and Tubemogul in the United States41- According to the study by Nielsen and PEJ Research. Cf. traffic_news 9
  9. 9. Etude de l’Atelier BNP Paribas pour le Forum d’Avignon – Novembre 2011 In addition, social networks are already dis- Thomas GUIGNARD45: “AdWords functions as a marketplace where prices, at equilibrium, are indexed at the level of the tribution platforms for cultural goods. Like profitability of the e-commerce platforms to which spon- Lady Gaga, many artists already have an on- sored links are directed (the maximum cost of the click is line shop on Facebook, where they not only determined by the advertiser based on the profit margin ge- sell branded merchandise, but also transact nerated by the client on each e-commerce platform). These levels of profitability are standardised by sector of activity. direct-to-customer sales of their albums. AdWords’ rates are stable and correspond to the platforms’ level of profitability by sector of activity”. Search engines prescribe cultural players more effectively than cultural goods Paid search consists of publishing advertis- Because they must make choices in order to ing references on line, either by associating reference the whole of the content of the them with content (Display Advertising), or web, search engines place themselves, de facto, in the role of prescribers. But they are by combining them with search keywords on technical prescribers, which focus primar- search engines (Keyword Advertising46). ily on showcasing the best practitioners of Keyword advertising, perfected by Google natural referencing. Their results pages direct with the development of a marketplace al- users to the websites of content providers, gorithm for the auction of keywords, allows who are the real prescribers of culture, rath- advertisers to place commercial references er than to the cultural goods themselves. By in the results pages of search engines ac- contrast, other tools, such as comparison or cording to the keywords Internet users enter recommendation sites, seek to prescribe the into their search queries. Following Google’s cultural goods directly. Some independent success in the online advertising market, this players, such as Twenga42, aim to reference particular mechanism was adopted by the and prescribe all of the goods available for sale on the Internet. But for the time being, main search engines and by many content their audience is small compared to that of sites offering it to advertisers under a ge- leading search engines, and the number of neric trademark, making it a global keyword cultural references is far fewer than the num- referencing standard. Keyword advertising is ber of references available on the main distri- currently the world’s leading mechanism in bution sites. on line paid referencing47. Marketing direc- tors who adopt this system become traders As of late September 2011, Twenga had listed simply by using an application developed by more than 420 million products43. Although Google. According to Cédric Naux48, the role approximately 30,000 references from the of marketing director is in the process of Amazon catalogue were included, Amazon changing from negotiating publishing con- itself has nearly 30 million book references, more than 17 million songs, 1.7 million music tracts to trading in a marketplace. albums, 900,000 video44 references, and more. The Internet has given rise to the disinter- With the advent of paid keyword searches, mediation and reintermediation of the re- marketing directors are becoming active lationship between the general public and auction participants cultural goods 42- Cf. 43- Source: Twenga 44- Source: Amazon 45- Thomas GUIGNARD is Media and Local Market Manager at Google France 46- Sponsored links 47- In terms of expenditure 48- Cédric Naux is Technical Director at Bayard Presse10
  10. 10. Thomas Paris49 draws attention to the fact gaps in the current ecosystem where a de-that cultural prescription is absent from de- mand exists that no content provider is ablebates concerning the Internet and suggests or wishes to meet. The dominant positionsseveral areas for discussion, not only in or- taken by some technical intermediaries areder to highlight the reasons for this absence, a cause for concern for many of the playersbut also in order to heighten awareness of in the cultural ecosystem, especially whereits consequences within the culture ecosys- there is a risk of collusion linked, on the onetem. The prescription of culture is masked hand, to an activity based on the provision ofby several myths and, in particular, the myth technical prescription available to all, and onthat the Internet will link the general public the other hand to commercial activities thatdirectly to the artists and their work. In fact, are competing with those of customers or us-one increasingly widespread trend on the ers of the technical platform. Some playersInternet is the disintermediation of the rela- are raising the question of governance, in or-tionship created by traditional cultural play- der to ensure the independence of the activi-ers between the general public and cultural ties carried out by these key technical play-goods, which is being replaced by the reinter- ers. In France, the report “Creation and themediation of this relationship by the major Internet”, commissioned from Patrick Zelnik50players in the digital economy. According to by Frédéric Mitterrand, the French MinisterThomas Paris, a collection of myths associ- of Culture, recommended that regulationsated with the Internet mask the fact that the be put in place to ensure the diversity anddevelopment of the economy on digital net- legality of music platforms on the Internet,works tends to be influenced by the competi- and in general to ensure the diversity of thetion between the players, who are each vying offer and compliance with artists’ copyrightsfor a dominant position. on line.The issue of the neutrality of technical play- Patrick Zelnik: “Regulation implies a transfer of wealth from the new technical operators - who have the means - to theers on the Internet is not a question of bias, content industries.”but the independence of the prescriptionWhile the industrial approach is necessary in The new referencing mechanisms promoteorder to understand the world’s new digital the diversity of the products available to thememory, the leading technical platforms, publicwhich have become essential for access to We should start from the principle that all cul-cultural goods, have inherited an entirely tural goods are referenced on the Internet, ornew level of power and responsibility. While that they rapidly become so as soon as theyGoogle, Amazon and iTunes are unanimous have a public existence, either because thein asserting that their services are limited to authors, their fans, publishers, distributorsproviding a technical form of prescription of etc. prescribe them, or because someoneculture, the majority also have activities in searches for them. If a keyword search on thewhich they exercise prescriptions for their major search engines is not sufficient to lo-own commercial benefit, even if only to fill cate a reference, a question asked in a forum49- Thomas Paris a researcher at the CNRS, HEC and École polytechnique), an associate professor at HEC, and co- author with Pierre-Jean Benghozi of several publications on the prescription of culture on line, including “The economics and business models of prescription in the Internet”, in Internet and Digital Economics, Cambridge University Press, 2007 edited by Eric Brousseau and Nicolas Curien50- Patrick Zelnik is the CEO of the Naïve music label. The Zelnik Report: Presse/Dossiers-de-presse/Rapport-Creation-et-Internet 11
  11. 11. Etude de l’Atelier BNP Paribas pour le Forum d’Avignon – Novembre 2011 or in a specialised community usually does not seek to give prominence to the catalogues of take long to provide, or even to create, valid the major book, CD and DVD publishers (vid- references. In addition, for very precise and eo on demand is less advanced at the present specialised queries, references to blockbust- time). The concentration effect traditionally ers generally rank lower than those of the art- found in these markets is thus reproduced on ists or works that precisely match the query, the digital networks. including references on the generalist search engines. In this sense, the Internet promotes If the increase in the size of the catalogues the diversity of cultural products. We can say available online can be interpreted as an this in an absolute sense if we measure the effect of the “long tail” phenomenon de- number and variety of cultural references scribed by Chris Anderson52 in 2004, indus- available online and the ease with which it is trial referencing methods and recommenda- possible to access them (for those who have tion mechanisms that combine automation a Internet access51). software and user reviews also promote the phenomenon of “hits”. The vast majority of In end-September 2011, the search engine technical players leave the prescription of the integrated into the Amazon website in the artists and their work contained in catalogues United States returned more than 33 million to the publishers and content producers. Un- book references. A search of the Kindle cata- derstandably, these publishers and produc- logue returned more than 900,000 referenc- ers focus on their best sellers for reasons of es, including more than 500,000 eBooks. The cost and profitability. On line distributors also Video & TV category returned nearly 900,000 promote their best sellers (the references references. The MP3 Downloads category re- most frequently requested by users), either turned more than 17 million titles and more automatically or by enabling their customers than 1.7 million album references. The Music to make recommendations about their pur- category returned nearly 4 million CD refer- chases. Ultimately, the convergence of these ences. mechanisms can create a “snowball” effect that concentrates demand on a few refer- The new mechanisms for referencing and ences rather than on all of the references in prescription can also contribute to the con- the catalogue. This phenomenon is exacer- centration of demand around best sellers bated by the fact that the current offer con- Not all cultural content is equally visible to all centrates demand around a small number of Internet users. The visibility of cultural refer- platforms with global reach. ences on line depends on the determination of the Internet users, their interests and their Patrick Zelnik: “It’s not the Internet itself that prevents the growth of a diversity of offers, but the phenomenon of indus- ability to use these mechanisms effectively trial concentration in general” to access content. Alternative works are vis- ible primarily to users who are interested in The performance of new online prescription alternatives to blockbusters, as the leading mechanisms is still difficult to measure broadcast and online distribution platforms The measurement of the comparative per- 51- Approximately 50% of the world population has access to the Internet in 2011 52- Cf. Chris Anderson “The Long Tail: Why the Future of Business is Selling Less of More” - 2006, Hyperion, New York12
  12. 12. formance of online and off-line prescription search for micro-content. Facebook, whose visitors remain on the site for approximately 55 minutes per day, has twomechanisms does not yet exist a priori, because key strengths: the instantaneous spread of messages, andalthough, for the time being, it is theoretically the site’s capacity to convert its users. The observed conver-possible to measure everything on the Inter- sions are very highly coloured by prescription, which has a very strong capacity to spread to other audiences and to re-net, there is no reliable method for measur- direct traffic to other sites”.ing the performance of online campaigns53.However, the technical performance of cer- To promote cultural diversity on the Inter-tain platforms and the level of integration of net, some players are playing the open ac-their services make it possible to immediately cess cardfocus all of the different types of media on a In his role as content distributor and serviceprescription, creating a commercial hit. aggregator for Orange, David Lacombled56 proposes bringing players from the Internet,Patrick Zelnik: “During the Victoires de la Musique54 in 2011, print media, radio, TV and mobile servicesBenjamin Biolay55 was competing. He was ranked at no. 60on iTunes. At the end of the ceremony, when Benjamin Biolay industries together around a common, openhad won, he was ranked at no. 1 on iTunes.” platform, in order to address the whole of the market.Apple is a case study illustrating how the in-tegration of services throughout the prescrip- David Lacombled: “It is a question of providing an alternative for users who do not want to depend on a closed ecosystem,tion chain makes it possible to direct the pub- whether with respect to terminals or services, and to ensurelic from cultural references to cultural goods, diversity in terms of access to content ... it’s a commitmentwithout breaking the chain. However, this against format obsolescence in the digital domain: a right purchased over content must be adapted by the operatorlevel of control is not the standard for online to operate on all of the terminals on the market. A digitalservices today – far from it. book, for example, must be accessible on the user’s PC, mo- bile or tablet, regardless of brand ... this is also about creat-Mats Carduner: “Paid referencing by advertising services, ing a diverse ecosystem: facilitating the dissemination andparticularly those provided by search engines, enables ad- identification of content, bringing players together aroundvertisers to acquire traffic relatively efficiently, but does not common projects with the aim of helping them to spreadconvert that traffic into sales. In a context where acquisition beyond the European platforms, to counterbalance marketchannels are becoming more numerous, porous and com- concentration where companies will always tend to promoteplex, it is necessary to help companies to understand which the dissemination of blockbusters. Because we are all awareacquisition channels it should use, at what price and with that many artists and product creators are needed for awhat return on investment in terms of conversions”. blockbuster to emerge that finances the entire ecosystem.”This discipline is all the more difficult in that The use of alliances among players appearsit is continuously disrupted by new mecha- to be fairly well perceived within the cultur-nisms, such as the social web. al ecosystem Many players also believe that alliancesMats Carduner: “The social web is changing the face of the should be welcomed, and that they may evenecosystem, and it may dramatically alter the dominance be essential, in order to guide the online cul-of the Internet “air traffic controllers” by changing the ba-lance of power between the transmitters and the receivers ture ecosystem towards a balance that fa-of messages. The new mechanisms of the social and com- vours cultural diversity.munity webs, such as recommendations from friends, effec-tively encourage the reach of Internet web sites (the long tail Bruno Racine: “The collective approach is attractive becausephenomenon) in the form of micro-visits motivated by the dominant positions make access to resources very expensive,53- Cf. “measuring the effectiveness of online advertising Study”, PwC 201054- Cf. www.lesvictoires.com55- Cf. www.benjaminbiolay.com56- David Lacombled is the Deputy Director for Content Strategy at Orange 13
  13. 13. Etude de l’Atelier BNP Paribas pour le Forum d’Avignon – Novembre 2011 particularly those whose shelf life is very short. It may be point of sale, and in emerging markets mo- necessary to establish consortiums to give “so called cultural academies” bargaining power with respect to digital content bile networks are developing the majority of suppliers.” uses for digital technology. However, the in- tegration of services between cultural goods, Mats Carduner: “Alliances between players in the same sector should not be overlooked, as they can act as a coun- or their physical references, and their digital terbalance to the dominant players, as well as influencing references has still barely begun. The players regulators’ decisions.” who know how to exploit the new opportuni- ties offered by the entire set of distribution The risks of dominance exist, but dominant networks will define the rules of the next players do not stand the test of time digital revolution – for example, by not al- In order to address the dominant positions of lowing the consumer to systematically return certain players, the culture ecosystem natu- to the search engines, in the absence of an rally seeks to redress the balance, building alternative. In addition, in a competitive en- alliances as needed. But dominant positions vironment in which the leading players in the do not last forever, and new players, such as bricks-and-mortar mass retail sector are able Facebook and Wal-Mart, are already threat- to capture the core of consumer demand, ening the dominance of Google and Amazon. leading Internet players may be seen as vec- Bruno Racine: “New dominant players are certainly emer- tors for widening the diversity of the offer. ging, but this trend towards monopoly is not sustainable over time ... the game is just beginning, and in twenty years’ What will be the future major “brands” of time this digital revolution may well have been replaced by something new.” culture on the Internet? Marc Tessier: “The professionals believe in the power of Mats Carduner: “The social web is in the process of reba- brands as prescribers. But which brands are we talking lancing the ecosystem, and social networking platforms can about?” become allies of cultural entities.” Google, Facebook and Twitter are three Annina Svensson: “Facebook is the number one source of traffic for Spotify, ahead of the search engines”. words that are likely to be the core around which the three most important Internet The next digital revolution will replace the webs will be woven. point of sale, and physical cultural goods will be at the heart of these challenges At end-September 2011, a Google search us- With approximately 1% to 2% of its sales car- ing Facebook as the keyword returned nearly ried out on line, Wal-Mart57 is already one of 18 billion hits59; Google and Twitter received the leading e-commerce entities worldwide nearly 12 billion hits each. Each of these ref- in terms of revenues58. This year, the retail erences returns exclusively to each of the giants have begun to integrate digital tech- relevant companies, a priori, since these nologies into their distribution networks. terms are not used outside of these specific The challenge of e-commerce is now shift- contexts. By way of comparison, the keyword ing to the use of digital applications at the Bible returned just under 420 million hits, point of sale. Mobile services already allow Beatles 206 million and Shakespeare 34 mil- access to online references from a physical lion hits. Louvre returned nearly 40 million 57- Wal-Mart’s 2010 revenues were approximately USD 420 billion (cf. ) 58- The number one position goes to Amazon 59- Dynamic references created by search engines in response to keyword queries14
  14. 14. hits, and Parthenon slightly more than 1.5 million. of the “customer experience” on the InternetIn an Interbrand60 ranking of global brands, in favour of an easy solution that lets userssix of the ten largest brands are technology find their way on their own, using the toolscompanies. Microsoft is in third place, and provided free of charge by technical players.Google ranks fourth. Apple is no. 6. The ten Because it now includes digital tools, the evo-largest global brands are American. The two lution of business at the point of sale gives uslargest companies in the media sector, Dis- an opportunity to return real cultural goodsney and Thomson Reuters, rank in 9th and to the heart of our thinking about referenc-37th place respectively. Disney’s61 visibility on ing and prescription, in order to correct thethe Internet is significantly lower than that of balance of power between traditional cultur-other brands in its category. al players and the new players of the digital economy. The phenomenon of demateriali-The best-known brands on the Internet are sation and re-materialisation of our everydaytechnology company brands. The majority of objects is an ongoing process that will engen-these companies did not exist fifteen years der, with each new cycle of innovation, newago. Among the top ten are two Chinese opportunities and new challenges.companies; the others are American. Chinaand the United States are the two largest In-ternet markets.Returning cultural goods to the heart of ourthinking, creating a web around each oneBruno Racine: “One of our projects is to create a web aroundan object, based on additional layers of information, to re-create the need for order and organisation that will supportqueries based on the technical tools of the web: for example,in response to a question like “Who is Victor Hugo?”We have already begun to weave websaround cultural goods, but in a disorganisedand probably unconscious way. Returningcultural goods to the heart of our thinking isa matter of giving each one an existence anda weight on the Internet, not only in the formof digital copies, but also in the form of anInternet graph – in other words, a collectionof mutually referencing content that togethercreate meaning that can be detected by thetools of the semantic web.Some content providers have had a tendency,in recent years, to neglect the fundamentals find the full version of the study at www.interbrand.com61- The keyword Disney returned approximately 188 million hits on Google 15
  15. 15. Référencer les œuvres médias : TV, Radio, Presse, affichages publici- taires, services mobiles etc.sur internet,prescrire la culture ? Le référencement gratuit par les moteurs de recherche2 est un processus dans lequelSur les réseaux numériques, les contenus, des logiciels appelés robots, créent desles références et la prescription sont indis- références dynamiques3 à partir des conte-sociables nus des pages web, de manière à présenterPour référencer un bien culturel sur Internet ces références en réponse à des questionsil suffit d’en évoquer l’existence par un texte, d’internautes formulées à l’aide de motsune photo, un enregistrement sonore, une vi- clés4. Chaque référence consiste en un liendéo… ou de signaler l’existence d’un contenu hypertexte et un résumé placés à l’intérieurculturel numérique, à l’aide d’un lien hyper- d’une nouvelle page web créée dynamique-texte, d’une adresse de site internet, d’un ment en réponse à chaque requête d’inter-nom de profil Facebook, d’un nom de compte naute. Sur Internet, les meilleures référencesou d’un hashtag sur Twitter1, ou encore d’un sont elles-mêmes considérées comme desmot clé à utiliser sur son moteur de recherche contenus de valeur et une source de traficpréféré... Chaque contenu peut renvoyer vers important pour les sites web et les moteursd’autres références ou d’autres biens cultu- de recherche.rels présents en ligne mais surtout vers desbiens réels, l’adresse d’un monument histo- Le référencement payant consiste à publierrique ou d’un libraire de quartier, les dates et des références publicitaires en ligne, soit enlieu d’un concert ou d’un ballet, le titre d’un les associant à des contenus (Display Adver-disque ou d’un livre… Sur Internet les conte- tising5), soit en les associant à des mots clésnus à caractère culturel sont de facto des recherchés sur les moteurs de rechercheréférences aux biens culturels et aux artistes. (Keyword Advertising6). Ce dernier méca- nisme permet aux annonceurs de placer desLe référencement naturel consiste en un en- références commerciales dans les pages desemble de bonnes pratiques qui permettent résultats des moteurs de recherche en fonc-aux administrateurs des sites Internet de tion des mots clés choisis par les internautesveiller à ce que leurs contenus soient visibles pour formuler leurs requê accessibles par les internautes. Ces bonnespratiques comprennent, entre autres, le fait Les références aux biens et services cultu-de créer des références directes aux conte- rels véhiculent de facto une forme denus à l’intérieur des pages d’un même site prescription, avec par exemple une valeurweb, en faisant en sorte que les pages et les pédagogique pour des articles Wikipedia,contenus d’un site soient également référen- une valeur communautaire et sociale pourcés directement par d’autres sites web, par des recommandations sur Facebook ou Twitter,l’ensemble des canaux et supports d’Inter- et une valeur commerciale pour des liensnet (email, photos, vidéos, jeux, médias), et sponsorisés. Selon Bruno Racine7, un acteurd’une manière générale par l’ensemble des de la culture d’envergure mondiale doit viser