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#SocialTVConf Presentations - 22/1/13 - Matt Locke from Storythings

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#SocialTVConf Presentations - 22/1/13 - Matt Locke from Storythings

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Matt Locke's outstanding and insightful opening presentation at the event, giving us a fascinating journey through Social TV, and his `ABC` of how to drive best effect, through understanding consumer behaviour.

Matt Locke's outstanding and insightful opening presentation at the event, giving us a fascinating journey through Social TV, and his `ABC` of how to drive best effect, through understanding consumer behaviour.


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#SocialTVConf Presentations - 22/1/13 - Matt Locke from Storythings

  1. 1. The ABC of social TV Matt Locke @matlock @storythings
  2. 2. Attention Behaviours Circulation
  3. 3. What is attention?
  4. 4. Attention is the feedback loop for stories It is the connection between artists and the audience Attention is a visceral experience
  5. 5. New technologies give rise to new attention patterns
  6. 6. A. M. 9:00 -- . . Exact astronomical time. 9:30 -- 10:00 . . Reading of programme of Vienna and foreign news and of chief contents of the official press. 10:00 -- 10:30 . . Local exchange quotations. 10:30 -- 11:00 . . Chief contents of local daily press. 11:00 -- 11:15 . . General news and finance. 11:15 -- 11:30 . . Local, theatrical, and sporting news. 11:30 -- 11:45 . . Vienna exchange news. 11:45 -- 12:00 . . Parliamentary, provincial, and foreign news. 12:00 noon . . Exact astronomical time. P. M. 12:00 -- 12:30 . . Latest general news, news, parliamentary, court, political, and military. 12:30 -- 1:00 . . Midday exchange quotations. 1:00 -- 2:00 . . Repetition of the half-day's most interesting news. 2:00 -- 2:30 . . Foreign telegrams and latest general news. 2:30 -- 3:00 . . Parliamentary and local news. 3:00 -- 3:15 . . Latest exchange reports. 3:15 -- 4:00 . . Weather, parliamentary, legal, theatrical, fashion and sporting news. 4:00 -- 4:30 . . Latest exchange reports and general news. 4:30 -- 6:30 . . Regimental bands. 7:00 -- 8:15 . . Opera. 8:15 (or after the first act of the opera). . Exchange news from New York, Frankfurt, Paris, Berlin, London, and other business centers. 8:30 -- 9:30 . . Opera.
  7. 7. 40 Seconds of Twitter Mentions
  8. 8. Why are behaviours important?
  9. 9. Pre 1993 Messaging Using email replying, forwarding, replying all attaching files Using newsgroups
  10. 10. 1994 Browsing Opening a browser Typing a URL Bookmarking
  11. 11. 1998 Searching Typing a search term Refining a search term Navigating search results
  12. 12. 2000 Buying Opening an account Registering credit card details Comparing prices Rating sellers Leaving Feedback
  13. 13. 2003 Blogging Writing and publishing Uploading photos Commenting Linking
  14. 14. 2005 Watching Watching video Installing plugins Rating Time-shifting Binge-viewing
  15. 15. 2008 Going mobile Downloading apps Using location Swiping/Tilting
  16. 16. 2009 Connecting Following friends/celebrities Retweeting/Sharing Liking Tagging/using Hashtags
  17. 17. 2010 Playing Playing social/multiplayer games Using virtual currencies Playing mobile games Two-screening
  18. 18. 2011 Funding Pledging/backing Micro-financing Crowd-sourcing
  19. 19. 2012 Wearing Wearing connected devices Syncing them with mobile/desktops Connecting home devices to the cloud
  20. 20. Audiences learn new behaviours for two reasons: The behaviour is trivially easy The value is incredibly high
  21. 21. Why is circulation important?
  22. 22. We are moving from an age of distribution to an age of circulation
  23. 23.
  24. 24. Design for two people, not one
  25. 25. So...
  26. 26. What does this mean for telling stories now?
  27. 27. We are in the middle of a shift from networks built around distribution to eco-systems built around circulation
  28. 28. GOOGLE APPLE FACEBOOK AMAZON Storage Google Drive iCloud N/A EC2 Android Platform iOS Facebook API Amazon version of Android Google Apps iPod 3rd Party Tablets/mobiles iPhone Kindle Device running Android N/A iPad Kindle Fire Google TV Apple TV Ping Social Google+ Game Center Facebook Kindle Public Notes Twitter (intergrated into iOS) Films/TV (iTunes) Films/TV (Youtube) Music (iTunes) Music (google music) Books (Amazon) Games (App Store) Games Content Books (google books) Music (Amazon MP3) Books (iBooks) Photos Games (Android) Film/TV (LoveFilm) Magazines/Newspapers Photos (Picasa) (Newsstand) Android App Store iTunes Amazon Market Facebook Credits Google Checkout App Store Kindle Store Google AdWords Advertising Google AdSense iAds Facebook Adverts Amazon Advertising Youtube
  29. 29. Youtube is the centre of one of the most interesting battles between distribution and circulation
  30. 30. Social TV will come of age when the schedule is replaced by behaviours from other contexts: organic search algorithmic recommendation social recommendation
  31. 31. It took 30 years for the music industry to be transformed by new behaviours. We’re about 10 years into the same transformation of the TV industry.
  32. 32. so...
  33. 33. We are in a long period of transition
  34. 34. We are in a long period of transition We have to design for new attention patterns
  35. 35. We are in a long period of transition We have to design for new attention patterns We have to design for new behaviours
  36. 36. We are in a long period of transition We have to design for new attention patterns We have to design for new behaviours We have to design for circulation, not distribution
  37. 37. We are in a long period of transition We have to design for new attention patterns We have to design for new behaviours We have to design for circulation, not distribution We are still only at the beginning
  38. 38. Thanks! @storythings

Editor's Notes

  • My talk is a brief history of attention. Attention is what we all want, and something i’m a bit obsessed with. In fact, we’re all obsessed with it - When we talk about ‘big data’, we’re really talking about attention
  • Attention has always been an important factor in storytelling. Its the way you get a sense of how your audience is responding - its an important part of how artists learn and refine their craft. For most of our history, its been a visceral experience - like the roar of a crowd
  • When there is a dominant measure of attention, it affects culture in three ways - the kind of art that people make, the businesses that accrue around culture, and ways of cheating the measure we’re using
  • This is the Telefon Hirmondo, which was a one-way telephone broadcast service launched in 1893. You could buy a one-way telephone and pick it up at various parts of the day. It raised an interesting problem - how do you organise the attention of the audience for a whole day?
  • This is a chart of server traffic from the website for the seven Days documentary at in 2010. It was an experiment in two screen TV, and the red mark is where the server crashed, 10mins into the first programme. Its the first time I’d underestimated attention in my career.
  • This is from the C4 project 1066 - it shows google searches for two phrases, on related to the TV show, and one to the online game. Its interesting to see the differences in shape between the two parts of the project
  • This chart shows what happens when audience’s really want to learn a new behaviour. On the left are the amount of games projects that were funded on Kickstarter before the blockbuster ‘double fine adventure’ project, which introduced 65k users and raised over $3m. On the right are how many projects got funded after these new users had learnt the behaviours necessary to use kickstarter - once people do something once, they are far more likely to do it again.
  • This timeline shows the kinds of behaviours that people using the web have learnt over the last 20 years. Its really valuable to think of internet platforms as collections of behaviours, rather than technology. Often users will learn a behaviour (eg uploading a picture) on one platform (eg flickr) and then other platforms come along that take that behaviour and use it in new ways (eg instagram). At Storythings, we think a lot about designing for behaviours, not platforms.
  • This is how we used to think about participation on the web - lots of ‘lurkers’, a few ‘sharers’ and a tiny minority of active creators.
  • recent BBC research shows how this has changed - many more sharers, more creators, and a much smaller group of passive net users. This change is predominantly because Facebook and Twitter has made sharing and re-circulating content so easy.
  • So when we think about projects at Storythings, we think in terms of designing for two people, not one - how will people talk and share about the project together?
  • One of the affects of a world of circulation is transgression - when your story or content gets shared, it always involves people sharing it in places or contexts that you have no control over. I’ve had a couple of tweets shared a lot of times, and its really odd when you start getting responses from people who have seen your tweet shared 4/5/6th hand, and therefore don’t know you or the original context. This is a fundamental issue for brands - a world of circulation means that the only way to control the context of your brand messages is to not allow them to be shared - to *not be successful*. If you want to be ‘viral’ and encourage sharing, you must also be comfortable with the transgression that drives sharing - people will talk about you and put your stories in contexts that you might be unhappy about. That’s the price of telling stories in an age of circulation rather than distribution.
  • These are the big 4 ecosystems - the ‘stacks’ as bruce Sterling calls them. They are busy building ecosystems that can monetise lots of different patterns of attention , that understand and enable a wide variety of new behaviours , and that encourage and reward circulation rather than distribution. Traditional media companies that have build their ecosystems around specific patterns of attention (eg schedules), that don’t encourage new behaviours (eg time-shifting) and think of circulation as piracy are going to struggle to compete.