Why it is important that people talk about what you make and how you can trigger these conversations.

1. SHAPING
PHENOMENA
How
to
maximize
internaliza=on
&
externaliza=on
April
1,
2011

2. A
phenomenon
is
any
observable
occurrence
(from
Greek:
phainómenon
“that
which
appears”).
SHAPING
PHENOMENA
2
/
58

3. General
mo=ve
In
our
age
of
informa=on,
rhetoric
has
become
redundant
and
can
even
get
downright
offensive.
We
need
to
move
from
messaging
to
meaning.
SHAPING
PHENOMENA
3
/
58

4. We
are
not
passive
receivers
of
an
independent
reality.
To
be
able
to
make
sense
of
a
complex
world,
we
form
mental
construc=ons
as
representa=ons
of
reality.
Individually
and
in
groups…
SHAPING
PHENOMENA
4
/
58

5. PHENOMENAL
REALITY
Social
Percep2on
construc2on
Internaliza2on
SOCIAL
REALITY
INDIVIDUAL
REALITY
Externaliza2on
-­‐
Ref:
Giep
Franzen
&
Marieke
van
den
Berg
-­‐
SHAPING
PHENOMENA
5
/
58

6. PHENOMENAL
REALITY
Social
Percep2on
construc2on
Internaliza*on
SOCIAL
REALITY
INDIVIDUAL
REALITY
Externaliza2on
SHAPING
PHENOMENA
6
/
58

7. Our
view
of
the
world
is
a
social
construc=on.
We
adopt
customs
and
beliefs
from
our
social
environment.
Through
internaliza=on
this
becomes
an
individual
reality.
Internaliza=on
is
the
process
of
acceptance
of
a
set
of
norms
established
by
people
or
groups
influen=al
to
the
individual.
SHAPING
PHENOMENA
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/
58

8. PHENOMENAL
REALITY
Social
Percep2on
construc2on
Internaliza2on
SOCIAL
REALITY
INDIVIDUAL
REALITY
Externaliza*on
SHAPING
PHENOMENA
8
/
58

9. The
processes
of
percep=on
rou=nely
alter
what
we
see.
We
constantly
expose
our
individual
reality.
Through
externaliza=on
we
match
it
with
our
social
environment.
Externaliza=on
is
an
unconscious
defense
mechanism
where
an
individual
projects
his
own
internal
characteris=cs
onto
the
outside
world,
par=cularly
onto
other
people.
SHAPING
PHENOMENA
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/
58

10. Why
are
these
processes
so
important?
SHAPING
PHENOMENA
10
/
58

11. Internaliza=on
creates
trust
Degree
of
trust
in
different
forms
of
adver=sing
-­‐
The
Nielsen
Company
-­‐
SHAPING
PHENOMENA
11
/
58

12. Externaliza=on
creates
reach
SHAPING
PHENOMENA
12
/
58

13. How
to
maximize
internaliza=on
&
externaliza=on?
SHAPING
PHENOMENA
13
/
58

14. PHENOMENAL
REALITY
Social
Percep2on
construc2on
Internaliza*on
SOCIAL
REALITY
INDIVIDUAL
REALITY
Externaliza2on
SHAPING
PHENOMENA
14
/
58

15. i1.
CREATION
The
act
of
making,
inven=ng
or
producing.
SHAPING
PHENOMENA
15
/
58

16. Create
something
never
seen
before.
Embrace
new
technologies.
Create
newness
by
mashing
up
culture.
SHAPING
PHENOMENA
16
/
58

17. A
culture
of
mul=tasking,
on-­‐the-­‐go
consump=on
and
24/7
connec=vity,
requires
designs
for
con=nuous
development
and
change.
SHAPING
PHENOMENA
17
/
58

18. Don’t
talk
about
it,
do
it
Help
customers
Stop
selling
your
Fund
sustainability
ideas
drive
efficiently
product
for
a
day
SHAPING
PHENOMENA
18
/
58

19. Stop
communica=ng
products,
start
making
communica=on
products.
-­‐
Gareth
Kay
-­‐
SHAPING
PHENOMENA
19
/
58

20. Conclusion
Maximize
internaliza=on
by
crea=ng
new
tangible
projects
and
products.
SHAPING
PHENOMENA
20
/
58

21. i2.
SIGNIFICATION
The
act
or
process
of
giving
meaning
by
using
signs.
SHAPING
PHENOMENA
21
/
58

22. A
sign
is
an
observable
unit
of
meaning
that
refers
to
an
absent
object.
SHAPING
PHENOMENA
22
/
58

23. Rela%on
between
sign
&
absent
object
Iconic
Rela=on
based
on
resemblance
Photos,
typography,
pictograms
Indexical
Rela=on
based
on
experience
Indica=ons,
names,
symptoms
Symbolic
Rela=on
based
on
agreement
Words,
badges,
logos
SHAPING
PHENOMENA
23
/
58

24. A
sign
acquires
meaning
in
3
stages:
Firstness
is
how
the
image
itself
is
perceived
(affec=on).
Meaning
can
s=ll
develop
in
any
direc=on.
Secondness
is
no
longer
about
affec=on,
but
understanding
of
the
context
of
the
image.
Meanings
are
not
yet
fixed.
In
Thirdness
the
meanings
of
signs
are
no
longer
emerging.
-­‐
Charles
Sanders
Peirce
-­‐
SHAPING
PHENOMENA
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/
58

25. Firstness
Secondness
Thirdness
SHAPING
PHENOMENA
25
/
58

26. Conclusion
Maximize
internaliza=on
by
using
signs,
but
allow
people
to
assign
their
own
meaning.
SHAPING
PHENOMENA
26
/
58

27. i3.
NARRATION
The
telling
of
a
story
or
of
happenings.
SHAPING
PHENOMENA
27
/
58

28. Narra=ve
organizes
not
just
memory,
but
the
whole
of
human
experience.
Narra=ve
is
an
instrument
of
mind
that
constructs
our
no=on
of
reality.
-­‐
Jerome
Bruner
-­‐
SHAPING
PHENOMENA
28
/
58

29. Narra%ve
structures
Linear
Story
wrioen
in
the
same
=me
order
as
it
took
place.
Mul%-­‐narra%ve
Two
or
more
stories
run
alongside
each
other;
either
mul=ple
people
telling
the
same
story
or
mul=ple
different
stories
that
alternate.
Reversed
Story
moves
back
in
=me
or
heavily
consists
of
ambiguous
flashbacks
and/or
flash
forwards.
Fragmented
Story
is
all
over
the
place
and
the
audience
has
to
figure
out
what
happened
and
in
what
order.
Metafic%on
Story
within
a
story;
a
type
of
fic=on
that
self-­‐
consciously
addresses
the
devices
of
fic=on,
exposing
the
fic=onal
illusion.
Rhizome
Same
story
told
mul=ple
=mes
with
different
twists
and
endings.
Game
Audience
is
part
of
the
story
and
has
direct
influence
on
it;
the
story
unfolds
as
they
go
along.
SHAPING
PHENOMENA
29
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58

30. Marke=ng
typically
follows
the
Hollywood
structure,
aiming
at
comprehension.
While
it
should
adopt
other
structures
to
become
more
interes=ng.
Nobody
comes
out
of
a
movie,
saying
“That
was
a
really
good
movie.
I
really
enjoyed
it.
It
was
really
clear”.
-­‐
Russell
Davies
-­‐
SHAPING
PHENOMENA
30
/
58

31. Conclusion
Maximize
internaliza=on
by
adop=ng
non-­‐linear
narra=ve
structures.
SHAPING
PHENOMENA
31
/
58

32. i4.
DIFFERENTIATION
The
act
of
dis=nguishing
by
giving
specific
difference.
SHAPING
PHENOMENA
32
/
58

33. Different
aspects
or
quan==es
of
knowledge,
possessions
or
culture
can
define
our
status
and
rela=ve
grouping.
-­‐
Jean
Baudrillard
-­‐
SHAPING
PHENOMENA
33
/
58

34. Two
Step
Flow
model
-­‐
Katz
&
Lazarsfeld,
1955
-­‐
SHAPING
PHENOMENA
34
/
58

35. People
tend
to
have
different
roles
within
different
social
environments.
In
a
media-­‐fragmented
world
influencer
roles
become
increasingly
important.
Meanwhile
it
takes
more
effort
to
reach
them.
SHAPING
PHENOMENA
35
/
58

36. Conclusion
Maximize
internaliza=on
by
dis=nguishing
between
and
adap=ng
to
different
social
roles.
SHAPING
PHENOMENA
36
/
58

37. PHENOMENAL
REALITY
Social
Percep2on
construc2on
CREATION
SIGNIFICATION
NARRATION
DIFFERENTIATION
Internaliza2on
SOCIAL
REALITY
INDIVIDUAL
REALITY
Externaliza*on
SHAPING
PHENOMENA
37
/
58

38. e5.
SENSATION
A
percep=on
associated
with
s=mula=on
of
a
sense
organ.
SHAPING
PHENOMENA
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/
58

39. Through
the
senses
we
experience
reality
and
create
memories.
-­‐
Kevin
Roberts
-­‐
SHAPING
PHENOMENA
39
/
58

40. SHAPING
PHENOMENA
40
/
58

41. The
screen
has
replaced
the
scene.
The
virtual
can
be
seen
as
a
new
dimension
of
hyperreality;
a
perfect
copy
of
reality.
-­‐
Jean
Baudrillard
-­‐
SHAPING
PHENOMENA
41
/
58

42. Mobility
Richness
Max.
1”
Max.
15”
Max.
5”
Max.
120”
Max.
5”
Evenings
Weekdays
Evenings
All
day
Business
hours
weekends
9
to
5
weekends
On-­‐the-­‐go
On
the
couch
In
the
office
On
the
couch
In
store
Interac=ve
Interac=ve
Interac=ve
Linear
Interac=ve
Touch
Touch
Keyboard
Remote
control
Touch
Call,
SMS,
Apps,
sites,
Websites,
Shows,
series,
Apps,
LBS,
magazines,
documents,
Shopping
info
movies
NFC,
music
video,
books
video,
music
SHAPING
PHENOMENA
42
/
58

43. Conclusion
Maximize
externaliza=on
by
designing
for
op=mal
sensory
s=mula=on.
SHAPING
PHENOMENA
43
/
58

44. e6.
PARTICIPATION
The
act
of
sharing
in
the
ac=vi=es
of
a
group.
SHAPING
PHENOMENA
44
/
58

45. Tell
me,
and
I
forget
it,
Show
me,
and
I
remember,
Let
me
do
it,
and
I
understand.
-­‐
Confucius
-­‐
SHAPING
PHENOMENA
45
/
58

46. People
need
mo=va=on
to
get
involved.
SHAPING
PHENOMENA
46
/
58

47. Mo=va=on
Emo%onal
Altruism
Spectrum
Experience
Entertainment
Assembly
Self-­‐expression
Connec=on
Me
We
Informa=on
Compe==on
Convenience
Reference
Economic
value
Collabora=on
Ra%onal
Note:
Model
developed
by
David
Feenstra,
2010
SHAPING
PHENOMENA
47
/
58

48. Conclusion
Maximize
externaliza=on
by
triggering
emo=onal
and/or
ra=onal
mo=va=ons.
SHAPING
PHENOMENA
48
/
58

49. e7.
INTERPRETATION
A
personal
mental
representa=on
of
the
meaning
of
an
observa=on.
SHAPING
PHENOMENA
49
/
58

50. Ambiguity
allows
for
mul=ple
interpreta=ons.
SHAPING
PHENOMENA
50
/
58

51. SHAPING
PHENOMENA
51
/
58

52. Aesthe=c
judgment
is
realized
through
spontaneous
synchroniza=on
of
imagina=on
and
mental
capacity.
When
there’s
harmony
we
judge
the
phenomenon
as
being
beau=ful.
When
there’s
disharmony
we
judge
the
phenomenon
as
being
sublime.
-­‐
Immanuel
Kant
-­‐
SHAPING
PHENOMENA
52
/
58

53. -­‐
Self-­‐portrait
by
Rembrandt
van
Rijn
-­‐
-­‐
Self-­‐portrait
by
Francis
Bacon
-­‐
SHAPING
PHENOMENA
53
/
58

54. Eide=c
features
are
the
features
that
cannot
be
changed
without
affec=ng
the
true
essence
of
a
phenomenon.
Eide=c
reduc=on
is
a
form
of
imagina=ve
varia=on
in
which
features
such
as
form,
size
and
characteris=cs
are
changed
in
the
imagina=on
to
find
the
eide=c
features
of
a
phenomenon.
-­‐
Edmund
Husserl
-­‐
SHAPING
PHENOMENA
54
/
58

55. Eide=c
features
of
the
Common
brand
are:
a
product/service
with
a
sustainable
nature,
a
concept
selected
by
the
Common
community,
and
the
brand
name.
SHAPING
PHENOMENA
55
/
58

56. Conclusion
Maximize
externaliza=on
by
nurturing
different
individual
interpreta=ons,
while
staying
true
to
the
essence
of
the
phenomenon.
SHAPING
PHENOMENA
56
/
58

57. PHENOMENAL
REALITY
Social
Percep2on
construc2on
CREATION
SIGNIFICATION
NARRATION
DIFFERENTIATION
Internaliza2on
SOCIAL
REALITY
INDIVIDUAL
REALITY
Externaliza2on
SENSATION
PARTICIPATION
INTERPRETATION
SHAPING
PHENOMENA
57
/
58

58. How
to
maximize
internaliza=on
&
externaliza=on
1. CREATION
–
Create
new
tangible
projects
and
products.
2. SIGNIFICATION
–
Use
signs,
but
let
people
assign
their
own
meaning.
3. NARRATION
–
Adopt
non-­‐linear
narra=ve
structures.
4. DIFFERENTIATION
–
Dis=nguish
between
different
social
roles.
5. SENSATION
–
Design
for
op=mal
sensory
s=mula=on.
6. PARTICIPATION
–
Trigger
emo=onal
and/or
ra=onal
mo=va=ons.
7. INTERPRETATION
–
Encourage
different
individual
interpreta=ons.
SHAPING
PHENOMENA
58
/
58

59. CASES

62. DAVID
LYNCH
1. CREATION
–
original
outstanding
crea=ve
expressions
2. SIGNIFICATION
–
use
of
ambiguous
signs
throughout
the
story
3. NARRATION
–
narra=ve
con=nuously
shirs
in
meaning
4. DIFFERENTIATION
–
not
relevant
5. SENSATION
–
disturbing
visuals
and
sounds
with
enormous
impact
6. PARTICIPATION
–
not
possible
7. INTERPRETATION
–
designed
to
constantly
throw
the
viewer
off

64. BANKSY
1. CREATION
–
signature
street
art
full
of
mischief
and
mystery
2. SIGNIFICATION
–
representa=ons
of
popular
culture
3. NARRATION
–
ever-­‐changing
narra=ves
to
trigger
specula=on
4. DIFFERENTIATION
–
not
relevant
5. SENSATION
–
object
and
context
designed
to
create
shock
effect
6. PARTICIPATION
–
not
possible
7. INTERPRETATION
–
no
consensus
on
iden=ty,
mo=ve
&
meaning

65. MANIFESTO
OBEY
Giant
is
an
experiment
in
phenomenology.
Phenomenology
aoempts
to
enable
people
to
see
clearly
something
that
is
right
before
their
eyes
but
obscured;
things
that
are
so
taken
for
granted
that
they
are
muted
by
abstract
observa=on.
The
first
aim
is
to
reawaken
a
sense
of
wonder
about
one’s
environment.

66. SHEPARD
FAIREY
1. CREATION
–
image
stays
the
same,
context
is
ever-­‐changing
2. SIGNIFICATION
–
sign
&
context
re-­‐awaken
a
sense
of
wonder
3. NARRATION
–
narra=ve
emerges
throughout
the
experiment
4. DIFFERENTIATION
–
project
ini=ally
aimed
at
influencers
5. SENSATION
–
discomfor=ng
visual
expression
6. PARTICIPATION
–
community
is
encouraged
&
enabled
to
join
7. INTERPRETATION
–
open
experiment
without
fixed
meaning

68. Arer
turning
the
design
of
the
boole
into
a
popular
icon,
Absolut
transported
this
concept
to
the
virtual
world…

70. …and
quickly
realized
it
would
not
be
sufficient.
Absolut
needed
to
adapt
to
a
changing
world.
So
they
decided
to
design
ever-­‐changing
narra=ves
under
the
eide=c
theme
In
An
Absolut
World.
2
expressions…

73. ABSOLUT
1. CREATION
–
installa=ons,
projects,
products
and
pieces
of
art
2. SIGNIFICATION
–
the
Absolut
boole
turned
into
an
icon
3. NARRATION
–
the
brand
as
a
crossroads
of
different
narra=ves
4. DIFFERENTIATION
–
collabora=ons
with
high
profile
influencers
5. SENSATION
–
s=mula=on
of
sound,
sight
and
taste
6. PARTICIPATION
–
In
An
Absolut
World
consumers
are
co-­‐creators
7. INTERPRETATION
–
no
fixed
meaning
(in
some
cases)

74. THANKS!
David
Feenstra
Strategic
Planner
hop://denieuwejuniorstrateeg.web-­‐log.nl