This document discusses some of the key paradoxes and challenges facing premium brands seeking to engage with social media. It notes tensions between the immediacy of social media and the slower pace of luxury brands focused on craftsmanship and legacy. It also examines differences in targets and roles between brands and social media users, as well as cultural differences in preferred media like video versus photo. The document provides examples of how some luxury brands are reconciling these issues through experiences, curating audiences, and high quality branded video content.
Sparkler Strategy, brands in the digital ageSparkler
The digital age has changed how brands interact with consumers. Brands now have interactive relationships across many touchpoints rather than just controlling a one-way relationship. Most traditional ways of thinking about brands come from an era where brands had control, but today brands must run through all aspects of a business. Brands face challenges in managing relationships in today's digital world where culture values interaction over deference.
Premium brands in the age of digital : What are the e-luxury codes ?Nurun
This document discusses how digital technology is changing luxury brands and the customer experience. Some key points made are:
- Wealthy consumers are more likely to make luxury purchases online than visit stores in person. They also use the internet to research brands and products.
- Luxury buyers are tech-savvy and visit websites like Google and Yahoo first for information.
- Luxury is now defined more by the quality of customer service than just expensive products. Brands need to focus on interactive and client-centric digital experiences that emphasize services, address customer needs, and reward loyalty. Providing insider access and fulfilling the ownership experience online are also important in the digital age of luxury.
Looking to scale something up? Depending on how you're going after your market/ acquiring users, you may need to build a sales organization that's optimized for a top-down or bottom-up sales process (or perhaps both).
Watch the video overview at http://a16z.com/2015/03/06/go-to-market-bootcamp/ and then check out this slide deck, which shares some concrete tips and tools for accelerating time to market -- from the go-to-market experts at a16z, led by 'sales savant' Mark Cranney.
Because selling to enterprises is a lot like getting a bill passed through Congress: it can get stuck. And getting stuck -- or going down the wrong path -- can mean death to startups in a competitive market. Here's how to avoid that.
The event was titled "New Frontiers in Social Media" and took place on February 12th 2009. The speaker was James Temple from R/GA London and the topic was "Social media and brands". The event aimed to explore how social media will influence our lives in the future by bringing together thought leaders to discuss how these technologies may evolve and impact social changes.
The document discusses the rise of social media and web 2.0. It provides an overview of key concepts like user-generated content and outlines some of the main social networking platforms. Examples are given of how companies are using these channels, including through viral marketing. Opportunities for marketing through new approaches like ambient, guerrilla, and conversational marketing are presented. The future is discussed as unpredictable but moving towards a more ubiquitous, viral, mobile, and simple web 3.0 environment connected through social networking and the "internet of things."
The Taboo Group presented to Cadbury Australia on using social media. They discussed that social media allows brands to engage consumers through discussion and sharing. They outlined popular social networks and platforms and how Australians use social media. The presentation covered how brands can participate in social media through external communication, research, and customer service. It also discussed metrics for measuring social media engagement and reach. Finally, it provided Taboo's methodology for developing social media strategies and campaigns.
Ammar Mohammed will discuss blogging and how content on websites and social media can improve the visibility of a person, company or organization.
Ammar is responsible for New Media operations at Al Jazeera News. He is a certified instructor and gives training courses in New Media and Social Media.
He is an avid blogger and tweeter about a range of issues including the media, social and youth issues.
http://www.refreshqatar.com/
Sparkler Strategy, brands in the digital ageSparkler
The digital age has changed how brands interact with consumers. Brands now have interactive relationships across many touchpoints rather than just controlling a one-way relationship. Most traditional ways of thinking about brands come from an era where brands had control, but today brands must run through all aspects of a business. Brands face challenges in managing relationships in today's digital world where culture values interaction over deference.
Premium brands in the age of digital : What are the e-luxury codes ?Nurun
This document discusses how digital technology is changing luxury brands and the customer experience. Some key points made are:
- Wealthy consumers are more likely to make luxury purchases online than visit stores in person. They also use the internet to research brands and products.
- Luxury buyers are tech-savvy and visit websites like Google and Yahoo first for information.
- Luxury is now defined more by the quality of customer service than just expensive products. Brands need to focus on interactive and client-centric digital experiences that emphasize services, address customer needs, and reward loyalty. Providing insider access and fulfilling the ownership experience online are also important in the digital age of luxury.
Looking to scale something up? Depending on how you're going after your market/ acquiring users, you may need to build a sales organization that's optimized for a top-down or bottom-up sales process (or perhaps both).
Watch the video overview at http://a16z.com/2015/03/06/go-to-market-bootcamp/ and then check out this slide deck, which shares some concrete tips and tools for accelerating time to market -- from the go-to-market experts at a16z, led by 'sales savant' Mark Cranney.
Because selling to enterprises is a lot like getting a bill passed through Congress: it can get stuck. And getting stuck -- or going down the wrong path -- can mean death to startups in a competitive market. Here's how to avoid that.
The event was titled "New Frontiers in Social Media" and took place on February 12th 2009. The speaker was James Temple from R/GA London and the topic was "Social media and brands". The event aimed to explore how social media will influence our lives in the future by bringing together thought leaders to discuss how these technologies may evolve and impact social changes.
The document discusses the rise of social media and web 2.0. It provides an overview of key concepts like user-generated content and outlines some of the main social networking platforms. Examples are given of how companies are using these channels, including through viral marketing. Opportunities for marketing through new approaches like ambient, guerrilla, and conversational marketing are presented. The future is discussed as unpredictable but moving towards a more ubiquitous, viral, mobile, and simple web 3.0 environment connected through social networking and the "internet of things."
The Taboo Group presented to Cadbury Australia on using social media. They discussed that social media allows brands to engage consumers through discussion and sharing. They outlined popular social networks and platforms and how Australians use social media. The presentation covered how brands can participate in social media through external communication, research, and customer service. It also discussed metrics for measuring social media engagement and reach. Finally, it provided Taboo's methodology for developing social media strategies and campaigns.
Ammar Mohammed will discuss blogging and how content on websites and social media can improve the visibility of a person, company or organization.
Ammar is responsible for New Media operations at Al Jazeera News. He is a certified instructor and gives training courses in New Media and Social Media.
He is an avid blogger and tweeter about a range of issues including the media, social and youth issues.
http://www.refreshqatar.com/
why social media matters to business (ADMA week 5 presentation)Kristen Vang
Two-thirds of the global internet population visits social networks. Visiting social sites has become the fourth most popular online activity globally. Three out of four Australians visited a social networking site in June 2009. The amount of time people spend on social media is greatly increasing as well - from December 2008 to December 2009, time spent on Facebook globally increased 566%. Social media allows businesses to utilize public relations, customer service, brand advocacy, listening and feedback, SEO, thought leadership, product development, recruitment, and customer acquisition. Metrics used to measure social media success include conversations, views, registrations, virality, sentiment, friends, and sales. Three case studies are provided on social media campaigns for Bluefly fashion, M
The document summarizes 12 trends from the 2011 Cannes Lions International Festival of Creativity. The trends include: 1) The rise of social TV and using social media to drive viewers back to live shared experiences. 2) Digital storytelling and brands becoming publishers. 3) The rise of HTML5 and web apps. 4) Collaboration and co-creation. 5) The power of real-time marketing. 6) Social business models. 7) Designing for social spread and networks. 8) Seamless integration across devices. 9) Tangible experiences and social objects. 10) The rise of tablets. 11) Interactive experiences across players and browsers. 12) Socially connected physical objects.
The document discusses the concept of "molecular brands" for connecting with fragmented audiences in today's media landscape. It argues that brands must offer flexible identities and individual "connectors" to form personal relationships. These connectors are self-replicating cultural memes that allow audiences to engage with the brand through shared values, interests, beliefs and other cultural symbols. By providing multiple connection points, brands can adapt to individual perspectives and exist as fluid yet coherent identities in today's networked media world.
Brand identity is the collection of elements that a company uses to portray itself to consumers. It includes visual elements like name, logo, fonts and images that create recognition. Brand identity is important as it differentiates a brand from others through distinguishable elements and gives rise to the brand experience. Convergence media, which merges communication outlets through digitization and the internet, allows brands to integrate social media into promotions to build followers and communicate brand messages to audiences. This creates a stronger connection between brands and audiences.
Rock Pop Urban is a music media website that aims to inspire music fans with creative perspectives on the international music scene. It has around 2000 monthly visitors since its recent launch. The target audience is mostly male, aged 17-42, living in major US cities, who enjoy social media and make music-related purchases. The website will feature articles on LA's music scene, documentaries on international cultures, artist profiles, interviews, reviews and charts. It will engage audiences through social media, 500+ attendee monthly events, and high impact creative content on video and in a magazine distributed in LA.
This document discusses social media marketing and how companies are using social media. It begins with an introduction to the company providing the presentation and their clients. The agenda covers an overview of social media, the top social media tools, how companies are using social media, survey results from customers, and addresses questions and concerns about social media. Key topics include defining social media, the most popular social media sites and tools, examples of how companies are using different sites for marketing purposes, results from a customer survey on social media usage, and answering questions about measuring ROI and dealing with negative comments.
Presentacion sobre los Nuevos Medios y el Marketing.
Realizada en la Universidad Di Tella en Abril 08.
Recopilacion de ideas, informacion y arte para ayudar pensar mejor a los estudiantes sobre los nuevos desafios.
Basado en la fragmentacion de los medios y la nueva economia de la atencion.
We Are Social Presents: Making Friends & Influencing People (2nd Edition)We Are Social Singapore
This document provides an overview of social media marketing. It defines social media as internet platforms that allow people and organizations to interact and participate with one another. The document notes that over 1.7 billion people use social networks and spend over 10 hours per month on social media. It then debunks some myths about social media, such as that it will replace all advertising or that it is free. The document outlines common business uses of social media and provides 10 principles, or "Commendments", for effective social media marketing. It concludes by outlining an 8-step process for developing a strategic social media marketing approach.
The document discusses key questions around the impact of new media. It asks whether new media has democratized media production by shifting control away from large institutions, and how new media has changed media consumption and its social implications. It also questions whether new media has provided new global texts that communicate across boundaries, and how active and interactive consumers are and what this means for power. It explores how new media has impacted traditional media productions and consumption, and the extent to which it escapes censorship. Finally, it examines how new media interacts with and changes traditional platforms.
The document proposes a new "molecular brand" model where brands have a constant core identity but a variable coating or connectors that allow them to connect with different audiences. These molecular brands oscillate between consistency at their core while renewing at their surface through constant exchange. They use multiple connectors like shared values, roots, interests or lifestyle to attract different people. This model is proposed as more dynamic and able to adapt to changing contexts compared to traditional static branding models.
Social Media Entertainment!e New Intersection of Hollywood .docxmckellarhastings
Social Media Entertainment
!e New Intersection of Hollywood
and Silicon Valley
Stuart Cunningham and David Craig
! " # $ % & ' ( ! ) * " & + ) , $ - & " + +
New York
./
2
Creator Labor
In chapter 0, we described how the network economics of social media,
the innovation culture of Silicon Valley 1rms that own the platforms,
and the technological and commercial a2ordances of platforms have
created the structural conditions for the creator economy. In doing
that, we proposed a revisionist account of political economy, empha-
sizing the deep con3icts and creative tensions arising from the clash
of industrial cultures of the two major forces in media and tech in
the world, Hollywood and Silicon Valley. Our main revisionist e2ort
in this chapter concerns a debate equally central to media, commu-
nications, and cultural studies— creative labor. We argue, through
attention to key literature in the debate, through exploring the con-
trasts between SME and main media, as well as through the voices of
creators themselves, that creator labor is both empowered and precari-
ous. One distinguishing feature of creator labor that requires attention
is that it, by necessity, works within an algorithmic culture— which
engages another key debate in the discipline. Much of the scholarship
in these debates is designed to reveal precarity and platform control
masked by industry boosterism, rhetoric, and spin. We are animated
more by seeking to trace the elements of empowerment in comparison
to main media labor.
First, though, turning our attention to the distinctive nature and
value of creators, we outline the scale of SME and consider termino-
logical conundrums that o4en get in the way of analytical clarity. A4er
establishing the theoretical frames for the chapter, we break down the
conditions of creator labor into their component parts. 5en we exam-
ine the problematics of the business models that underpin, as well as
threaten, the sustainability of creator careers.
.. | 6789:;7 <9=;7
Defining and Mapping Creators
5e rapid emergence of social media entertainment has contributed to
a new industrial lexicon, with nomenclature almost as evanescent as a
Snapchat post and considerable opaqueness about reliable data. YouTube
used to release its revenue- sharing partner statistics every year, until it
changed its policies and permitted every user to become a partner and
thus no longer released such data. SME intermediaries, like multichan-
nel networks and talent representatives, are no more forthcoming with
their client data, emulating Hollywood’s notorious accounting practices.
As Adweek declared, the industry is “secretive and lacks transparency”
(Talavera >?0/).
5ird- party data sites, like Social Blade, o2er limited accounts of the
scale of the creator universe. It is estimated that, in mid- >[email protected], the top
1ve thousand YouTubers globally had at least one million subscribers;
more than two hundred had t.
This document discusses how people have become the new media in today's socially connected world. It notes that audiences are now active rather than captive, and form peer connections over brand connections. It advocates that brands engage in social media by studying the space, listening to conversations, publishing engaging content, interacting with audiences, influencing key social media users, and activating audiences to inspire real-world actions. The document provides examples of how brands have successfully engaged audiences and generated business results through social media campaigns.
This document discusses the evolution of digital consumers and media consumption over time. It notes how technology and media have changed from hardware-driven in the 1970s to being more software/content and connection focused today. Examples are given of different technologies and media and how their usage has changed from 1970s to 1990s to 2000s. The document also discusses the rise of social networking and its impact. It suggests that marketers need to understand and communicate with the new digital consumer in more relevant ways rather than just spamming. Marketers are encouraged to listen to consumers and focus on building connections rather than just pushing messages.
The document summarizes key themes from SXSW 2012, including:
1) Emerging apps and platforms, with startups coming from everywhere;
2) Brands using services like shuttles and food delivery to stand out;
3) Storytelling through content and experiences like interactive demonstrations;
4) Discussion of trends like transmedia, collaboration, and a maturing conference.
The document summarizes the 2009 Trend Hunter trend report which analyzes over 2,200 micro-trends clustered into 150 categories of trends. It describes how the trends are crowd-sourced and filtered from Trend Hunter's global network of over 20,000 trend spotters. The report breaks down trends into niche presentations and industry reports to provide inspiration for innovating new products and services. It also includes guides on unleashing innovation potential and infecting products with cool.
The document discusses the future of the media industry in a report from July 2008. It notes that the boundaries between traditional media, entertainment, and other industries have blurred, with almost all businesses now participating in media in some way. The size of the global media market is predicted to grow significantly by 2024. Several factors are shaping media consumption and advertising trends, including increasing consumption, personalization, participation and user-generated content, new platforms and devices, and behavioral targeting.
This document discusses how brands are building their identities in the digital age. It argues that brands have lost some control over their messaging as digital consumers are now co-owners of brands' reputations. Brands must focus on building reputation through useful content, listening to customers, empowering customer contributions, and maintaining honest consistency between messaging and actions. The document provides several case studies of brands that have adapted successful digital strategies, such as creating communities, co-creation platforms, and treating customers well to encourage their support.
Group 1 will debate whether the internet is the end of private life, while Group 2 will debate whether internet transparency is necessary for security, honesty, and tranquility. The debate will focus on key paradoxes regarding privacy and the internet. These include the changing boundaries between public and private life online; how digital intimacy is defined by user actions, not identity; and whether transparency is seen as progress, though it may create a monitored world. The document provides source material for the debate groups to consider different perspectives on privacy in a digital age.
why social media matters to business (ADMA week 5 presentation)Kristen Vang
Two-thirds of the global internet population visits social networks. Visiting social sites has become the fourth most popular online activity globally. Three out of four Australians visited a social networking site in June 2009. The amount of time people spend on social media is greatly increasing as well - from December 2008 to December 2009, time spent on Facebook globally increased 566%. Social media allows businesses to utilize public relations, customer service, brand advocacy, listening and feedback, SEO, thought leadership, product development, recruitment, and customer acquisition. Metrics used to measure social media success include conversations, views, registrations, virality, sentiment, friends, and sales. Three case studies are provided on social media campaigns for Bluefly fashion, M
The document summarizes 12 trends from the 2011 Cannes Lions International Festival of Creativity. The trends include: 1) The rise of social TV and using social media to drive viewers back to live shared experiences. 2) Digital storytelling and brands becoming publishers. 3) The rise of HTML5 and web apps. 4) Collaboration and co-creation. 5) The power of real-time marketing. 6) Social business models. 7) Designing for social spread and networks. 8) Seamless integration across devices. 9) Tangible experiences and social objects. 10) The rise of tablets. 11) Interactive experiences across players and browsers. 12) Socially connected physical objects.
The document discusses the concept of "molecular brands" for connecting with fragmented audiences in today's media landscape. It argues that brands must offer flexible identities and individual "connectors" to form personal relationships. These connectors are self-replicating cultural memes that allow audiences to engage with the brand through shared values, interests, beliefs and other cultural symbols. By providing multiple connection points, brands can adapt to individual perspectives and exist as fluid yet coherent identities in today's networked media world.
Brand identity is the collection of elements that a company uses to portray itself to consumers. It includes visual elements like name, logo, fonts and images that create recognition. Brand identity is important as it differentiates a brand from others through distinguishable elements and gives rise to the brand experience. Convergence media, which merges communication outlets through digitization and the internet, allows brands to integrate social media into promotions to build followers and communicate brand messages to audiences. This creates a stronger connection between brands and audiences.
Rock Pop Urban is a music media website that aims to inspire music fans with creative perspectives on the international music scene. It has around 2000 monthly visitors since its recent launch. The target audience is mostly male, aged 17-42, living in major US cities, who enjoy social media and make music-related purchases. The website will feature articles on LA's music scene, documentaries on international cultures, artist profiles, interviews, reviews and charts. It will engage audiences through social media, 500+ attendee monthly events, and high impact creative content on video and in a magazine distributed in LA.
This document discusses social media marketing and how companies are using social media. It begins with an introduction to the company providing the presentation and their clients. The agenda covers an overview of social media, the top social media tools, how companies are using social media, survey results from customers, and addresses questions and concerns about social media. Key topics include defining social media, the most popular social media sites and tools, examples of how companies are using different sites for marketing purposes, results from a customer survey on social media usage, and answering questions about measuring ROI and dealing with negative comments.
Presentacion sobre los Nuevos Medios y el Marketing.
Realizada en la Universidad Di Tella en Abril 08.
Recopilacion de ideas, informacion y arte para ayudar pensar mejor a los estudiantes sobre los nuevos desafios.
Basado en la fragmentacion de los medios y la nueva economia de la atencion.
We Are Social Presents: Making Friends & Influencing People (2nd Edition)We Are Social Singapore
This document provides an overview of social media marketing. It defines social media as internet platforms that allow people and organizations to interact and participate with one another. The document notes that over 1.7 billion people use social networks and spend over 10 hours per month on social media. It then debunks some myths about social media, such as that it will replace all advertising or that it is free. The document outlines common business uses of social media and provides 10 principles, or "Commendments", for effective social media marketing. It concludes by outlining an 8-step process for developing a strategic social media marketing approach.
The document discusses key questions around the impact of new media. It asks whether new media has democratized media production by shifting control away from large institutions, and how new media has changed media consumption and its social implications. It also questions whether new media has provided new global texts that communicate across boundaries, and how active and interactive consumers are and what this means for power. It explores how new media has impacted traditional media productions and consumption, and the extent to which it escapes censorship. Finally, it examines how new media interacts with and changes traditional platforms.
The document proposes a new "molecular brand" model where brands have a constant core identity but a variable coating or connectors that allow them to connect with different audiences. These molecular brands oscillate between consistency at their core while renewing at their surface through constant exchange. They use multiple connectors like shared values, roots, interests or lifestyle to attract different people. This model is proposed as more dynamic and able to adapt to changing contexts compared to traditional static branding models.
Social Media Entertainment!e New Intersection of Hollywood .docxmckellarhastings
Social Media Entertainment
!e New Intersection of Hollywood
and Silicon Valley
Stuart Cunningham and David Craig
! " # $ % & ' ( ! ) * " & + ) , $ - & " + +
New York
./
2
Creator Labor
In chapter 0, we described how the network economics of social media,
the innovation culture of Silicon Valley 1rms that own the platforms,
and the technological and commercial a2ordances of platforms have
created the structural conditions for the creator economy. In doing
that, we proposed a revisionist account of political economy, empha-
sizing the deep con3icts and creative tensions arising from the clash
of industrial cultures of the two major forces in media and tech in
the world, Hollywood and Silicon Valley. Our main revisionist e2ort
in this chapter concerns a debate equally central to media, commu-
nications, and cultural studies— creative labor. We argue, through
attention to key literature in the debate, through exploring the con-
trasts between SME and main media, as well as through the voices of
creators themselves, that creator labor is both empowered and precari-
ous. One distinguishing feature of creator labor that requires attention
is that it, by necessity, works within an algorithmic culture— which
engages another key debate in the discipline. Much of the scholarship
in these debates is designed to reveal precarity and platform control
masked by industry boosterism, rhetoric, and spin. We are animated
more by seeking to trace the elements of empowerment in comparison
to main media labor.
First, though, turning our attention to the distinctive nature and
value of creators, we outline the scale of SME and consider termino-
logical conundrums that o4en get in the way of analytical clarity. A4er
establishing the theoretical frames for the chapter, we break down the
conditions of creator labor into their component parts. 5en we exam-
ine the problematics of the business models that underpin, as well as
threaten, the sustainability of creator careers.
.. | 6789:;7 <9=;7
Defining and Mapping Creators
5e rapid emergence of social media entertainment has contributed to
a new industrial lexicon, with nomenclature almost as evanescent as a
Snapchat post and considerable opaqueness about reliable data. YouTube
used to release its revenue- sharing partner statistics every year, until it
changed its policies and permitted every user to become a partner and
thus no longer released such data. SME intermediaries, like multichan-
nel networks and talent representatives, are no more forthcoming with
their client data, emulating Hollywood’s notorious accounting practices.
As Adweek declared, the industry is “secretive and lacks transparency”
(Talavera >?0/).
5ird- party data sites, like Social Blade, o2er limited accounts of the
scale of the creator universe. It is estimated that, in mid- >[email protected], the top
1ve thousand YouTubers globally had at least one million subscribers;
more than two hundred had t.
This document discusses how people have become the new media in today's socially connected world. It notes that audiences are now active rather than captive, and form peer connections over brand connections. It advocates that brands engage in social media by studying the space, listening to conversations, publishing engaging content, interacting with audiences, influencing key social media users, and activating audiences to inspire real-world actions. The document provides examples of how brands have successfully engaged audiences and generated business results through social media campaigns.
This document discusses the evolution of digital consumers and media consumption over time. It notes how technology and media have changed from hardware-driven in the 1970s to being more software/content and connection focused today. Examples are given of different technologies and media and how their usage has changed from 1970s to 1990s to 2000s. The document also discusses the rise of social networking and its impact. It suggests that marketers need to understand and communicate with the new digital consumer in more relevant ways rather than just spamming. Marketers are encouraged to listen to consumers and focus on building connections rather than just pushing messages.
The document summarizes key themes from SXSW 2012, including:
1) Emerging apps and platforms, with startups coming from everywhere;
2) Brands using services like shuttles and food delivery to stand out;
3) Storytelling through content and experiences like interactive demonstrations;
4) Discussion of trends like transmedia, collaboration, and a maturing conference.
The document summarizes the 2009 Trend Hunter trend report which analyzes over 2,200 micro-trends clustered into 150 categories of trends. It describes how the trends are crowd-sourced and filtered from Trend Hunter's global network of over 20,000 trend spotters. The report breaks down trends into niche presentations and industry reports to provide inspiration for innovating new products and services. It also includes guides on unleashing innovation potential and infecting products with cool.
The document discusses the future of the media industry in a report from July 2008. It notes that the boundaries between traditional media, entertainment, and other industries have blurred, with almost all businesses now participating in media in some way. The size of the global media market is predicted to grow significantly by 2024. Several factors are shaping media consumption and advertising trends, including increasing consumption, personalization, participation and user-generated content, new platforms and devices, and behavioral targeting.
This document discusses how brands are building their identities in the digital age. It argues that brands have lost some control over their messaging as digital consumers are now co-owners of brands' reputations. Brands must focus on building reputation through useful content, listening to customers, empowering customer contributions, and maintaining honest consistency between messaging and actions. The document provides several case studies of brands that have adapted successful digital strategies, such as creating communities, co-creation platforms, and treating customers well to encourage their support.
Group 1 will debate whether the internet is the end of private life, while Group 2 will debate whether internet transparency is necessary for security, honesty, and tranquility. The debate will focus on key paradoxes regarding privacy and the internet. These include the changing boundaries between public and private life online; how digital intimacy is defined by user actions, not identity; and whether transparency is seen as progress, though it may create a monitored world. The document provides source material for the debate groups to consider different perspectives on privacy in a digital age.
The document discusses new digital rules for brands in the era of Supernow and Hyperlocal.
Supernow refers to the acceleration of time where every instant counts due to digital technology erasing distances and our perception of time. This has led to principles for brands like bringing out real-time experiences, adopting instant as the standard, and remixing time through experiences.
Hyperlocal refers to an augmented space where virtuality is important. This has introduced rules for brands like marking and tagging territory, giving ubiquity through multi-screen experiences, making invisible spaces visible through information layers, and being there when consumers need.
The document concludes that these changes have led to data pollution opportunities for brands to organize information, and
The document discusses different visions and predictions for what the future may look like. It describes how innovations are advancing rapidly and how Moore's Law has impacted technology growth. Both brands and science fiction authors have envisioned futures with more connected, liquid experiences enabled by new tools. However, predicting the future is difficult. The document also discusses debates between believers in an augmented future through technologies like transhumanism versus critics who are more skeptical such advances will occur.
The document provides an introduction to user experience (UX) design.
[1] UX design is a user-centered process that involves research, design, testing and optimization to develop products and services that meet users' needs based on an understanding of how they think and behave.
[2] The goal is to design an optimal system or experience by considering things like interface design, content architecture, and the circulation between channels, touchpoints, devices and interactions from the user's perspective.
[3] UX design tools and research methods are used to gain insights about users and their contexts in order to create solutions that improve products, communications and business outcomes.
This document discusses the relationship between brands and humans. It explores whether brands are becoming more human-like by taking on human traits and personalities. Similarly, it examines if humans are becoming more branded through self-promotion and personal branding on social media. While some brands have embraced humanization strategies, the document argues that most consumers do not actually want brands to be human. It also notes that too much self-branding by individuals can annoy others. In the end, it suggests brands focus on being useful, transparent and innovative for humans, while individuals emphasize modesty, honesty and self-esteem over self-promotion.
Introduction digital brand creatives 2013scpodigilab
This document outlines the schedule and structure for a semester-long course on digital humanities, digital brand strategy, and digital creativity and innovation. The course will be taught through collective sessions, debates, practical sessions, and case study presentations organized into three topic areas: Digital Humanities, Digital Brand Strategy, and Digital Creativity and Innovation. Students are divided into two groups that will take turns leading sessions and presentations. Digital reviews, where individual students present on digital topics, are also included and count for 10% of the evaluation. The goal is to explore intersections between technology, creativity, brands, and the human factor.
4. IT IS ALL KINDS OF DIGITAL OBJECTS ALLOWING INTERACTIONS AND COMMUNITIES
SOCIAL
PLATFORM
GAMING
CONTENT
EDITION
DISCUSSION
TRADE
5. GENERATING DIFFERENT TYPES OF BEHAVIOURS
BLOG/CONTENT/COMMENTS
READER, VIDEO VIEWER,
POSTS, COMMENTS, VOTES.
PODCAST LISTENER
FORUMS/WIKI CONTRIBUTOR
BROADCASTER
OWN VIDEO/MUSIC UPLOAD
ARTICLE WRITTER
FOLLOWER
PASSIVE VIEWER USA 68% CRITICIZER Collectionneur Créateur
CREATORS
COLLECTIONNIST CREATOR
USA 14% USA 73%
UE7 50% USA 36% USA INDIA 80%USA 24%
USA 23%
23% USA 24%
UE7 21% UE7 69% UE7 33% UE7CHINA 76%UE7 23%
UE7 22%
22% UE7 23%
RSS FLOW, WIDGET USAGE,
UPDATE HIS TAGGING, VOTES
NO SOCIAL PLATFORM USAGE
PROFILE, SOCIAL
MEDIA VISITOR
Forrester
–
Social
Media
AdopFon
2011
Q3
21. IMMEDIACY
IS
THE
DIGITAL
NEW
NORM:
EVERY
PIECE
OF
INFORMATION,
REQUEST,
INTERACTION
IS
TO
BE
FULFILED
INSTANTEANOUSLY.
THE
APPROPRIATE
BASIS
FOR
PRE-‐COGNITIVE
MARKETING.
22. ON
THE
CONTRARY,
FOR
LUXURY
GOODS
&
BRANDS,
TIME
IS
MADE
FOR
LEGACY
AND
IS
CONSQUENTLY
SLOW,
AS
REQUIRED
BY
CRAFTSMANSHIP.
23. A
SENSE
OF
LEGACY
STRENGHTENED
BY
THE
WILL
TO
BECOME
A
CULTURAL
REFERENCE
(LOUIS
VUITTON
EXHIBITIONS,
CHANEL
MOBILE
MUSEUM,
FLASH
EXHIBITIONS
FROM
PRADA).
25. E.G.
BURBERRY
+
TWITER
=
TWEETWALK
(SPRING
SUMMER
2012)
:
TWITTER
FOLLOWERS
HAD
SEEN
THE
«
SILHOUETTES
»
FIRST
HAND,
EVEN
BEFORE
SPECTATORS
DURING
THE
COLLECTION
PRESENTATION.
27. THERE
IS
A
POSSIBLE
«
AGE
GAP
»,
AS
THE
TEENAGERS
/
YOUNG
ADULTS
ARE
MASSIVELY
INVESTING
SOME
SOCIAL
PLATFORMS
LIKE
TWITTER.
28. THOUGH,
THE
(PREMIUM)
BRAND
TARGETS
AND
SOCIAL
MEDIA
USERS
WHO
CLAIM
THEIR
INTEREST
FOR
SUCH
BRANDS
ARE
NOT
THE
SAME:
THERE
IS
NO
SYSTEMATIC
LINK
BETWEEN
A
«
LIKE
»
OR
A
«
FOLLOW
»
AND
THE
INTENTION
TO
BUY.
29. ON
THE
CONTRARY,
LUXURY
BRANDS
ARE
OFTEN
TAKEN
AS
A
QUALIFYING
TOKEN
–
CONSUMING
THE
BRAND
IMAGE.
30. RECONCILIATION:
A TASTE FOR
MODESTY AND A
RESPECT FOR THE
IDEA OF
COMMUNITY.
31. THE
MAIN
ACCOUNT
OF
MOET
&
CHANDON
IS
PROTECTED,
IN
ORDER
TO
PROTECT
CONFIDENTIALITY
BUT
ALSO
TO
CREATE
A
DESIRE
FOR
THE
MYSTERY.
32. MERCEDES
HAS
CREATED
SOME
PLATFORMS
DEDICATED
TO
SELECTED
AND
INVITED
AUDIENCES
IN
ORDER
TO
INTERACT
WITH
THEM
(WITH
A
REWARD
DYNAMIC).
37. THE
VIDEO
IS
BECOMING
A
«
SOCIAL
CURRENCY
»
-‐
EASY
TO
LIKE,
TO
SHARE,
TO
DREAM
ABOUT…
IF
IT
IS
CONSIDERED
AS
A
REAL
BRAND
PRODUCT
(WITH
THE
SAME
LEVEL
OF
QUALITY
THAN
OTHER
BRANDED
GOODS).
38. THAT’S
WHY
LUXURY
BRANDS
ARE
BECOMING
REAL
BROADCASTERS.
(E.G.
:
Dior
–
124
videos
/
15
M
seen
pages
1
y
//
CarZer
–
37
videos
/
32,6
M
s.p.
with
15
for
l’Odyssée
1
y)
39. …WITH
SOMETIMES
THIS
TEMPTATION
TO
OFFER
OWNED
SOCIAL
PLATFORMS.
E.G.
VEUVE
CLICQUOT
&
«
WISH
YOU
WERE
HERE
»
FOR
THE
«
CLICQUOT
EXPERIENCES
»
-‐
LIFESTYLE
PHOTOGRAPHS
TAKEN
BY
SELECTED
CONSUMERS.
41. THE
DIGITAL
EVOLUTION
IS
AN
ILLUSTRATION
OF
THE
CREATIVE
DESTRUCTION
(SCHUMPETER):
INNOVATION
BUNCHES
REDEFINE
ONE
AFTER
THE
OTHER
THE
BUSINESS
/
ECONOMICAL
PATTERNS
AND
OUR
LIFE
STYLE…
SEVERAL
TIMES
IN
A
LIFETIME..
43. RECONCILIATION
CHERISH
CREATIVE
DISRUPTION AND
THE « FIRST
TIMES »
44. BURBERRY
IN
CHINA
=
STEREOSCOPIC,
ACOUSTIC,
VISUAL
AND
SENSORY
EXPERIENCE
LINKING
REAL
AND
VIRTUAL
WORLDS
I.E.
A
FASHION
SHOW
MIXING
A
CONCERT,
HOLOGRAMS
AND
REAL
MODELS
TO
BE
SEEN.
47. DIGITAL
INTERACTION
CONVERSATION
AUDIENCE
TAKING
THE
CONTROL.
E.G.
THE
VICHY
CASE,
IN
FRANCE
THE
FIRST
SCANDAL
OF
FALSE
CONVERSATION
DISCOVERED
BY
USERS.
48. IN
2012
THE
#trendingtopic
OF
LAGERFELD
AND
ADELE
FIGHT
HAVE
FILLED
THE
SOCIAL
PLATFORMS,
ENDING
WITH
THE
APOLOGIES
OF
THE
CREATOR.
49. BUT
THE
HABIT
OF
(PREMIUM)
BRANDS
KEEPS
ON
PROPOSING
A
«
TOP
DOWN
»
COMMUNICATION
FROM
A
«
MAJECTIC
»
BRAND.
50. THIS
CAN
BE
DANGEROUS
IN
A
ERA
OF
PERMANENT
PRE-‐CRISIS
WHEN
YOU
PERMANENTLY
NEED
TO
BE
READY
TO
ANSWER
TO
THE
«
BAD
BUZZ
»
DESTROYING
THE
BRAND
REPUTATION
–
THE
GOODWILL
BEING
THE
REAL
BRAND
CAPITAL..
52. LETTING
SOME
SPACE
FOR
INTERACTION
ALLOWS
TO
INTERACT
WITH
THE
BRAND
AUDIENCE,
EVEN
THE
NEGATIVE
ONES.
53. “WE
ARE
NOT
JOYALS
CREATORS,
BUT
STORY
TELLERS.”
Stanislas
de
Quercize
–
Van
Cleef
&
Arpels
54. ALLOWING
THE
DREAM,
AS
LUXURY
BRANDS
ARE
MORE
«
CULTURE
CENTRIC
»
THAN
«
USER
CENTRIC
»,
OPENING
THE
DOORS
OF
BACK
STAGE,
BEHIND
THE
SCENE
AND
OTHER
SECRETS.
55. ALLOWING
UTILITY
PROVIDING
SERVICES
–
WITH
TUTORIALS
FOR
EXAMPLE.
HERE
G.H.MUMM
AND
ITS
CHAMPAGNE
PROTOCOLES.
57. SOCIAL
PLATFORMS
ARE
NOT
A
FRIENDLY
ENVIRONENT
FOR
(PREMIUM)
BRANDS…
BUT
IT
IS
ALMOST
IMPOSSIBLE
TO
AVOID
THEIR
ATTRACTION
POWER.
THE
CONDITIONS
OF
SUCCESS:
/DON’T
PROPOSE
ADVERTISING
–
PROMOTE
CONTENT
AND
INFORMATION
/
IT’S
NOT
ABOUT
SOCIAL
MEDIAS,
IT’S
ABOUT
SOCIAL
IDEAS
/CHOOSE
YOUR
HOSTS
–
THE
SOCIAL
PLATFORM
AND
THE
AUDIENCES
–
IF
YOU
CAN
/HAVE
A
CONVERSATIONAL
APPROACH,
DONT
OFFER
A
MONOLOGUE
/BUILD
AN
ECOSYSTEM
/KEEP
THE
SAME
LEVEL
OF
QUALITY
/BE
«
CULTURE
CENTRIC
»
61. Community
Podcast
On
line
plamorms:
collecZves
s
(tour,
videos
/
guide,
channel
Internet
site(s)
:
Tate
Britain
/
Blogs
(on
site)
audio,
(on
site)
Modern
/
Liverpool
/
St
Ives
video)
on
Shared
iTunes
content
On
line
magazine
(on
site)
Mobile
Site
ApplicaZon
Digital
guide
Social
media
site
Events
Ipad/iphone
apps
:
experienZal,
per
arZst,
per
public…
Complete
social
media
ecosystem
Social
media
curators
Digital
event
62. Youtube
» 6 000 abonnés
» 4 562 809 vues pour toutes les vidéos
Facebook
» 8h depuis la dernière connexion de Starbucks
» 6
200
000
Fans
» 800
000
votants
» 640
sujets
Starbucks
V2V
Twitter V2V
25
000
membres
5 000 abonnés
Starbucks.com
Flickr
» 8648
membres
+
autres
groupes
non
officiels
Twi]er
» 15
000
photos/membres
Twitter » 290
000
photos
autres
800 000 abonnés
My Starbucks Idea (RED)
» 80 000 idées postées
» 350 réalisées YouTube
Facebook
Twitter My Starbucks Idea Iphone/mobile
MySpace
12 000 abonnés 2
applicaZons
65. SOCIAL
MEDIA
ID
CARD
SOCIAL
MEDIA
BRAND
UTILITY
REACH
RELATIONSHIP
Which
are
the
main
uses
associated
with
this
social
Keys
figures
(acZve
users,
Zme
spent…)
on
the
What
kind
of
relaZonship
can
we
built
with
users?
network?
potenZal
reach
How
frequently
should
we
talk?
PUBLICS
OBJECTIVES
TONE
OF
VOICE
Who
are
the
users
of
this
social
network?
Which
What
could
be
the
brand
objecZves?
How
should
be
the
brand
personality?
Is
there
an
communiZes
are
using
it?
"eZqueve"
to
respect?
66. SOCIAL
MEDIA
ID
CARD
SOCIAL
MEDIA
UTILITY
REACH
RELATIONSHIP
Which
are
the
main
uses
associated
with
this
social
Keys
figures
(acZve
users,
Zme
spent…)
on
the
potenZal
What
kind
of
relaZonship
can
we
built
with
users?
How
network?
reach
frequently
should
we
talk?
YouTube
is
used
to
watch,
share
and
comments
video.
Over
800
million
unique
users
visit
YouTube
each
YouTube
is
not
made
to
build
a
close
relaZonship
but
is
-‐ People
browse
and
watch
video:
YouTube
is
the
month.
The
average
YouTube
user
watches
five
mostly
used
to
deliver
content.
second
search
engine.
hours
of
video
and
visits
the
site
14
Zmes
per
SomeZmes,
it
can
be
used
as
a
space
for
conversaZon
(Old
-‐ People
comment
and
«
like
»:
for
every
‘dislike,’
month.
He
spends
15
minutes
per
day
on
YouTube.
Spice
respond
campaign)
or
as
a
space
of
user
generated
there
is
10
‘likes’-‐
people
like
to
tell
other
people
content.
about
the
stuff
they
love.
500
years
of
video
are
watched
every
day
on
-‐ People
share:
72
hours
of
video
are
uploaded
to
Facebook,
and
over
700
videos
are
shared
on
YouTube
every
minute.
Twiver
each
minute.
PUBLICS
OBJECTIVES
TONE
OF
VOICE
Who
are
the
users
of
this
social
network?
Which
communiZes
are
What
could
be
the
brand
objecZves?
How
should
be
the
tone
of
voice?
Is
there
an
"eZqueve"
using
it?
to
respect?
Many
objecZves
can
be
reach
through
YouTube
The
YouTube
audience
is
really
large:
YouTube
is
video:
There
is
no
tone
of
voice
or
eZqueve
that
need
to
localized
in
43
countries
and
across
60
languages
be
respect.
and
70%
of
YouTube
traffic
comes
from
outside
the
-‐
Create
awareness
US
-‐
Create
preference
The
video
of
less
than
one
minutes
have
the
bever
-‐
Entertain
with
brand
content
rate
of
success.
YouTube's
demographic
is
broad
too:
18-‐54
years
-‐
Inform
about
a
product
old.
-‐
Share
some
Zps
/
tutorials
Music
is
the
most
popular
category