SlideShare a Scribd company logo
fee plumley

    production director
  the-phone-book Limited
team@the-phone-book.ltd.uk
who what where why
o who: ben and fee - personalities not company
o what: did we want out of it? travel, play, learn, meet, debate,
   explore...have adventures...
o what: did we do? commission, research, present, train, re-
  appropriate, rant, play...
o where: japan (isea), thailand (british council), australia
  (electrofringe, aimia, abc, uts), canada (banff, hotdocs,
  L'Inis), europe (split film fest, emaf, isea04), usa (eyebeam)
  and of course UK
o why: creative industries could claim empty wireless data
  space before it was filled with adverts; true personalisation
projects vs products
o the-phone-book.com - open submission paid market;
  new genre of literature; books, spoken word cd, the-
  phone-box, vinyl
o artones.net - ringtone/logo commercial research project
o the-sketch-book.com - education programme; WAP, i-
  mode, 2.5G, FOMA/3G, SMS (ringtone & logo, caller group
  graphics) & MMS content creation & distribution
o movingmovies - high production values for small screen
  distribution, 12 second - 3 minute animations
"wap is crap"
o wml - wireless markup language
o black and white bitmap images, 150 words a page
o limited not limiting - creative challenge
o the wap conspiracy (imode, foma, nancy)
o wait for 3G (tv, feature films)
o killer app - voice calls
o wap 2.0 = xhtml
o commercial future
html is dead (w3c)
o xhtml extensible hypertext markup language; xml based
  (phones, internet, digital tv)
o hand coded all pages; literature market friendly database,
  minimal design, storytelling as audio, biographies
o the more that xhtml/smartphone browser usage develops, the
  less need for unique 'ultra-short' content
the business of creation
o make a chair = sell a chair; unknown = stay unknown
o pay professional rates = encourage creativity; synergy of
  artists/consumers = ethical framework
o product vs project; consumers vs audiences; bridging the gap
  of suspicion/paranoia/unknown; artists distrust business,
  business see artists as flaky and only invest in 'known'
o "niche is the new black": internet driven by mobile
  communities, self supporting networks: why shouldn't
  phones?
o sponsorship changes function; art for art's sake? artists make
  work then find market; business finds market & sells to them
the business model
o emergent market & innovative platform, yet same old
  business models
o global technology, yet global ventures rare (boo)
o fair trade for artists, protection for artists
o consultancy (vodafone, skillset, thepublic, fact)
o consortiums (creative crossings, manw, mani)
o timescales: artists turn on pin head vs 5 year business
  plans (st lukes) - "small and fast and light" (charles kriel)
where's the dosh
o ringtones are the new singles: €1 billion sales in Europe 2003
  (MDA) more than single sales over same period; new
  ringtones chart (sugarbabes)
o mobile internet market august 2003 "884 million page
  impressions with daily average of 28.5 million, vs 9 million per
  day in August 2002" (MDA)
o tv tie-ins, games (accessible, known, safe models)
o telcos not interested in niche markets until gain mass markets
  (02)
o hard to prove new concept & retain interest/integrity
did it work?
o ace funding short term - £82k over 3 years; bought approx
  £30k of content; inspired new creativity & skills in fun way
o irony of limited liability for non risk business - just more
  paperwork
o everyone's doing it; less of a challenge, not 'innovative'; ultra-
  short form still interesting vs 'our work here is done'
o mature arts org yet an immature business
o education programme revenue allows us to employ trainers
  and get back to our own creativity
o maybe it's not the right time, maybe we had the wrong
  approach, or maybe it will never work...(tbc)
what now?
o commercial projects less interesting to produce; the risk is
  that the more 'business' we become, the less creative we are
o partnerships underway but aim now to hand over 'business'
  roles to people who want them and are good at them
o personally back to basics with new research and projects: gps,
  locative, cartography, astrology, performance, swimming,
  diving, robotics...
o more new media curation - movingmovies in manchester and
  australia planned with discussions for wales, scotland...
o we have hope for the future

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BNMI 2004 presentation

  • 1. fee plumley production director the-phone-book Limited team@the-phone-book.ltd.uk
  • 2. who what where why o who: ben and fee - personalities not company o what: did we want out of it? travel, play, learn, meet, debate, explore...have adventures... o what: did we do? commission, research, present, train, re- appropriate, rant, play... o where: japan (isea), thailand (british council), australia (electrofringe, aimia, abc, uts), canada (banff, hotdocs, L'Inis), europe (split film fest, emaf, isea04), usa (eyebeam) and of course UK o why: creative industries could claim empty wireless data space before it was filled with adverts; true personalisation
  • 3. projects vs products o the-phone-book.com - open submission paid market; new genre of literature; books, spoken word cd, the- phone-box, vinyl o artones.net - ringtone/logo commercial research project o the-sketch-book.com - education programme; WAP, i- mode, 2.5G, FOMA/3G, SMS (ringtone & logo, caller group graphics) & MMS content creation & distribution o movingmovies - high production values for small screen distribution, 12 second - 3 minute animations
  • 4. "wap is crap" o wml - wireless markup language o black and white bitmap images, 150 words a page o limited not limiting - creative challenge o the wap conspiracy (imode, foma, nancy) o wait for 3G (tv, feature films) o killer app - voice calls o wap 2.0 = xhtml o commercial future
  • 5. html is dead (w3c) o xhtml extensible hypertext markup language; xml based (phones, internet, digital tv) o hand coded all pages; literature market friendly database, minimal design, storytelling as audio, biographies o the more that xhtml/smartphone browser usage develops, the less need for unique 'ultra-short' content
  • 6. the business of creation o make a chair = sell a chair; unknown = stay unknown o pay professional rates = encourage creativity; synergy of artists/consumers = ethical framework o product vs project; consumers vs audiences; bridging the gap of suspicion/paranoia/unknown; artists distrust business, business see artists as flaky and only invest in 'known' o "niche is the new black": internet driven by mobile communities, self supporting networks: why shouldn't phones? o sponsorship changes function; art for art's sake? artists make work then find market; business finds market & sells to them
  • 7. the business model o emergent market & innovative platform, yet same old business models o global technology, yet global ventures rare (boo) o fair trade for artists, protection for artists o consultancy (vodafone, skillset, thepublic, fact) o consortiums (creative crossings, manw, mani) o timescales: artists turn on pin head vs 5 year business plans (st lukes) - "small and fast and light" (charles kriel)
  • 8. where's the dosh o ringtones are the new singles: €1 billion sales in Europe 2003 (MDA) more than single sales over same period; new ringtones chart (sugarbabes) o mobile internet market august 2003 "884 million page impressions with daily average of 28.5 million, vs 9 million per day in August 2002" (MDA) o tv tie-ins, games (accessible, known, safe models) o telcos not interested in niche markets until gain mass markets (02) o hard to prove new concept & retain interest/integrity
  • 9. did it work? o ace funding short term - £82k over 3 years; bought approx £30k of content; inspired new creativity & skills in fun way o irony of limited liability for non risk business - just more paperwork o everyone's doing it; less of a challenge, not 'innovative'; ultra- short form still interesting vs 'our work here is done' o mature arts org yet an immature business o education programme revenue allows us to employ trainers and get back to our own creativity o maybe it's not the right time, maybe we had the wrong approach, or maybe it will never work...(tbc)
  • 10. what now? o commercial projects less interesting to produce; the risk is that the more 'business' we become, the less creative we are o partnerships underway but aim now to hand over 'business' roles to people who want them and are good at them o personally back to basics with new research and projects: gps, locative, cartography, astrology, performance, swimming, diving, robotics... o more new media curation - movingmovies in manchester and australia planned with discussions for wales, scotland... o we have hope for the future