Presentation given at ACE on 25 October 2016

1. C O N T E N T M A R K E T I N G
A N D T H E A R T S
AUDIENCE ENGAGEMENT W ITH IMAGES IN A POSTMODERN W ORLD
PATRICK TOWELL, CEO

2. T H E E C S T A S Y O F
C O M M U N I C A T I O N
“In any case we will have to suffer this new state of things, this forced
extraversion of all interiority, this forced injection of all exteriority that the
categorical imperative of communication literally signifies.”
“[the subject] becomes a pure screen a pure absorption and re-absorption
surface of the influent networks.”
The Ecstasy of Communication, Jean Baudrillard, 1987

3. T H E E C S T A S Y O F
C O M M U N I C A T I O N
49% check their phone within five minutes of waking (83% after 30 minutes)
Global Mobile Consumer Survey, August 2016 Deloite
73% of adults use social media 2015 (66%, 2013)
Media Literacy Tracker, Ofcom
66% of adults use mobile phone to access internet 2016 (57%, 2014)
Tech Tracker, Ofcom

4. T H E E C S T A S Y O F
C O M M U N I C A T I O N
“Users of mobile video will more than double to 2bn users by the end of 2022,
equal to a 36% penetration among global mobile users”
Global Mobile Video Forecast: 2010-2021, Strategy Analytics, July 2016
“Although one might be tempted to conclude that multi-screeners are endlessly
distracted… data shows they're actually more observant…”
July 2016, YouGov
“Around one-third of adult internet users… had an ad blocker installed on their
desktop PC, and… 27% on their mobile device.”
eMarketer

5. T W O W A Y S T O C R E A T E V A L U E
F R O M S T I L L & M O V I N G
I M A G E S
Your own Content Marketing
Licensed for others’ Content Marketing

6. W H A T I S C O N T E N T M A R K E T I N G ?
”the discipline of the marketing of branded content”
Defining Branded Content in the Digital Age, UK Branded Content Marketing Association, 2016
“the discipline of creating quality branded content across all media channels
and platforms to deliver engaging relationships, consumer value and
measurable success for brands…
…worth more than £5bn in the UK alone”
UK Content Marketing Association

7. W H A T I S B R A N D E D C O N T E N T ?
“any manifestation associated with a particular brand
in the eye of the beholder”
or…
“it's any [communication/] content that is created and paid either
wholly or in part by a brand [owner]”
Defining Branded Content in the Digital Age,
Branded Content Marketing Association, 2016

8. A U D I E N C E E N G A G E M E N T W I T H B R A N D E D
C O N T E N T
“audiences/stakeholders actively engage with it”
“content that the audience are going to genuinely want to watch”
“good enough for people to opt to see it”
“not interruptive messaging – [advertising]”
Defining Branded Content in the Digital Age,
Branded Content Marketing Association, 2016

9. C R E A T I N G B R A N D E D C O N T E N T
“content marketing is always, always, always about the audience… [they]
come first”
“what would be entertaining – what do they want to know?”
“we don’t talk as a brand; we talk about what's interesting to people”
“content marketing fails…when you don’t carefully consider your audience in
the first instance“
Defining Branded Content in the Digital Age,
Branded Content Marketing Association, 2016

10. 'Girl with Dogs' 1893, Charles Burton Barber
C O N T E N T M A R K E T I N G I S N O T N E W !

11. B A R R I E R S T O E F F E C T I V E C O N T E N T
M A R K E T I N G
“Budgets are being used to produce content – but not to:
• Promote content, or
• Measure its effectiveness”
Curing the Content Headache,
Branded Content Marketing Association, 2016

12. ( S O M E ) T O P R A N K I N G C U L T U R A L
O R G A N I S A T I O N S I N V I D E O
burstinsights.com

13. ( S O M E ) T O P R A N K I N G C U L T U R A L
O R G A N I S A T I O N S I N V I D E O
burstinsights.com

14. T H E I N T E R N E T O F P E O P L E
( I N S T E A D O F T H I N G S )
• We are entering the era of the Personal Information Economy
• Our personal data represents us – and our interests and tastes
• Entertainment, leisure, lifestyle and culture services, brands and
organisations will all be optimising the content we receive based on this
personal data

15. T H E I N T E R N E T O F P E O P L E
The focus of public funding is shifting:
• from producing work and supporting conservation
• to engaging audiences and delivering public value
We need as much metadata about people as we do about images
Image metadata needs to represent potential ‘personal meanings’ for
people in their world view
Aligning the profiling of people and images is data-informed curation
O L Y M P I C S
L E G A C Y
W E S T H A M
R I V E R L E A

16. C O N V E R S A T I O N A L E N G A G E M E N T –
I M A G E S G I V E U S S O M E T H I N G T O T A L K A B O U T
Collaboration with g39, Artes Mundi and Oriel Wrecsam
Arts version of a cross between ‘conversational commerce’ and
‘visual‘ psychological profiling
Putting a curatorial sensibility onto the choice of images and words to engage
people
Capturing ’personal meanings’, interests and permissioned contact information
Funded by the Digital Innovation Fund for the Arts in Wales

17. D A T A
C A P T U R E
G O A L S
http://www.golantmediaventures.com/interesting/madonna-blue-death-
and-taxes-solving-the-data-problem-haunting-the-arts

18. W H A T I S V I S U A L P S Y C H O M E T R I C P R O F I L I N G ?
Visual quizzes are based on images to
deliberately trigger a rapid, emotional reaction
from deep in participants’ subconscious.
VisualDNA is one such service:
“40m people have taken worldwide – the world’s
largest psychometric database – with
Demographics, Interests, Intent, Personality data”

19. RockSo what kind of music do
you like?
Classical
Electronica
Whale song

20. KnittingSo what kind of craft do you
engage with?
Bullet journal
Baking
Chain mail

21. Continue
In which case, you might
like Anish Kapoor, an
Indian-born sculptor who is
known for his monumental
minimal sculptures. He was
responsible for the
ArcelorMittal Orbit at London
Olympic Park!

22. The shack
We're very pleased that we're still on your
cultural radar / itinerary. Now, let’s get to the
art.
This work The Poison of Free Thought, Part II is
a new sculptural work that Mark has made in
response to Mike Kelley’s work. It expands on
an increasingly apocalyptic vision in Mark’s work
and thinking. This is part of a multifaceted
project by S Mark Gubb, all under the umbrella
title of Revelations. Here are some references
that are present in Mark’s work. Pick one that
you want to explore first:
The inverted
crucifix
The atom
bomb
The KKK
Doing other things

23. It looks great in the space doesn’t it? Clad in
galvanized corrugated sheet and with no doors
or windows, this structure’s purpose isn’t
immediately obvious but is reminiscent of
utilitarian buildings with a social purpose such
as church halls, cub scout huts, club huts, even
Anderson shelters. Mark’s structure is in fact
based on a shotgun shack, those basic
American dwellings primarily found in the
southern states. The nickname came from the
observation that it would be possible to open
the back door and the front door, fire a shotgun
through the middle, and hit nothing on the way
through
The shack
continue

24. Everyone loves neon art! Mark is interested in the
power of the object as a vehicle for communication,
whether that be a grand sculptural statement or
something more subtle or fleeting. The inverted
neon cross is immediately emblematic of Satanic
practices. However, the inverted cross symbol
comes from the crucifixion of St Peter, who
requested he be crucified upside down as he wasn’t
worthy of being crucified in the same way as Christ.
There is a long historical precedent of the use of the
inverted cross in the Catholic religion to represent
humility, specifically the humility of St Peter, whose
direct historical lineage leads to the standing Popes
of today
The inverted crucifix
continue

25. B A R R I E R S T O C O N T E N T ( R E ) U S E
Only 17% say that content is easily retrievable
49% cite finding content as one of top 3 barriers
Only 21% believe they have the right organisation or structure
• Many siloed
• Some centralised
• Few integrated
Curing the Content Headache,
Branded Content Marketing Association, 2016

26. M A N A G I N G A N D E X P L O I T I N G C O N T E N T –
R E V I E W O F A S S E T M A N E G E M E N T
Considerable resource and staff time spent on creating, managing,
finding and (re)using still and moving images:
• photographs, drawings, plans used by technical teams
• material that is shared with audiences – online, print, in-venue etc
• marketing of productions, ’the House’ and its companies, corporate services
• commercial reuse
We were asked to review how still and moving images were managed and
exploited – for public and commercial value

27. M A N A G I N G A N D E X P L O I T I N G A S S E T S –
R E V I E W A T T H E R O H
Key findings were:
• Still and moving image and ‘technical’ production content have different
kinds of assets that need to be stored and retrieved differently
• Reuse for content marketing, development, participation & learning,
reviving/touring productions and commercial exploitation does need to
search across all types of asset
• For images to be meaningful and reusable a considerable amount of
information needs to be associated with them – but this risks being
duplicated and inconsistent across multiple systems

28. M A N A G I N G A N D E X P L O I T I N G A S S E T S –
R E V I E W A T T H E R O H
Key recommendations were:
• Still, moving and technical content assets should be managed in different systems
• ROH needs an Enterprise Architecture defining which systems hold the master of which
content or information – and which other systems access this information
• Systems external to the asset management systems should hold the master copy of:
• Information about productions (the creative works underlying the content)
• People appearing in or who have helped make the creative works and/or content
• The rights (including crediting rights) people have in content

29. D I F F E R E N T S Y S T E M S ,
S A M E S T A N D A R D S
Images AV Technical
Information standards
Rights framework
Reference systems
Rights
description
language
Performance
database
Production
database
Interoperability
Planning
system

30. M A N A G I N G A N D E X P L O I T I N G A S S E T S –
R E V I E W A T T H E R O H
Key recommendations were:
• Common data standards across asset management systems will enable
cross-searching and interoperability
• The data standards need to cover the semantics of what, who, where,
when
• To make this work and be valid an Information Architecture needs to be
created based on a model of the real world of how the ROH works –
not its data or systems

31. T H A N K Y O U A N D
Q U E S T I O N S
AUDIENCE ENGAGEMENT W ITH IMAGES IN A POSTMODERN W ORLD
PATRICK TOWELL, CEO patrick.towell@golantmediaventures.com
@golantmedia