The document discusses the rise of openness and access on the internet and real-time social web. It notes that the web now acts as an "external scaffolding of the mind" and has led to a "rise of the real-time collective mind." Some key trends include ambient and partial togetherness, instability and evolution, and the erosion of boundaries between identities, roles, and hierarchies. It also discusses how audiences and consumers now have more power and influence, and how brands must adapt to a more participatory culture where consumers help shape brands.

1. openness + access
francesco d’orazio - now conference - september 2nd 2010 - aarhus

2. The State of The Internet

4. “openness is the mega-trend for
innovation in the 21st century” Tim Lebrecht

5. the real-time social web as a system has
reflected and amplified an increasing
demand for openness AND access

6. the extended mind: the web works as an ‘external
scaffolding of the mind’ - a ‘cognitive artifact’ that allows us
to take into account a greater number of variables and
hypothesis and to move seamlessly between focused
reasoning and free associations.

7. rise of the real-time
collective mind
getting information that’s
relevant to who I am,
where I am and what I’m
up to
sharing information with
the right people, at the
right time, in the right way

8. ambient model
continuous
partial
togetherness

9. from pages to streams = instability & evolution

10. the permanent beta

11. bottom-up organization = emergence

12. welcome to the Sea of Niches

13. “where the truth lies”

14. not only trust in ads
has fallen but also its structural
capacity of generating influence
(reach)
media clutter

15. the real-time social web acts as an
agent for openness in the sense that it
generates the progressive erosion of
horizontal and vertical boundaries like
identities, roles and hierarchies

16. replacing authority (boundaries)
with influence (magnetic fields)

17. an evolution of
Meyrowitz’s idea of media as
‘secret-exposing machines’
‘blended genders’
‘changed childhood’
‘demystified leaders’

18. around me:
pull NOT push
fragmentation also means the new and only potential
center is now “me”

19. the rise of social search:
small networks as a lens to look at the world

20. the crowd as superpower

21. information gets context:
via networks, semantics, mobility

22. access is ubiquitous

23. mixed media diets

24. re-mediation
traditional media becomes
more social
social media becomes more
curated

26. stop
calling it
new
media
and digital
it’s here
and
everywhere

27. these conversations are moving offline,
augmenting reality

28. @ frogdesign “Your Life in 2020”

29. @ frogdesign “Your Life in 2020”

30. @ frogdesign “Your Life in 2020”

31. evolved audiences
huge untapped creative potential

32. empowered
consumers
quick, easy, cheap ways
for voicing your opinion,
super connected,
always on

33. @ alessio facchini
eroded hierarchies:
the ‘demystified author’

34. socialised brands
“it is no longer about what your brand does to the consumer but what consumers are doing to and with
your brand” Mark Earls

35. participatory culture
...way beyond media and consumption

36. have we lost control of our audiences, contents
and ultimately our brands?

37. “Enterprises currently
expend considerable
resources trying to
impose control on a
situation that
increasingly appears
like it not only can’t be
controlled, but almost
certainly doesn’t need
to be.” Dion Hinchcliffe

38. in
s ig
ht
ra
d io
agencies in t
pr
brand agency
brand tv
insight
new
exp
on
lin
e
channels
new
consumers

39. the problem is, we have never been in control...

40. let’s go back to a cold case

41. 1893: Sir Arthur
Conan Doyle decides
to kill Sherlock
Holmes just ten
years after its birth...

42. ...an army of mourning
fans wearing black
armbands takes to the
streets of London to show
him how disappointed
they are.
...but they don’t stop there.
They start writing Sherlock
Holmes adventures
themselves, giving birth to
the first co-created product:
fan-fiction.

43. 1968: NBC plans
to axe 'Star Trek’

44. 2010: BBC
to axe ’6Music’

45. ...a shortened version
Fanatic itself, introduced
of the word fanatic, into English around 1550,
and the word did first means "marked by
become popular in excessive
reference to an enthusiasm and
enthusiastic follower of
often intense uncritical
a baseball team.
Merriam-Webster devotion"
It comes from the Modern
and inspiration leads to Latin fanaticus, meaning
"insanely but divinely
creation...
inspired"

46. #1 identification
fandom is a quick way for fans to express things about
themselves and their identity.
Ivan Askwith - Engagement 1.0

47. #2 mastery
passionate fans know everything about your brand and your
products so they are a natural vehicle for delivering the full
meaning and symbolic universe behind your brand.
Ivan Askwith - Engagement 1.0

48. #3 production
they like to have a say in the building of the brand and like to
create their own version of it
Ivan Askwith - Engagement 1.0

49. #4 participation
they want to be part of the brand narrative
Ivan Askwith - Engagement 1.0

50. #5 appropriation
once your product is out into the world, you don’t really own it
anymore. Remix and alterations are key to appropriation and
endorsement, so make sure your brand is flexible enough to
support it.
Ivan Askwith - Engagement 1.0

51. engaging fan bases is not about feeding
passive lunies, but about giving fans the
motivation and the tools to do something
with your brand

52. how can we implement these
5 engagement patterns in the
marketing space?

53. social media is NOT just another channel
is the platform where all of this is converging
+insights
+idea generation
+testing & validation
+distribution
+wom & advocacy

54. brand don’t own the space
anymore, consumers own it
strategy should be built around them
not around the brand

55. history channel
on foursquare

56. adaptive planning
responding to change over following a plan

57. not just a different way to
distribute the same content

58. redefined content
+ content replicates in a world
of versions
+ creation, distributions,
consumption are not limited
anymore
+ digital content is a infinite
good - cannot command a
high price
Scott Walker - Building a Renewable Entertainment Franchise

59. redefined content
Economic value is in:
+ increasing sales of analog/limited copies
+ reducing piracy
+ generating revenues when selling something scarce like fans real-
time interaction
Scott Walker - Building a Renewable Entertainment Franchise

60. one size
doesn’t fit all
1000 heads
for
1000 msgs

61. ‘the wilderness downtown’

62. ‘cuckoo’ - a location aware music video

63. ‘killing me’ - robyn

64. conversations and relationships,
NOT messages

65. old spice

66. cross-media
experience-driven
not channel-driven

67. co-creating the missing link
between two movies

69. continuous engagement,
not campaigns

70. redefined narratives
multiple narratives across multiple mediums:
+ provide several entry points to the franchise
+ incorporate transmedia into the framework
+ let the users define scopes and storylines
+ don’t wait for the breakout success
Scott Walker - Building a Renewable Entertainment Franchise

71. co-creating the world around the content

72. consumers
as partners

73. Scott Walker - Building a Renewable Entertainment Franchise
redefined audiences
fan as co-creators:
+ legitimate what is already happening
+ give them the tools/support/permission
+ showcase their creations, reward the love
+ enable community discussions
owners as stewards, not bodyguards, of content

74. street fighting man

77. the web as
world’s largest
creative department

78. open platforms can extend participation to
harness the creativity of people outside the
organization

80. it’s about creating
social objects and
increasing their
resonance

81. “...the reason two people are talking to
each other, as opposed to talking to
somebody else.
Human beings are social animals. We
like to socialize. But if think about it,
there needs to be a reason for it to
happen in the first place. That reason,
that “node” in the social network, is
what we call the Social Object.”
Hugh MacLeod, Social Objects for Beginners

86. old vs new model
consumers people
observation immersion
respondents partners
messages relationships
campaigns story
one size niche tailored
channels experiences
silos collaboration
monolithic adaptive

87. From this…
in
s ig
ht
ra
d io
agencies in t
pr
brand agency
brand tv
insight
new
exp
on
lin
e
channels
new
consumers

88. To this…
ra
di social media we
b
o
ide
as ts
ig h
people ins
tv brand brand
agency print
id
ea
s
ts
h
sig
in
p
ex
n
ie
facilitate channels
t mb
a
brands

90. or not

91. @abc3d
www.facegroup.co.uk
francesco@facegroup.co.uk