Military Language vs. Relationships. Marketing vs. Wittgenstein.

Katy Lindemann from naked has written an interesting post on marketing language: Time to move on from military marketing

In her opinion the military language in marketing opposes the goal to build relationships and foster engagement.

"It’s interesting, isn’t it, that the holy grail for marketers is engagement – to build meaningful relationships between people and our brands. And yet the way we think about marketing is frequently diametrically opposed to the desired end result.

The vocabulary of marketing is largely one of warfare – with the consumer as enemy combatant, on the receiving end of our merciless attacks. The etymology of the word ’strategy’ is military – literally meaning ‘the art of a general‘. And it’s just as applicable to the world of marketing as it is to the battlefield.

Think about it. How many times do we start by referring to the ‘target’ when considering audiences? (The fact that we talk about ‘consumers’ rather than simply ‘people’ is another strange beast, as it automatically frames people purely within the context of consumption rather than as the multifaceted human animals that we are, but that’s a whole other issue). So we launch aggressive campaigns carefully designed for maximum impact and to gain captive audiences, thinking about strikeweights and guerilla tactics to do battle, gain market dominance and kill the competition.

Hardly the language of fostering engagement and relationship building, is it?"

It reminds me of the famous quote from the philosopher Wittgenstein: 

“The limits of my language mean the limits of my world”

So as long as marketing executives and creatives talk in military language they will act by it. 

Perhaps we can borrow some terms from the entertainment industry.

They talk about the script (instead of the plan), the dramaturgy (instead of the strategy) and the audience (instead of the target).

 

 

 

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Filed under  //  Planning  
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Posted 1 hour ago

VW uses Transmedia Storytelling in Social Media Campain

VW USA recently lauched the "PunchDub" campain with strong elements of transmedia storytelling and the potential to become a cultural phenomenon.

I guess it is based on four aspects: Cultural Insight, Awareness, Transmedia Storytelling, Long Tail Spreadability

Cultural Insight

The "Punch Dub" campaign is based on the classic game that kids used to play back in the original Beetle's heyday called "Punch Buggy" (or "Slug Bug"), where the first person to see a Beetle would yell, "Punch Bug" and playfully slug his or her friend.

Awareness

In order to use the game in marketing communication and raise awareness VW announced the "The Punch Dub days" at the superbowl.

Volkswagen will debut the "Punch Dub" (as in VEE-Dub) campaign in a 30-second ad during the third quarter of Super Bowl XLIV and through a new online campaign. The ad, which includes a special cameo by actor and comedian Tracy Morgan, will show a variety of people in different driving situations gently slugging others in the arm every time they spot a Routan, Tiguan, CC or any other Volkswagen model."Punch Dub is a fun, engaging way to reintroduce Volkswagen and its growing product family to millions of Americans during one of the most watched television events of the year, the Super Bowl," said Tim Ellis, Vice President of Marketing, Volkswagen of America.

Raffle and Facebook-Game

On facebook you can win a VW with the Punch-Dub game (that is a little bit dull).

http://www.facebook.com/VW?v=wall

Transmedia Storytelling

VW uses transmedia storytelling to proove the entertainment value of the game. 

Volkswagen is also revealing that it has found the creator of the original game, Charlie "Sluggy" Patterson. Fans can interact with Sluggy beginning today with a special blog and Twitter feed

The Videos tell the story behind the game in a very entertaining way.

But you can also follow Sluggy on Twitter to discuss the rules of the game: http://twitter.com/sluggypatterson

Or even read his Blog: http://sluggy.posterous.com/

According to Tim Ellis, Volkswagen’s Vice President of Marketing, “The campaign is a modern twist on a classic game that has been played on America’s highways for generations and will help consumers gain a new perspective on the breadth of our vehicle offerings, quality, performance and value.”

Read More http://www.wired.com/autopia/2010/01/vws-social-media-campaign-delivers-a-one-two-punch/#ixzz0eOdsVdFX

Long Tail Spreadability

Furthermore the "Punch Dub" Idea can also be used by regional car dealers and fans of course. 

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Filed under  //  transmedia_storytelling  
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Posted 7 days ago

Augmented Reality Vision

without words:

TNX to elijau

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Posted 7 days ago

Great Post on UX and Storytelling by @iamFinch

Francisco Inchauste has written a very inspiring post about Storytelling and User Experience. In his opinion a great interface is designed by an integrated team that develops a story for the user to explore. I like his user centric approach. But I think he misses that content development and text is as important as design to construct a great and lasting experience. 

 

By the way he gives a very short introduction into story-structure:

The creation of a story is often viewed as an almost magical or random process. The author sits in front of their canvas, the blank word processor, and begins to type whatever inspires them at the moment. Great stories, though, don’t just happen randomly; they are designed. There is a pattern at work here. In order to be entertaining, have the right dramatic cues, and tap deep into our collective psyche, a specific method is used to build the story. A story that fails to pull the audience emotionally and keep their attention may not have used enough of these patterns as a guide, as shown in the typical story arc below.

Storyarc in Better User Experience With Storytelling - Part One

The story arc is widely used in screenwriting and novels.

 

 

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Posted 7 days ago

Alan Moore on communication, working and thinking in a networked society.

 

Alan Moore gives a very interesting lecture on the idea of a networked society. He thinks that the net brings people back to think more complex and networked and makes them striving for participation and collaboration.  He believes these behaviors are natural. Linear thinking and consumption on the other hand are a signs of the industrial age.

Alan More is currently working on his next project: No Straight Lines: An advanced living course for the networked society. A project that describes the complex interwoven relationship between: people, identity, communications technology, commerce and society.

As a well known writer, thinker and public speaker Alan has addressed, radio, television, and conference audiences globally. Reviews of his books and his articles have been published in many respected magazines, journals and newspapers.

His unique experience enables him to provide insight and inspiration on this evolving world of media, culture, communication and commerce. Alan enables companies to develop strategies for how business can prepare themselves for the challenges and opportunities presented by new technologies and the changing media environment.

 

Thanx to Nina from doubleshift for the link.

 

 

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Filed under  //  DesignThinking   ideaspotting   Mediaculture  
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Posted 8 days ago

Insightful: The Creative Method and Systems by @jted.

Another great presentation from Jason Theodor on Creativity. I like his idea to describe the different types of personalities involved in creative processes. 

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Posted 12 days ago

Great: Red Riding Hood Remix - Innovation Thru Storytelling (RT @elijau )

It simply shows the power an potential in (transmedia) storytelling. Love it.

TNX to elijau for the tipp and an Jason Theodor, who wrote this presentation.

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Posted 12 days ago

"The titles in our industry. I don't get it" - Tony Davidson of Wieden+Kennedy

<p>Tony Davidson of Wieden+Kennedy from Thoughtful on Vimeo.</p>

My favourite part starts at 21.00. Tony Davidson says it is not the title that makes someone creative.

"Because most planners are very very bright people. If you get good ones they are creative."

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Posted 15 days ago

The Experience Imperative. From Industrial Design to Advertising.

"The Experience Imperative - A Manifesto for industrial designers by Ken Fry" has been published on core77. I like the manifesto's ten commandments because they touch basically the same issues as in the ongoing debate on advertising. Just replace designer with advertiser. 

 

1. Design beautiful experiences, not beautiful artifacts
History is littered with beautiful objects that are culturally offensive, socially anemic, environmentally irresponsible, useless, or unusable. Consider all of the contexts of the artifact that you create: How is the product used over time? Where does it live? Who uses it? How does it fulfill the practical needs of the person using it? And consider all of the meanings behind the artifact: What are the emotional, cultural, social, and environmental impacts of the product? The physical artifact will be trivial without considering these larger contexts and meanings; indeed, they are what define the experience. Think beyond the object and consider all of these contexts of use. Apply a design process that helps you learn about these contexts and experiences. Work toward an experience-oriented solution instead of an object-based result.

 

2. Stop asking "what" and start asking "why"
Designers are often asked to design an object that adheres to the strict guidelines of a brief. If the industrial designer only considers "what" they are asked to design, they enter into a design problem blindly, and the result will be an artifact that has been stripped of everything that is meaningful to people. The next time you receive a brief that tells you what to build, ask "why": Why would someone be motivated to use this product? Why is it necessary to build a product for this particular market landscape? Why embrace a particular technology? The answers you get will open up new possibilities that go beyond the physical product and into the realm of experience. Asking "why" will take you to the edges of the product where experiences live.

3. Start with experience, end with experience
Understand and empathize with a person's real experience before a single sketch is put to paper. Try to understand people who don't rely on technology today. How might that inform a new design solution? First, go into the homes and workplaces of the customers you are designing for. Observe and understand what motivates them. Document what they say and what they do. Next, describe the experience using words. Develop a written narrative that represents the experience you observed. Focus on functionality and behavior. Finally, create an experience that would delight the people you met. Prototype several solutions, watch how people experience your designs, understand their point of view, and develop a new design solution that enables a meaningful experience.

 

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Posted 21 days ago

Chart your organisation and operation.

Some days ago @issue featured a blog post on Walt Disney's creative organisation chart. It describes the workflow of several departments during the production of a movie and has caused a small buzz on twitter. 

@issue wrote:

In 1943, five years after it was founded and during the height of World War II, Walt Disney Studios put out an organization chart to explain how the company functioned. What’s fascinating is how it differs from org charts issued by most corporations. Typically, corporate org charts are hierarchical, with each operating division isolated into “silos” showing job titles according to reporting chain of command and ultimate authority. The CEO and SVPs get the higher positions and bigger boxes; the little boxes represent the expendable worker “bees.”

But some of the article's commentators have mentioned, that this comparison is not accurate. A small line at the bottom of the chart states: "This Chart Designates Operations Not Authorities." And I'am sure that Disney has an hierarchical chart as well (Does anybody know this for sure?).

Nevertheless the chart has some interesting aspects: 

It shows a common goal for the hole staff. The production of a movie starts with a story (creative staff) and needs the enthusiasm of the whole workforce to get it into the cinema. This is crucial because a common goal creates a counterbalance to the allocation of authorities (as shown in every organisational chart). It unites the team, because it shows clearly that creativity, production and management are equally important to reach the common goal. And it might help "those in power" to decide more in favor of the common goal than in favor of their job-titles.

Today many companies are very engaged in thinking about their organisation and the allocation of power and titles. The Disney-chart from 1943 asks us to think about operations as well. What is the common goal of our work? How do we need to collaborate to reach these goal? What kind of people have to work together? And if the result of our work changes (like social media changes the results of ad-agencies), perhaps it is time to rethink operations first before the organisational chart is rewritten.

It would be intersting to know, if the Disney chart could be adopted to describe operations within agencies. 

 

 

 

 

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Posted 22 days ago