23rd September 13
Author: Mareka Carter, Writer & Art Director, BBH LondonWe know anyone reading this blog is interested in hearing about new digital experiences, and so we’re proud to announce a little probono project that a small team have been working on at BBH.Artist Rosalind Davis approached us to see if we could help give some exposure to an exhibition she was mounting of work made in response to the London Riots.With our connections in Tottenham built from the Keep Aaron Cutting project, we suggested a venue and then a concept – to turn fine art into a truly digital and immersive interactive experience.Inspired by Rosalind’s theme of using creativity as a means to repair after destruction, we have built her a website for her show, To The Light - which makes two of her artworks in the online gallery, Splinters and The Distance Between, into soundscapes of archive from the time of the riots, combined with commentary and opinions from Rosalind herself and others. Snippets of sound are released as you mouseover the brushstrokes and structure of the image.The site encourages people to add their own thoughts to Rosalind’s work by recording voice memos and emailing them through to further populate the soundscape, which we hope will grow and grow.The show’s private view is next Wednesday 25th September between 6-8:30pm at the Bruce Castle Museum in Tottenham.We’ve definitely enjoyed demonstrating Rosalind’s belief in creativity’s power to effect change and open up discussion, so please participate if you’re moved to, and do spread the word.Thankyou.The creative band involved:Mareka Carter & Adam Powers on concept, Alex Matthews & Luke Kidney on tech and build, Heather Alderson & Xoch Ireland on connections and organisation, Izzy Barnes on PR advice, and Ian Lambden at the Mini Mill on sound engineering.
5th September 13
This is the third cross-post this week from a few articles we’ve written this year for a tech column in Marketing magazine. This one from the June issue looks at designing for mobile web versus native apps: as mobile moves to centre stage, should marketers design for every operating system and every device, or opt instead for the mobile web?
Last month’s column covered how wearable tech is likely to succeed for no other reason than it makes intuitive sense once you try it. Just as mankind ditched pocket watches en masse in the first half of the 20th century (albeit reluctantly at first: apparently your average British male stated they’d “rather wear a skirt than a wrist watch” until after WW1), it follows that we won’t carry around a smartphone when we can wear one instead and stay handsfree.
When it comes to designing for mobile however, wearable tech throws up additional demands in an already quite complex space. Designing for different operating systems on a bunch of different handsets and tablets is going to look like child’s play when wearable tech fully enters the arena. It’s going to get harder before it gets easier.
Enter the mobile web. I usually subscribe to the view that the more complex a task, the simpler the solution needs to be. Native apps increasingly dominate mobile traffic, currently delivering four times the volume of the mobile web and yet… why design separate solutions for different OS when you can have the broader applicability and lower costs of designing for the mobile web instead?
In truth, there is no one mobile solution to rule them all. So how best to navigate development choices now, with one eye on the future?
Here’s a dead simple guide to ‘what to choose, when’:
1. Native apps
If you’re designing a service or utility (task-based) app that requires real speed and you want to use the native features of the OS running on a given device, then for now your best bet is to code a native app, think Instagram.
2. Web apps
In other words, apps that live entirely online and run in a web browser tab. If you don’t need the native features associated with iOS or Android, say, and the purpose of your app is primarily information-based – to the extent it needs constant communication with the server – then you’re better off building a web app. An example of this would be Forecast http://forecast.io/, the weather app built using HTML5. No need to go to the app store, just search, download to your home screen and you’re good to go. Forecast also puts to bed any assumptions that a native app interface is de facto better. As Forecast themselves say, it’s more a question of users getting familiar with the progress that’s been made:
“It’s 2013, and mobile browser technology has advanced tremendously in the past few years: hardware accelerated transforms and animations have made it easy to create perfectly smooth, jitter-free, interfaces..”
3. Hybrid apps
In short, each of the approaches here have a role, it depends on what we’re trying to achieve. For marketers, I’d wager we default to a native app too quickly. The question to ask is “will this app provide genuine utility or entertainment that users will want to return to of their own accord in future?” If the answer is closer to “no, this is a short term campaign to promote a product launch” then let’s do everyone, including our CFOs, a favour and build a light, responsively designed web page instead.
Love this related post on cards as a design approach that solves many of the perennial issues around mobile – it’s must-read: Why Cards Are The Future of The Web, by Paul Adams @ Intercom.
3rd September 13
This week we’re cross-posting some of the monthly tech columns we’ve written over the past year for Marketing magazine. In part so we keep a record of the topics that are vexing and/or getting us going here at Labs, but mainly because some of these topics keep resurfacing and seem worthy of on-going discussion. As always please let us know what you think in the comments below.
First up, a piece published in March this year on code and creativity.
A biography of Beatrix Potter published last century may not sound like it warrants a mention in a column about technology. Yet when a friend sent it to me recently I was surprised: as a child, Beatrix had conceived her own cipher or code for use in private journals that she wrote well into her late twenties. 200,000 words in total that were only successfully decoded two decades after her death. So why did she write in code? And why was there such baffled curiosity that a creative writer did this?
The thoughts Beatrix encrypted were neither controversial nor particularly personal. The biographer speculates that she was a lonely, if intelligent child who sought refuge in her own imagination. Described as a peculiar act of creativity to escape an otherwise colourless childhood, if you will.
Reading it, I was struck by how little fundamental attitudes to writing code have changed in decades. In our industry, as in others, there’s positive intent and considerable uptake of courses designed to teach the basics of programming languages, sure. But reading and writing code is still not a part of the fabric of life the same way learning a language, sport or an instrument is. Many still see code as intimidating, or the preserve of the solitary (male) computer science geek.
Even as we grasp how code and the role of different languages are transforming marketing output and our ways of working, still too many of us step back from getting to grips with code directly and personally. That’s for newcomers to the industry, right?
Yet it’s no more complicated than anything else we learn over the course of our lives and it’s part of the day job: we already know the Internet has been the biggest advertising sector in the UK for the past four years (IAB data) and that it will register double digit growth every year for the next four (PwC’s Global Media & Entertainment Outlook for EMEA, 2012-2016).
So what now?
Perhaps we don’t all itch to shape the way the web develops, but let’s embrace the fact that, at its simplest, code is how things get made on and for the web. Much as Beatrix Potter understood a century ago, code is creative. Of course there’s much to do here: if code in combination with its older siblings, art direction and copy, is to grow up faster, better, stronger it needs leadership at every level. We don’t all need to learn to code necessarily, but we do need to know what code can do.
Time to get with the program, people.
More on the topic:
A series of experiments launched at the start of the year designed to re-imagine advertising, reflecting the triumvirate now at the heart of commercial creativity.
Code.org and their video ‘what most schools don’t teach’ featuring Zuckerberg, Gates and a host of other geekarati championing code. If I were Secretary of State for Education, I’d make it mandatory for all girls in secondary education to watch this.
Decoded – http://decoded.co/. The original “learn to code in a day” training course. You may not emerge a fully fledged developer, but you do leave with a good grasp of the history and roles of different programming languages, plus an app you built yourself. Intelligently designed course, highly recommended.
Teaching kids the basics of code through a parent-child physical training session where the parent is the ‘robot’ and expected to respond to specific commands: “How to train your robot”. Every small child’s dream.
And as a counter-point: Learning to Code is a Waste of Time (Forbes)
2nd August 13
Author: Jim Carroll, Chairman, BBH London
Like many people I was amused by Rory Sutherland’s recent piece in The Spectator, in which he suggested it might be a smart strategy for Agencies to recruit graduates with lower class degrees.
Sutherland argues that there is no evidence that ‘recruits with first-class degrees turn into better employees than those with thirds’. Graduates with lower class degrees are in fact undervalued by the market and as a result they’re less expensive and more loyal.
I thought I might contribute my own perspective to the debate and indeed my own trusty Recruitment Tool:
In my many years of working with Strategists, I have established that very smart people can reduce highly complex conundra into quite simple challenges. In this animal porno respect they have something in common with the less-than-intelligent, who see the world simply despite its many sophistications.
I have also observed that those with moderate-to-medium levels of intelligence can perceive complexity in every aspect of every problem.
This has led me to conclude that the only useful Strategists are fools or geniuses….
9th July 13
Posted in Brands
AUTHOR: JIM CARROLL, CHAIRMAN, BBH LONDON
‘Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world.’
The Second Coming – WB Yeats
For as long as I can remember things have been falling apart. Fragmenting, segmenting,
empowering. Devolving, diffusing, decoupling. Subdividing, subcontracting, subbranding. Ever more channels, audiences, tools and platforms. Ever more markets, stakeholders, structures and roles.
I feel that for the entirety of my career we have been seeking coherence in an ever more fragmented world. Endeavouring to establish order in the disorder, to shape the sometimes shapeless, to find patterns in the mayhem of modern marketing.
In my early days we were arguing for campaigns not executions, continuity not chaos. Fighting against ‘goldfish advertising’.
Then as channels disbursed, as tasks multiplied, as Clients centralised, we advocated The Big Idea: the conceptual glue that held the brand together, that gave it a collective purpose. In time I also became a convert to the unifying power of the aesthetic, to the harmonising force of visual identity.
Of course the quest for coherence sometimes felt like swimming against the tide. It came with a loss of spontaneity, at a cost to creative freedom, with the risk of regimentation. But I always felt that coherence was worth it. Because I believed in the active, authorial, unitary brand; in a brand that brought more to the table than a willingness to please; in a brand that meant something to everyone, not anything to anyone.
I have occasionally wondered whether we were wrong. Perhaps we should concede that ultimately the centre really cannot hold. Perhaps in the age of the social web we should let go of the tiller, move with the tide, submit the brand to the ebb and flow of consumer needs and desires, whims and passions; liberate it from its corporate shackles to find its own articulation in the mouths of the crowd.
But I think I’m quite a conservative bloke. I can’t relinquish my belief in the unitary brand, however fragmentary its experience. And curiously the social web, with all its wild diversity and anarchic soul, has also given hope to Coherents like me.
‘Today, after more than a century of electric technology, we have extended our central nervous system in a global embrace, abolishing both space and time as far as our planet is concerned.’
Marshall McLuhan – Introduction to Understanding Media (1964)
As a young Planner in the early ’90s I read Marshall McLuhan’s Understanding Media, a book written the year I was born. I wanted to learn about the thinking behind such legendary phrases as ‘the medium is the message’ and ‘the global village’. I discovered a whole lot more. It was an ambitious, lyrical, imaginative work. It was brilliantly passionate, fantastical,
I was particularly struck by the image of man in the electronic age extending his central nervous system beyond the constraints of physical form to reach out across the world. Wow! It was pure science fiction, of course, but it was a beautiful thought. Some years later I realised McLuhan had been predicting the arrival of the Internet…
The image of a world wide central nervous system has remained attractive to a lifelong believer in brand coherence. Because it’s an image that can be applied as much brazzers porno to brands as to people and things. It suggests that brands can embrace a glue more powerful than any corporate structure, conceptual definition or visual identity. Modern brands are finally capable of creating their own neural networks, their own central nervous systems.
So of course we should be introducing connectivity to everything we do right now, right the way across the path to purchase. Of course we should all be designing brand ecosystems and ecologies with bold, bright enthusiasm. Because at last we can see the reality of neurally networked brands which are sensitive, responsive and feeling. Brands which learn, think and evolve. And above all brands which are coherent and whole.Perhaps the centre can hold after all.
8th July 13
Posted in Brands
AUTHOR: MICHELLE GILSON, STRATEGIST, BBH LONDON
I have always been a fan of observational comedy. Before I knew what Planning was. Before I even knew what I wanted to be. But reassuringly I once was told that good planners are like good comedians, in that they pick up on insightful human truths and deliver them in a captivating way. If I become the Peter Kay of Planning one day, I’ll die happy.
I recently saw the comedienne Sarah Milligan’s tour broadcast on TV. She had a brilliant phrase which stuck with me. “In life people are either bumper cars or dodgems”. Of course they are the same thing. But the point she was making was some people prefer to navigate life, whilst others prefer to push from the front. Personally, I lean more to the former. But beyond that, it got me thinking about how I view brands.
My whole life I’ve always been attracted to brands that set out to include me, as opposed to those that showed me the way. Growing up I was never taken with Nike ads, nor with Apple, nor Virgin. Instead I always warmed to brands like Dulux, Tesco, Ikea, Coca Cola and British Airways. The deliberately inclusive brands that made me feel welcome and at home.
Our CEO Ben Fennell posted here recently asking ‘what kind of leader are you?’ His point was that the business world goes round thanks to quite different types of leadership. Are you a nurturer or a visionary, an operator or a warrior and so on? And the same is true, it strikes me, for brands that are leaders in their categories.
Judging on how they behave and make me feel, I believe there are two classic categories of brand leader: Empathetic vs Emphatic. The former want a dialogue and seek to communicate in a way that relates closely to their audiences’ lives. Emphatic leaders, by contrast, tend to enshrine their own vision and qualities. ‘Buy me and you’re saying something about who you are’, says the Emphatic brand. ‘Buy me because we understand who you are’, replies the Empathetic brand.
Of course I’m not saying one is better than the other. Both friends have benefits. While Empathetic leaders offer a caring, accepting and optimistic tone of voice, the empathic brands will ooze confidence, inspiration and authority. They can be useful, even a source of inspiration, in different ways:
And while empathetic leaders behave in a fun, inclusive way, emphatic leaders always feel dynamic, adventurous and unpredictable:
My Dad used to say “one man’s meat is another man’s poison” when it comes to picking a partner. But truthfully that analogy feels too extreme when applied to our relationships with brands (probably due to significantly reduced commitment when it comes to purchase and consumption).
And yet I’d wager most of us do want both spicy and safe in our lives. And often we won’t look to one person to provide everything, we’ll pick and choose friends, family esmer porno and a partner that offer different qualities. And, accordingly, even thought I’m an Empathetic brand lover at heart, I confess I shall probably get some glee next time I’m forced to wear my Nike’s to the gym, or light up my iPhone. And further more, may even attempt to bump some cars next time at the fair, rather than dodge them.