Archive for the ‘creativity’ Category
24th August 09
13th August 09
We like this, and look forward to seeing what comes from it.
GOOD Magazine are asking people: “If you were to invent anything to push the world forward, what would it be?”
The jury’s still out on whether collaborative creativity can provide a viable business model (high enough quality; low enough costs) for creative businesses, but this seems to us to be a smart way of focusing the minds of artists, inventors and other thinkers on some of the more important questions.
We’ll watch with interest – what would your idea be?
(Thanks to John Winsor of CP&B – @jtwinsor – for the heads-up).
10th August 09
We’re super proud of our friends at BBH London who’ve produced something very special for Johnnie Walker. “The Man Who Walked Around the World” is a six-minute piece of storytelling that features Robert Carlyle walking through the Scottish Highlands. Carlyle tells the story of the brand’s birth, growth and development via some dazzling copywriting from BBH’s Justin Moore. This alone is an achievement – to keep the viewer listening intently for six-and-a-half minutes in a world where 140 characters constitutes ‘engagement’. Clearly Carlyle plays a huge role here as well.
What’s even more impressive, for us, is that this was all achieved in one take, with no editing done afterwards. Apparently there were 40 takes in total, and this was the last, completed at 8pm on the last day of the shoot. When you see how finely timed this is you’ll see why we’re in awe of the production.
There’s a great interview with the Director, Jamie Rafn, on the Shots site which goes into detail about how the piece was shot and some of the considerations that affected how it turned out. Definitely worth checking this out. Rafn took on a challenge many others thought impossible. As Mick Mahoney, BBH London Creative Director of the project told us:
“Every director we spoke to told us that it wasn’t possible to do what we wanted. That we would need concealed cuts and so on. Which would still have made a good film, but it’s the undertaking, the commitment, of doing it all in one take that makes it. Jamie Rafn was the only director who felt the same. Getting Robert Carlyle to do it then just took it up a gear. He has exactly the screen persona that we wanted. Tough, uncompromising, enigmatic.”
30th July 09
“There are always at least two ways to tell a story”
Launched last month under their Puffin label, We Make Stories is the latest in a long line of digital publishing innovations masterminded by Jeremy Ettinghausen (@jeremyet), Penguin’s Digital Publisher. This is the second piece we’ve done in recent months looking at the publishing industry as a whole. Back in May we wrote about the transformational change going on at TMG in the UK (also check out the ever brilliant Nieman Lab for a far deeper examination of journalism in this respect). Why are we so interested in what’s going on here? In short, we’re witnessing a radical re-shaping of an industry we believe we can learn a lot from. An industry which – aside from its sheer cultural importance in the first place – has been experimenting with new creative & organisational solutions for some time now.
The launch of the new service from Penguin was a good excuse to catch up with Jeremy and find out what he’s learned from this and other past projects, as well as ask him to share his thoughts on the future of digital publishing, the struggle to monetise content & services online, the impact of the web on storytelling and finally, what role he sees for brands in this space. So just a couple of meaty topics then…
14th July 09
For a good while now we’ve been hearing about the death of the big idea (put that phrase into Google and see what you get back), but before the coffin gets nailed down once and for all, I’d like to check for life signs. Not so that we can limp on, clinging to an old familiar industry cliché, but to make sure we’re not systematically talking ourselves into killing off something that still has the power to bring tangible and intangible value to the brands we serve. Read full post
9th July 09
How many marketing campaigns can you name that are properly innovative, laudable in their intent (cheap to produce & for a good cause), blindingly simple to interact with and delivered with laugh out loud wit? Here at Labs at any rate we reckoned we would be pushed to name one. Then along comes something that completely blows us away, the brilliant i.Saw and its sister product, Papercut.
We first heard about the whole idea when our friends from BBH Asia Pacific got in touch. Inspired by mountains of uncollected pages on the printers in the office, they’d developed a unique, downloadable sound effect application of a chainsaw, designed to drive home a straightforward message: printing unnecessarily = killing trees.
Peter Callaghan, CD on the project, explains the brilliantly simple idea: “Papercut is a simple reminder of where paper comes from. When you press ‘print’, you’ll hear the roar of a chain saw. It is not to make you stop printing, just print less, using only what you need. Reminding people that printers run on trees.”
The next step was to orchestrate a campaign to encourage people to download the app. The team given that task, Noel Yeo and Shawn Loo, explained they were intrigued by the idea of creating a product, rather than a classic viral. And with that, the i.Saw was born. An entirely spoof creation, the i.Saw is a USB-powered chainsaw (the answer to all your office needs, natch) complete with its own lovingly created product page.
‘Pre-ordering’ the i.Saw on the site initially generated a classic, automated email response thanking you for your order. Now a banner informs us that pre-ordering is closed, click here to find out why… which takes you to some brief copy revealing the spoof and offering you the entirely free, downloadable sound effect app. Genius. Read full post
30th June 09
Without doubt our find of the week (the year?) here at BBH Labs has been this staggeringly cool flash application, from a Singapore-based band called Concave Scream. I’d never heard of them, and now I can’t stop listening to them.
Created as a piece of marketing content for their new LP, ‘Soundtrack for a Book’, it consists of data visualizations of the front covers of 50 all-time classic books (think Moby Dick, Alice, Pollyanna, Last of the Mohicans), brought to life and mashed-up with the soundtracks from the new LP.
It is completely customizable & interactive. Each of the 50 books can be played with using controls at top right. You can add or accentuate colours, change rotation speed, create wallpapers, or simply opt for a more randomized effect. Go full screen for best effects (top right).
In a week when smart new ways to launch music have been recognized and awarded (for example, close to home, BBH NY’s launch of the new Oasis LP, a Titanium Lion winner in Cannes), this takes that to another level.
We’re certainly guilty of getting over-excited fairly frequently here at BBH Labs, but this is genuinely staggeringly good. Best of all, it’s utterly beautiful in a mesmerizing way, with the vocal-less music from the LP completely complementing the visuals.
The actual CD itself is a fairly well-designed piece of work too (see below).
“[Concave Scream] have a lot of naïve aggression and a dirty kind of
sound, which I think makes them a lot more credible than the other pop
acts which seem to be singing just for the sake of singing, with no real
point of view.”
- Malcolm McClaren, The Straits Times
For more info: www.concavescream.com
Email us at: email@example.com
17th June 09
We have been playing with this really impressive collaborative & spoken word tool, Bb 2.0, and melting our brains thinking about the possibilities, and where this could go next
Conceived by Darren Solomon, from Science for Girls, but with plenty of help from users, the tool is based around the insight that it’s possibly to play multiple videos on YouTube simultaneously. It’s similar to, but according to Darren pre-dates, the Kutiman YouTube mash-up videos (which are also awesome pieces of remixed art).
Darren & team go into the why and how in more detail in their FAQ, which are worth checking out. It’s an interesting experiment around using the crowd to conceive of and produce music, but one critical element stands out for us – the role of Darren as both editor (he filters and selects all the music chosen) and overall creative director (his vision, his direction, his imagination). In debates around the use of the crowd – in this case the musical talents of the crowd – the pivotal role of the editorial director is frequently overlooked. In a crowdsourced world the role of the ‘creative’ is more important than ever.
Thanks to @aaronkoblin for the tip off; his own version (kind of) of this is of course his pretty brilliant ‘Bicycle built for two thousand’ project.
4th June 09
This is simply a note of appreciation to David Byrne, who continues to remind me that interesting ideas don’t always require explanation and that great success can occur from the oddest of experiments.
Byrne doesn’t simply make music. He also designs chairs:
2nd June 09
“I love fools’ experiments. I am always making them”
Charles Darwin, 1809-1882
Brokeback to the Future. Must Like Jaws. Google Maps with just about anything. Danger Mouse’s the Grey Album. We just can’t escape mashups. When the very last music track, piece of software, data or film has been spliced with something else to create another new hybrid output, perhaps then, and only then, will the world rest easy.
Or maybe it shouldn’t. We could look at consumer-orientated mashup culture as just the start of something with even broader application. Taken to an extreme, I’m talking about mashing up entire industries. The marriage or mutation of skill sets inside an industry like marketing & communications, with those on the outside. The sole purpose of the experiment to devise radically new, hybrid forms of creativity.
Industries as diverse as architecture, astrophysics, poetry and genetic engineering are already showing us how it’s done, collaborating and cross-fertilising with each other to evolve. A BBC podcast not so long ago explored this whole area with almost Darwinian alacrity, a guest on the show summing up his take as follows:
“How do we produce original knowledge? …We no longer need specialist knowledge, but trans-disciplinary creative solutions.”
Andy Miah, editor of ‘Human Futures: Art in an Age of Uncertainty’
The implications for creative businesses seem particularly significant. Despite the pride the communications industry has taken historically in its ability to seek inspiration from far & wide, it’s undeniable that large chunks of it currently maintain a pretty insular, closed off existence.
Consider this then a rallying cry to break down the walls, take a step outside and embrace the new forms of creativity that lie waiting for us at the intersections with fields, disciplines & cultures different to our own.