Posts Tagged ‘crowdsourcing’

  • “Sometimes you have to destroy something you love”

    That’s one of the many stirring quotables from a blog post published last week at John Winsor’s blog.

    John is the CEO of Victors and Spoils, the new model (ad) agency that’s applying crowdsourcing models to creativity.

    The piece is really quite inspiring, drawing a distinction between the great people and creativity you find in advertising, and the business of that business “which really sucks”.

    In the post, John discusses the impact of abundance on the advertising industry. It’s a big theme that we saw Clay Shirky applying to the broad sweep of human history and nature at SXSW this year. In this context, both John Winsor and his guest and recent investor Jon Bond chew over the way the ad industry mistakes abundance for over-supply and commoditisation of their business models. This reminds me of another nugget from the Shirky keynote, which was actually the most re-tweeted line from it:

    “Institutions will try to preserve the problem to which they are the solution.”

    Both men lament the fact that structures, complexity and fear are blinding agencies to opportunities, but I have to say that neither is holding out a quick panacea – or any kind of panacea – to the legacy players. I don’t think they believe that it’s possible to change things gently and piece-by-piece without really radical renewal, by which I mean epic-scale, biblical, creative destruction. It’s not about tinkering about at the edges any longer. This paragraph nails it:

    I love ad people and the ideas part of the business. It’s the “business” of the business that really sucks and brings down the rest of it.  Sometimes you have to destroy something you love in order to rebuild it again, and that is what the new models, like Victors & Spoils, will do. There will be pain. But there is no alternative to the slow, painful death that has been eating away at the soul of the business for the past 15 years.

    That’s my highlighting – but it can’t make for very happy reading if you run a big holding company, unless of course you don’t believe the hype and think things will sort themselves out just like they always have. I think that’s ignoring the bigger picture. I know it’s hard to imagine chaps, but what’s happening is somewhat bigger than the ad industry.

  • Online > offline: we still love paper goods

    Last Tuesday night, I went to the preview for the Brit Insurance Designs of the Year exhibition (aka the Oscars of the design world) at the Design Museum in Shad Thames.

    The exhibition

    (Photo credit: Luke Hayes, from the Brit Insurance Designs of the Year blog)

    It was a fluorescent evening, buoyed up by free-flowing champagne and ebullient design types larging it in hats, big hairdo’s, bright lipstick and serious specs.

    The exhibition covers the gamut of design: architecture, furniture, product, graphics, interactive and fashion. One of my favourite pieces was a bit of folly with a serious message: ‘Panda Eyes‘ a crowd of WWF Panda collecting tins, wired up to a camera in the sky to detect human movement and shift in sync as you walk around them. Its intention is to raise awareness of pandas’ plight in the wild. I think.

    What I found interesting is that some of the graphic entries were really all about the relationship between online and print (and therefore arguably candidates for the interactive category). These three entries all had online generation in common: the articles, images, comment and opinion are all drawn from the crowd, using twitter, blogs and data to bring a concept to life.

    Newspaper Club (which for some reason has a bit of an ugly website, but produces beautiful papers) allows anyone to create and print their own newspaper, without the need to be a multi-millionaire media mogul.

    Here’s a particularly cool example that’s both useful and will please anyone who likes a bit of data visualisation loveliness. The Postcode Paper was an experiment from the Newspaper Club themselves that took information from data.gov.uk such as local services, crime stats and other useful stuff you need to know when you first move somewhere, like TFL transport links, and republished it in one handy, paper format.

    The Postcode Paper

    (Photo credit: Newspaper Club)

    It’s Nice That brings together the best of the creative industry in one place. As well as existing online, they also produce “a bi-annual printed publication, monthly talks and videocast, an online shop selling exclusive products as well as regular interviews and features with current practitioners.” I haven’t seen the print publication, but they feature some mighty nice stuff online.

    Tyler Askew's brand identity for Music HDTV channel RAVE

    And having recently received an extremely dull pre-conference magazine for SXSW, I can appreciate how something like The Incidental would be refreshingly interesting and bring the good stuff to your attention when wading through the programme at a conference. Essentially, it’s “a community-generated news pamphlet and website at international design events which offers debate, reviews, news updates and recommendations by tapping into what everyone is talking about.”

    This has given us some ideas for SXSW…

  • Pictory – A beautiful example of online editorial design

    I’ve talked before about exploring different ways of navigating and consuming content online.

    I first came across Pictory a few weeks ago and absolutely loved it. But as it starts to fill with stories and topics I feel provides some beautiful and elegant ways to gorge yourself on content and is really forging a path into new areas of content layout and navigation online.

    Their line ‘Your best photo stories’ explains what it is nicely.

    Pictory screenshot

    Let’s look at the evidence.

    Lovely, big images. Navigation via a keyboard which allows me to skip from piece to piece simply by pressing the left/right arrow keys. A balanced mix of captioned images and short stories pulled together to create a rich textured viewing / reading experience. Real-life stories which often cause an emotional stir in the reader. And the designer in me loves the use of Typekit fonts.

    I think it’s an example of crowdsourcing at it’s absolute best. A nice tightly worded brief but open enough for interpretation by the viewer. (Aren’t all the best briefs like this?)

    Being ultra picky. A full-screen view would be nice.

    Anyway, I think it’s best if you go there now and lose the next hour of your day.

  • The journalist’s new research tool. Twitter.

    Last Thursday (27th August) at 09:49 I posted the following tweet

    “Ikea want to give the same impression on the web and in print so they use Verdana everywhere. It goes much deeper than just a font folks.”

    Like most tweets, I posted and thought nothing more of it. In fact, I thought I was a bit late coming to this party as plenty of others had been bemoaning Ikea’s new font choice for a few days.

    Anyway, at 09:59 I received this email…

    “Dear Simon,

    I’m a reporter for Time Magazine, and I’m working on a story about Ikea’s switch to Verdana (and the protest it has provoked). I saw your tweet on the subject, and was hoping you would be willing to speak briefly with me by phone (or email!) this morning. I’d greatly appreciate your help…”

    After a small amount of Googling I found the reporter’s, Lisa Abend, LinkedIn profile and discovered that this wasn’t a fake. (The email had come from a gmail account)

    So followed a brief email conversation where she asked me to expand on my 140 characters worth of thoughts. What I wrote in full…

    “Sometimes organisations make changes for the sake of it. They may feel that they need to refresh their identity to stay relevant and up to date. But, on the face of it, Ikea seem to have the right intentions in this case. They say they want to create a unified look across their website and print materials. This is an entirely sensible approach. But it’s rather crude to simply use the same font across both mediums. A brand identity is composed of much more than just a font. It’s about the art direction of the photography. The application of colour and white space, copywriting and a myriad of other small touches.

    Previously they were using a slight variant on Futura – maybe slightly tweaked to lend it a uniqueness that couldn’t be mimicked easily. Looking at the old and new catalogues side by side, the use of a font as pervasive as Verdana only helps to diminish the distinct look the previous generations of the Ikea catalogue exhibited. If, for example, you covered up the Ikea logo on the old and new catalogues, I would suggest that members of the general public would be able to more easily recognise the ‘Ikeaness’ of the old catalogue.

    Regarding the font choice. It’s been said a lot already, but Verdana was designed specifically for screen use. It has open, wide letterforms with lots of space between characters to aid legibility at small sizes on screen. Using it for print imposes all sorts of problems on the designer. The horizonal space taken up by words is huge when type is set in Verdana as opposed to Futura. It doesn’t exhibit any elegance or visual rhythm when it is set at large sizes. And in caps it looks, in my opinion, hideous.

    It’s like taking the family saloon car off road. It will sort of work but will ultimately get bogged down as it isn’t fit for purpose.”

    Lo and behold at 09:20 on 28 August (within 24 hours of my first tweet) I received an email with a link to the finished piece, quoting yours truly, on time.com. The Font War: Ikea Fans Fume over Verdana

    The finished article is full of quotes from other designers taken from both Twitter and probably in-depth phone or email interviews.

    Interesting how, through such a simple mechanism as a Twitter search, a journalist can gather together people who may be willing interviewees about a given subject. What’s also interesting to note is the timing. If I’d been with the initial commenters on this a few days earlier I’d probably never have been approached. The fact that I was late and within a few minutes of the journalist’s search mean I was directly in line for her enquiries.

  • Aaron Koblin on data visualization

    Data visualization artist Aaron Koblin gave a talk at BBH London yesterday which, being in the same building, we were lucky enough to be able to attend. 

    Aaron took us through his work, from his student days at UCLA where he worked on projects including the visualization of US flight patterns, to his work at Yahoo! and now Google Creative Labs (I’m sure some of you have seen the collapsing Google page experiments, which can be seen at Chrome Experiments - there are tons more and some of them are a lot of fun to look at, so you should!). A lot of his work, which you can find on his site, uses Amazon’s Mechanical Turk as a platform to channel the participation of thousands of people from across the world, all working in isolation from one another and with very limited knowledge of the projects they were working on. As Aaron mentioned, the interesting thing was to see how crowdsourcing in this manner is a good example of the sum of the parts being more intelligent than the individual parts themselves – a principle expounded on by James Surowiecki in The Wisdom of the Crowds.

    Music fans are probably familiar with Aaron’s work for the Radiohead House of Cards video, which used no cameras or lights, but merely manipulated data using a lasers and sensors to capture 3D images. There’s a lot of information on the video, and the video itself, at the Google Code site, including a ‘Making of’ video that explains the process. Watching the House of Cards video in this context made me realise how far technology is really advancing (as with the Toshiba time-sculpture ad), and the seemingly endless things we can do when data and technology come together. 

    Data visualization is a subject that really interests us at Made By Many, and it was great to see someone so involved in his craft explain the topic with a range of examples of projects that he’s worked on closely. Aaron’s tips will be useful for anyone who has ever sighed while looking at mundane Excel data sheets, or even creative souls who hit that road block when engaging with data from time to time:

    1. Looking at data in different ways completely changes your perspective on it.
    2. Use multiple visualization techniques – there is no one best way. 
    3. Think about data, not the ‘real world’. 
    4. You don’t have to use all the data that you have at your disposal, so don’t feel pressurised to. 
    5. Let your data free. The first thing that came to my mind when he said this was Radiohead’s ‘In Rainbows’ album (which was initially available on the web on a pay-as-much-as-you-think-it’s-worth basis), but I suppose that’s more a product than data per se!
    6. Work with Radiohead. OK, this was said as a joke but I guess working with someone who is ready to experiment with data, and, as Aaron said, people who are more talented than you always helps your own work. 

    Data visualization isn’t only about prettying up otherwise staid-looking numbers. Aaron’s work on the flight patterns made me recall this slide in a presentation by Matt Jones of Dopplr, who said that simply plotting the places members visited resulted in a map that was almost a replica of the world.

    picture-5

    And in response to a question asked by someone in the audience, Aaron also said that visualizing day-to-day data, as Nicholas Feltron did with the Feltron Report, can give you a birds’-eye view of your whole life, and in the long run that kind of information is quite useful and interesting to have on a personal level.

    We’re only at the beginning of the data visualization revolution.

  • Crowdsourcing a crowdsourcing list

    Anjali announced earlier this week that she’d just created a crowdsourcing wiki. She’s too modest to tell everyone how successful it’s been, so I’m doing that now. It has turned out to be an incredibly useful resource – so useful in fact that with no promotion, media or blog coverage it hit the front page of Delicious, from where it was picked up by ReadWriteWeb. We’ve now been deluged with requests for new accounts. What a fantastic example of ‘earned media‘: in this case it’s convened a community of people interested in crowdsourcing very rapidly at no cost. Nice one @Anjali28. You rock.

    Here’s a link to Anjali’s original post.

  • A community generated zombie documentary

    On the last day of the SxSW Interactive festival a couple of young female zombies shuffled over to us. They’d been ‘turned’ that very morning and were handing out ‘infected’ stickers and leaflets to get people involved in the world’s first community generated zombie film, Lost Zombies.

    The site, LostZombies.com, is a zombie-themed social network built using the Ning platform. The site provides a video ‘brief’ (below) and a time-line for the infection and documentary. Contributors are asked to submit their own ‘proofs’ that Zombies exist – as well as “videos, photos, stories and recreations which we intend to compile into a community generated zombie documentary”. There’s also a grid that displays submitted ‘proofs’ that other users can then create media for.


    Find more videos like this on Lost Zombies

    The site won this year’s SXSW Community and People’s Choice Awards and demonstrates how easy it now is for anyone to use free software to create something niche that really works. We’ll have to wait and see how the film turns out but it’s a very cool idea and if you think about it the horde scenes from zombie movies have always been crowd-sourced.

    Here’s the intro video:


  • Mumbai: flash mob or social media in action?

    tweet

    When news of the ‘terrorist outrage’ broke yesterday evening several people mailed and messaged me with links to the coverage on Twitter. I was awestruck by the live feeds provided at #Mumbai and others (such as Twitter Grid). Having looked around elsewhere, my initial reaction was that the main old-school news agencies like Reuters, CNN and the BBC just weren’t providing the coverage, in contrast to the truly MASSIVE volume of tweeting going on. But as the evening continued my feelings changed about this, and I started to see and ugly side to Twitter, far from being a crowd-sourced version of the news it was actually an incoherent, rumour-fueled mob operating in a mad echo chamber of tweets, re-tweets and re-re-tweets. During the hour or so I followed on Twitter there were wildly differing estimates of the numbers killed and injured – ranging up to 1,000.

    tweet

    tweet

    The facts are still unknown, but it was clear that ‘citizen media’ filled the vacuum provided by official news agencies (here again, there were rumours doing the rounds that because of Thanksgiving, most of the official media had gone on holiday – leaving caretaker managers in place. It was suggested at one stage that CNN was being run by the IT team…). So much noise. So little signal. Even if the truest signal was actually coming through Twitter it was so drowned in rumour, personal utterance, revenge and irrelvance as to be incomprehensible. In the flattened world of the Social Web there is clearly no filter on decency or taste. That made tweets like these possible:

    tweet

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    One of the most unpleasant things to witness was the general ‘whoop whoop’ the more self-regarding voices of the social mediasphere were giving themselves. For some, it seemed like the social media coverage of the event became the story. The real event for quite a number of people last night was: Twitter 1, CNN 0 – which is utterly sad. Old media became the enemies for many, not the terrorists.

    tweet

    tweet

    If traditional media agencies behaved like this (openly) they’d find themselves in trouble – but no-one regulates the mob and it answers to no-one.

    Then this morning I see the word go round that the terrorists themselves might be using Twitter to find out what the security forces were up to. A hush went round:

    tweet

    Which, once again, brought out the worst in many:

    tweet

    There were no doubt many well-meaning people Twittering. Some on the ground were no doubt using the service to share their personal horror and to connect with the outside world must have been a comfort. But very few were on the ground. Most participants were far away. There needs to be some way of working out who in a situation like this has more authority than someone else. Of course, simply being there isn’t necessarily an indication of authority, but it does provide some context. I’d be interested to know if Twitter helped anyone last night to get hold of the right blood.

    tweet

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    Many were simply expressing their horror – that’s fine. But do we want this to be ‘mixed up’ with news. Is it helpful or sensible to mash news up with personal reflections? How do we know what’s true any more when everyone’s voice has the same weight?

    Last night scared me. We’re like kids playing with things that we still don’t understand. A human tragedy became “something to follow”.

    I did find some interesting links were being posted – to journalist Vinu’s photostream, and I thought that NowPublic provided sensible, coherent coverage from a crowd-sourced base. Mainstream media appears to be using the social stuff to create its own coverage – CNN gave Twitter credit last night, and The NYTimes are actively asking for contributions.

    The most touching eyewitness account I found came from a blog called ‘A Night Out In Mumbai’, and tells the story of frightened people helping each other in an hour of need. Definitely worth a read – although be careful as it contains more than 140 characters.

  • Act like a start-up

    Social

    Adweek published a great article this week by Benjamin Palmer of the Barbarian Group. It it, he challenges the ad industry to stop being scared, embarrassed and confused by “Web 2.0″ and to start exploiting crowd-sourced creativity from within as well as radically new ways of working together. He urges both advertising creative and television commissioning people to learn from the way ideas are generated and developed in a Web 2.0 world.

    Web 2.0 is more than just user-generated content. It is, in short, rich media applications (AJAX), folksonomies (like tags), new development approaches (”fail fast, fail cheap” and agile development), interoperability (RSS) and, yes, user-generated content. And since this is also the world of publishing 2.0, you should totally look up those terms on Wikipedia.

    It’s definitely our experience over the past 18 months that there are two types of web project:

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