Archive for the ‘Social Media’ Category

1.-Airbnb-Image-Coyrtesy-AmazonawsSXSW Inspiration – Airbnb: CEO Brian Chesky talking candidly about the challenges of growing and scaling a truly disruptive business model…

UnknownSXSW Inspiration – FourSquare: CEO Dennis Crowley on the challenges of growing the business and the opportunity to design the future of maps…

swissmissSXSW Inspiration – Swiss Miss: Designer Tina Roth Eisenberg on following your passions, and the 11 rules to live and work by…

ovee_logoSXSW Content – Social TV: how great technology and UX can engage audiences with online video as a social experience, using the case study of social video platform OVEE.

JerusalemSXSW Content – Exploring place in cross-platform storytelling: how technologies like geo-tagging, location-aware devices and augmented reality are combining with traditional storytelling…

BuzzFeed-logoSXSW Content – Viral content and social content advertising: BuzzFeed CEO Jonah Peretti on how to create and distribute viral content in a world where ‘share’ is the key to success…

ouya-logoSXSW Games – OUYA: Julie Uhrman, CEO of OUYA, discussing kickstarting an open gaming ecosystem  and bringing a software system to the television…

IAP4082SXSW Mobile – Africa’s $100bn mobile market: an overview of the scale and pace of change of all things mobile as the primary, scalable, transactional route to impact and change.

aetnaSXSW Health -Aetna: an overview of the Aetna healthcare ecosystem to illustrate the opportunities for mHealth startups and investment.

SXSWiLogo4In today’s SXSW session, BuzzFeed’s Founder and CEO Jonah Peretti discussed how to create and distribute content in a world where ‘share’ is the key to success…

BuzzFeed  features “the hottest, most social content on the web” and now boasts 40 million unique views per month. Peretti highlights that we are in the midst of a big shift in media consumption from portals, to search, to social. Facebook, Twitter and the social web are now mature and content spreads faster and further than ever before. This means that owning the printing press or broadcast pipe matters less and less in a world where creating “content people love to share is the key to success”. So Peretti cautioned that you have an idea but also a way to spread it, and this should be a 50:50 effort. But good quality content does not necessary mean that it will go viral, so how do you create content that will spread?

BuzzFeed-logoBuzzFeed has multiple mechanics that drive engagement, including “reaction buttons”: one-click actions are easy and low-effort; they reduce some 80% of uninteresting comment posts that are simple expressions of emotion; and once users have reacted to content they are much more likely to share. Peretti then gave insight into BuzzFeed’s “viral rank” (R): the science behind predicting how viral a piece of content might become by measuring by the “social reproduction rate” (i.e. the likelihood people will share, and the size of potential distribution via their social graph). The potential for sharing is impacted by the lifecycle of content on different platforms: Twitter has a ‘R value’ of an hour, Pinterest a week. And the type of content that spreads also depends hugely on the platform: users behave very differently depending on where they are on the web. On Google, the focus is on connecting users with the information that they know they want (i.e. powered by search). On Facebook, the focus is on connecting people with their friends and giving them the means to communicate and express themselves (i.e. powered by social reinforcement and content is the key vehicle to connect). In summary, “Google is the place for content where no one is looking, Facebook is the place for content when everybody is looking”.

Peretti commented that BuzzFeed was founded on social, emotional, shareable content. But as social has matured, the platform has needed to evolve to capture the appetite for long-form content and serious reporting. With core editorial hires and a shift in strategy, BuzzFeed rounded-out its focus across both emotional and informational content to capture the expanding, diversified market for social content. “Scoops and quality reporting now work for social: what gets shared is the newest, quality, summary piece rather than the specialised, aggregated, longer, slower piece of quality journalism”. Traditional media has published in silos (i.e. serious, hard-hitting content only), fearing that mixed content (emotional, light) somehow disqualifies serious content. But Peretti believes that traditional outlets now have no choice as social sharing mixes content types, powered by user’s diverse needs and interests. BuzzFeed has captured the market by making this mixed media available at source.

Peretti reports that this big shift in media consumption is now coming to advertising: social content marketing is now totally pushing out traditional advertising such as banner ads which “do not tell a compelling story”. BuzzFeed’s “story units” have 1-2% CTRs, some 10-times industry average, powered by the platform’s core viral rank. BuzzFeed’s advertisers are now becoming authentically embedded in story unit content, becoming part of the narrative. Interestingly, BuzzFeed charges brands for “seed views” but not for “viral views”, so the powerful social uplift is a bonus as Peretti does not believe in “penalising success”.

Some other lessons from the session: ”Social is a way of thinking, not a trick”. Don’t focus on one narrow trick to make content work (e.g. a feature of Facebook) as this is not sustainable and the numbers will collapse. Think integration. Have a heart: emotional intelligence is more relevant in the social space. Content is about identity: people are highly motivated to share content that reflects their lives and experiences. Don’t try to engage everybody: it’s often better to engage a smaller group who care more deeply as people share content that touches their identity. Capture the moment: don’t publish into the void. Be responsive. Not everything has to be funny but humour is a very important way of connecting people to each other on the social web. Nostalgia and human rights are powerful social drivers as it connects people to each other via shared identity or beliefs.

Peretti

UnknownAt this morning’s SXSW session, FourSquare CEO Dennis Crowley discussed growing the company on data, maps and recommendations, and the future of location data as a utility…  

With DodgeBall (a location-based social network acquired by Google in 2005) Crowley came to understand the value of geo-located check-ins, and conceived FourSquare using game mechanics (badges, leader boards etc) to motivate users to check-in. In four years, FourSquare has attracted over 30m users, growing at 1.5m users per month, with more than 1m merchants on the platform, and 60% of users now non-US. The ‘place database’ has over 50m entries. Interestingly, giant tech companies – from Twitter’s Vine, to Path, to Facebook’s Instagram – see FourSquare as “neutral space” and deliver location services through FourSquare’s API. And this is becoming a closed loop, with user tagging of videos or photos on these platforms driving FourSquare’s location intelligence. Despite all this, FourSquare is just 160 people, shipping new or updated software products every few weeks.

Crowley commented that there is a lack of insight into the massive opportunity and future impact of FourSquare transitioning from “cute” points, badges and gamification to mining the 3 billion check-in data points created by their user base. The “small human actions” that fuelled Google’s growth was clicking of links, and Facebook was ‘likes’: FourSquare can now mine the aggregate value of their user’s small human actions – which now amount to billions of data points – to draw conclusions about community, location, consumerism and sophisticated recommendations. “People are out there crawling the real world the way Google spiders crawl the web”.

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What 500,000,000 FourSquare check-ins look like as data points on a map…

Crowley commented that the opportunity lies in “understanding the context of use”: phones passively track where the user is and then “perking up” when a user deviates from their usual routine or place to actively make suggestions and drive behaviours (FourSquare Radar). For merchants, FourSquare has enough data to begin joining-the-dots around community and user profiles to more actively grow local businesses. Crowley hinted that in the future, users may no longer have access to all deals, with the apps rewarding the best users (by frequency of interaction and possibly some socio-economuc measure of value as a customer) with varying value and quantity of offers.

foursquare-radarAsked about his mistakes, Crowley said one error was not putting search functionality front-and-centre sooner, as it drives people to think about the service as default local search. Talking about the future, Crowley echoed other keynote speakers from SXSW: don’t lose focus, just fix one thing well (“location is the thing that we do”), don’t get distracted by trying to do everything (e.g. the short-run “follow mode” that FourSquare tried, mimicking Twitter). In terms of future functionality, these will include: context data (queues, waiting times etc), including using data visualisation to “map the shape of places” based upon activity (e.g. roads); social-graphs and interest-graphs will have joint impact to construct dynamic recommendations; as above, increasing emphasis on passive geo-location (FourSquare Radar to “own the local discovery of places”) to drive active recommendations; and while they don’t have ambitions to be a transactional provider, Crowley believes FourSquare has a huge opportunity to make “point-of-sale transactions smarter”. Crowley is ultimately massively passionate about making it easier for people to consume data on what’s going on around them. “Local is going to be huge, maps need to be reinvented, FourSquare gets to invent the future of this stuff…”.

SXSWiLogo4Next up at SXSW was “Exploring Place with Cross-Platform Storytelling“: examples of how new technologies like geo-tagging, location-aware devices, interactive video and augmented reality are being combined with traditional storytelling methods to explore the world in richer, more in-depth ways than ever before…

The panel was made up of: Mike Knowlton, CTO of Storycode; Danny Harris, Creative Director at StorySocial; documentary filmmaker and cross-platform producer, Liz Nord; and Executive Director of ARTE France Cinema, Michel Reilhac. Knowlton began by talking about “story as software”, suggesting that cross-platform storytelling and new technologies allow creators to make more immersive, more iterative content. As scene-setting, he introduced some case studies: ”The Silent History“, serialised iPad/iPod novel; “Rough Ride – The Oil Patch Tour”, interactive documentary; “NY Hearts” interactive neighbourhoods project; and ”Welcome to Pine Point” created by NFB.

Liz Nord introduced her project “Jerusalem Unfiltered” which offers an immersive insider’s perspective on the city. Interestingly, Nord has launched the content-rich site more than a year before the film is due to complete in late-2014.

Jerusalem

Danny Harris reflected on his StorySocial project, People’s District, which became “Washington D.C.’s largest and most ambitious non institutional-based oral history project”. Over three years, Harris traveled across all 120+ city neighbourhoods to piece together a “people’s history” of the District told through some 2,000 diverse interviews. Explore more StorySocial projects here.

Cinemacity-Galley-1-960x400Michel Reilhac showcased one of the most unique immersive projects, ARTE’s CinemaCity: a geolocalized augmented reality project which allows users to overlay the physical experience of walking through Paris with excerpts of films shot on that location. Costing $417k, the project will launch in June 2013, when Paris city authorities will open up the wifi network so free connectivity will drive update. Reilhac reported that the ambition is to roll-out the project to the world’s other “film cities”.

The panel commented that integrating physical space into storytelling “allows the audience to consume the narrative in a far more intimate way”. Knowlton summarised that place can be integrated via technology to make the storytelling experience deeper, but also to encourage audiences to physically explore place to unlock narrative content. As creators, Nord suggested producers need to fully interrogate the impact of immersive place on the narrative approach, from the degree of user autonomy to platforms and devices.

ovee_logoToday’s SXSW session “Lean Forward and Back: Social Video Can Have It All” explored how great technology and UX can engage audiences with online video as a social experience using the case study of OVEE, the social screening platform created by the Independent Television Service. 

The Online Video Engagement Experience (OVEE) platform was created to present high quality film and television content online, and building a real-time engagement experience around it for public television viewers, teachers and communities of interest, to “watch together, from anywhere”. OVEE is a freestanding web application that synchs up multiple streams on the PBS COVE website, and allows online viewers to interact in real time around content by signing on through the platform or via Facebook.

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“ITVS acknowledged that it was the business model that was getting in the way of truly social commercial TV, with appointment-to-view and broadcast revenue still dominant” said Dennis Palmieri, Director of Innovation & Media Strategies at ITVS. But as a public television station focussed on engagement and education, ITVS could move beyond the business model to innovate. Understanding that audiences want interaction but that lean-forward/lean-back experiences are different, OVEE sought to fuse second screen social interaction with primary screen content viewing.

At its heart, OVEE seeks to recreate the experience of going to a live screening venue and watching with an audience. To set up a screening on the OVEE platform, users browse multiple screening types, preview content, and schedule a screening time (up to a year in the future). They then choose whether to make the screening private (invite only through the OVEE email system, used by businesses and education) or public (an open unique URL with ability for attendees to sign in publicly or anonymously). Other options include electing a moderator for the screening, adding panelists or special speakers (who can join via webcam), adding branding or advertising if desired, and even pre-programming interactive moments throughout the screening (polls, announcements, extra information, links etc). Up to 500 users can then join the screening, watch, interact, comment, vote and more, with OVEE syncing concurrent streams within 3 seconds of each other.

Palmieri revealed that OVEE has cost $1.7m to develop to the current beta stage. The focus has been on making PBS’s huge content archive available, but in time the focus will shift to user generated content and a “roadmap to YouTube”.

Following on from my recent post on mobile apps in a post-web future, Forbes have just released a fascinating piece on why there will not be a Web 3.0, and why social companies like Google and Facebook might not survive…

Author Eric Jackson suggests that “social companies born since 2010 view the mobile smartphone as the primary (and oftentimes exclusive) platform for their application. They don’t even think of launching via a web site. They assume, over time, people will use mobile apps almost entirely instead of websites. We will never have Web 3.0, because the Web’s dead”. Described as the “liability of obsolescence”, Jackson argues that pre-2010 companies such as Google and Facebook are showing a growing mismatch between inherent product strategy and operating environment. And that as neither have currently cracked how to make money on mobile, they may not survive in a post-Web 2.0 era…  The full article is worth a read here.

A major theme at yesterday’s Media140 DigitalBusiness conference was the future of multi-device mobile apps. Rod Farmer from Mobile Experience and Richard Giles from Adapptor shared some thoughts on designing for a multi-device experience and the shifting mobile marketplace…

Rod Farmer, Director of Research and Strategy from UX consultancy Mobile Experience, discussed product and service design for multiple devices. He defined a multi-device experience strategy as one which “identifies the sets of activities, from a users perspective, that is needed to deliver a series of consistent and meaningful interactions across devices, and whose design is true to each device, context and usage”.

For developers deciding whether to go mobile web or hybrid, Farmer advises that this discussion will increasingly become “and”, not “or”. At present, if designing for infrequent use or low consumption, he advises mobile web will be sufficient. As soon as you are developing for more rich interactions or increased content, this should be an application. And when designing for detailed integration, high content consumption and cross device usage, this should ideally be a native experience. However, going forward, for both simple and advance apps, Farmer feels confident that mobile web will overcome native and hybrid to become the predominant means for delivering experiences across devices.

This view is backed up in a recent article from PandoDaily hailing the death of web 2.0: “people now spend more time in mobile apps than they do online. There are more than 500 million Android and iOS devices on the market, and giant countries like China and Indonesia are only just getting started in their smartphone and tablet push. Global mobile 3G subscribers are growing at over 35 percent, year on year, and there’s a lot more room to move – there are 5.6 billion mobile subscribers on our planet. Even in developing countriescheap smartphones will soon rush into the market”.

Touching on viability, Farmer advises that developers/producers must design and budget for support once the app is in the ‘wild’. For example, android must be supported over time due to high fragmentation and heavy updates schedule. As ever, content is critical to a multi-device user experience. When planning access and flow of content across devices, Farmer suggests the following lifecycle: creation -> curation -> normalization -> adaption -> transformation. Speaking to the designer vs developer debate, Farmer revealed that 80% of all errors in the wild are traceable back to the requirements and design phase, and that the cost of fixing in the wild versus in the design/build phase is 10:1. In terms of planning engaging and sustainable user experience strategy, Farmer advises developers to think in terms of a series of interactions across your brand, affected by – and surviving – the influence of ‘detractors’ and ‘delighters’ (negative and positive points on the user journey).

In the same PandoDaily article, the message is that whereas Web 2.0 values – characterized by social sharing and collaboration – drove the design and development of social engagement on community sites, the mobile age demands new parameters. Developers now need to think of “services that require less typing, fewer buttons, simple swipe and pinch actions, browsing that seamlessly integrates vertical and horizontal movement, larger images, and fewer data hooks that clutter up the user experience”.

Lastly, Farmer shared some average costs (AUD) to develop a simple mobile application (assuming just 4 features and 4 week delivery): iPhone: native = $32,639, hybrid = $36,719, mobile web = $24,479; iPad: native = $48,959, hybrid = $35,899, mobile web = $30,599; Android: native = $57,118, hybrid = $73, 438, mobile web = $48,959; and Blackberry: native = $97,917, hybrid= $110,157, mobile web = $73,238.  Later on in the day, Richard Giles from Adapptor cautioned not to expect mobile web to be the cheapest option when taking into account the number of different web browsers that you have to optimize for in your development and execution.  Android has other hidden costs, such as screen densities, given the hugely diverse and fragmented android device marketplace.

Giles then shared information on mobile vs browser web consumption in the USA.  In June 2010, the average American spent 64mins/day web browsing, compared to 43 mins/day online via mobile apps.  Fastforward just 18 months and that figure has flipped: in December 2011, the average American spent 72mins/day web browsing and 94mins/day online via mobile apps. In terms of the android vs iOS debate, Giles concluded that while more android devices are now being purchased than iOS, android users are not downloading as much. A mobile traffic report generated the day before revealed mobile web traffic across the US was 27.8% android and 64.3% iOS.

Today at Media140 DigitalBusiness conference Michael Walton, Executive Director Consumer & Business Intelligence at Nielsen Pacific, revealed some consumer research behind key trends in mobile, social and digital across Australia. Lots of stats but very revealing…

Australia has the 5th highest internet use per capita in the world: 81% (14.7m households) have online access, with the average Australian now spending 22 hours online each week. There have been big shifts in device ownership: tablet ownership has risen from 8% in 2010 to a forecasted 39% in 2012; eReader ownership has grown from 7% in 2010 to a forecasted 26% in 2012; and desktop ownership has dropped, from 82% in 2010 to a forecast 79% in 2012, overtaken by laptop ownership which is forecast at 83% in 2012. Smartphone ownership has rocketed: 51% of phones are now ‘smart’, and for those under 34 its at 70%. (In a later presentation, Rob Farmer specified that 2.6 million Australians currently own tablets, set to increase to 6 million by 2015).

Walton reports that the way consumers interact with the internet changes radically when accessed through a smartphone. In short, engagement grows in terms of both time online and the range of activities. For example, 75% of Australian’s currently media multitask, including 60% second screen, and 33% are online while commuting. Some 66% of Australians now have a social media profile, and 54% update these via mobile.

The average smartphone has 34 apps, and of these probably 33% were purchased and the remainder were free to download.  One in four mobile apps downloaded are never used. Taking games out of the picture, Australian consumers are looking for more functional and diagnostic apps: transport, banking/finance, government services, medical, maps/directions and weather related. Walton advises that, if not working in these six areas, producers should think how to make any app functional and diagnostic to drive user uptake. The challenge for any app according to Walton: make things easier.

Broadcast TV hours have increased, so although how Australians watch TV has changed, net consumption of broadcast content is rising. Interestingly, Walton comments that those watching on-demand / catch-up are less likely to multitask as the primary consumption is at their time of choosing.

Walton revealed that the internet is now Australia’s No. 1 preferred and trusted information source. This is critical for marketing and brand management: consumers now trust a recommendation online as much as a recommendation from a friend. Indeed, Walton identified this as the biggest global trend of last year: brand engagement online has been “embraced as if they were friends”. Walton’s conclusion for online consumer trends: anytime, anywhere and trusted.

Update: Later in the conference Venessa Paech, talking on community commerce, revealed that 60-80% of Australian businesses still don’t have a website. This is a huge disconnect given that Australian consumers will spend $33b online this year (up from $22b in 2008 and forecast to $37b in 2013).  And that while 62% of Australians have a social media profile, only 14% of small businesses use it to listen or communicate with customers.

Today I listened to Gary Hayes, Executive Producer for ABC Multiplatform, discussing the “hybrid media challenge” facing broadcasters brought about by the constantly shifting user landscape.  

He identified four forces that are bringing about this monumental change: 1) social sharing; 2) connected on-demand TV; 3) mobile; and 4) transmedia or multiplatform, namely “agnostic content spread across a users ecosystem”. Hayes reported that 18% of all ABC content is currently viewed on mobile and this is expected to outpace PC consumption by next year. The proportion of ABC content consumed on mobile (measured by time spent engagement) is increasing by 1% each month. Touching on social media, Hayes feels that users are increasingly too busy sharing their own stories to consume curated content, and that online social content is becoming more trusted than traditional networked content.

Discussing social TV and the second screen experience, Hayes feels this combination of broadcast TV and social media is creating the most dominating combined force of engagement. He reports that 85% of TV watching in the US is now via a connected device. But Hayes feels that second screen currently lacks true engagement with the editorial content. As such, Hayes is focusing on hybrid commissioning with synchronised second screen experiences at ABC.

Hayes concluded by revealing that ABC is currently prototyping a “companion app” to help users “navigate through the storm of social TV”, which includes integrated on-demand and catch-up, voting and other social feedback mechanisms, some gamification, remote control and more.  Interestingly, his final comment revealed an ambition that, in time, “ABC may become Australia’s broadband community”.

Gary Hayes was talking at the Media140 DigitalBusiness conference focusing on social, mobile and commerce.

XMediaLab Perth 2012 aims to explore how new digital technology impacts and enables storytelling. After a hugely interesting conference day, ”What’s Your Story?“, this weekend sees 16 teams pitch digital projects to a group of international mentors for advice, development and the potential of two $20,000 XML development awards. 

The projects being pitched at the XMedia Lab this weekend include: an animated character world and web-series for teens; a virtual tour of a cancer-care facility in development; an app to facilitate work from intellectually disabled artists; an AR storytelling experience to promote sustainable living; a multiplatform real-time polling app; a location-specific social history project; a participatory multiplatform play; a TV and online project on parenting; an education-by-stealth avatar-based community to engage young people with the arts; a crowd-funded hip-hop cancer awareness documentary and community; and an online mafia fiction story.

I’m here with a team from FORM pitching One Road: a content-rich digital journey and archive repatriation project to extend the reach and impact of the remarkable, award-winning Canning Stock Route project and Yiwarra Kuju exhibition. The teams now have one-to-one sessions with the international mentors, who then vote on the two XML Perth Development Awards, one from Screenwest and the other from DCA.