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Future Web Trends
Where brands, people, and technology meet.



       Presented at Colle + McVoy, January 23, 2009
Stop Chasing


‣Trying to find the coolest shiny object will not help you
‣Google has looked at over one trillion pages
‣How much information will be created this year?
‣Four Exabytes
‣(4.0x10^19)
Look for the larger framework

‣Don’t start with the story
  ‣Start with the narrative
  ‣The entire arc of communication
  ‣Pick the best parts
  ‣Create subtext
  ‣Make them technologically available
Aristotle
  ‣Poetics
    ‣The art of imitating life
    ‣Linear Narrative
    ‣Beginning, middle, end
    ‣350 BCE
Poetry is the Foundation of Narrative


 ‣Poets have always been civilization’s systems thinkers
  ‣Taking complex societal movements
    ‣Expressing these concepts in concise, evocative terms
    ‣Requires deft manipulation of narrative conventions
  ‣Billy Collins, “Aristotle”
The destination we cannot
     help imagining
A streak of light in the sky
A hat on a peg
And outside the cabin,
And outside the cabin,
    falling leaves
Classic 3-Act Narrative
 ‣Broadly, this is this is the framework we use to create stories

                                     Visible Story

                        Beginning    Middle          End



Complete
Narrative

                         Linear timeline
Classic Campaigns
These videos, as well as the navigation above it are both examples of
classic beginning-middle-end narrative convention. It works!



    Beginning                 Middle                    End
Circular Narrative
What makes circular narrative different, in this broad stroke, is that the
visible storyline is detached from the linear timeline which it refers to.

                                                     story


                   Circular Narrative
                                 Beginning       Middle          End



  Complete
  Narrative

        Linear timeline                                   Story takes place
                                                          after main timeline
What is the result of well-
executed circular narrative?
Arguably the greatest movie of all time
Citizen Kane Structure

       We try to solve the mystery of Kane’s last word, “Rosebud” by
   ‣

       learning about his life through the filter of those who were
       closest to him.
Rosebud
Mapping the Story                                                                   Viewer

‣And if we were to create a                                              Kane’s
                                                              Wal ter
                                                             Thatc her

conceptual model of this                                                 Life
interaction:                                                                 M r B er ns tein
                                         J e didia h
                                           Lel and


           Character interactions with
                                                           Rosebud
           Kane to explain Rosebud


                                                                             M r. Thomp s on
                                             Sus a n
                                          Al e x a nde r




           Exposed in scenes to the                          S er vant

           viewer through character
           filter
This is Social Media Community User
    Experience
                                                                 Public Internet

      ‣When Will Evans                          Brand

      visualized brand-
                                                            Branded
                                                          Public Content


      centered social
                              Brand                                        Brand

      media, it was clear                     Community
      this is the same
      model as circular
      narrative
                                                                            Brand
                              Lifes t yl e/
                              Editor ial




Find out more about Will at
                                                Brand



blog.semanticfoundry.com
Circular Narrative is
Interactive Narrative
     Linear to the viewer,
     circular to the brand
Circular Media

                 Societal norms   Opportunity
                                  to represent
 My norms?
                                  peers on TV
                                  via mobile




             Check peers
What Bridges these Devices?
           Widgets
ComScore reports: everyone uses widgets


‣77% penetration in the US
‣Just over 80% in Canada
‣Many Don’t even know they’re using them
Portable Brands

‣Where can I take it?
Portable Brands

‣Marketing through
 branded portals
 (free)
Portable Brands

‣To a Facebook profile
Portable Brands

‣To the Dashboard
Claus Facebook Page
Claus Facebook Page User Experience
                                                                                                                       Viewer
        Each media object filters                                                                 MP3s

        narrative from the brand to                                                                         Claus
        the product, through the
        Claus character, to the
                                                                                                                    Video
                                                                              e - c ard

        audience.
                                                                                                 Palm
                                                                                                Centro
        Sadly, this nice, effective
        (90k+ friends) circular                                                                                     The Wal l
                                                                                  G if t
        narrative was planned in a                                            ap p l ic ation


        linear model, leading to....
                                                                                                 Naught y
                                                                                                   or
                                                                                                  N ice




Claus as circular narrative first published by Adam Broitman http://amediacirc.us/
Sigh.
Applications
Deeper meaning in the context of brands.
The greater meaning of
     juxtaposition
An idea from 1923 is what fuels Social Media Today
Sergei Eisenstein
‣At the Circus, discovered that each
 added ring (attraction) increased
 the subtext and meaning created
 depending on contrast.

‣In 1923, he applied this to film
 theory with the “Montage of
 Attractions”
Sergei Eisenstein: Montage of Attractions

‣With one image, the viewer can
 come to a simple conclusion about
 its meaning.
Sergei Eisenstein: Montage of Attractions

‣Juxtaposing two images of
low contrast (similar color
values) tells the viewer that
these items are linked.

‣A greater subtextual
meaning and interest is
created.
Sergei Eisenstein: Montage of Attractions

‣Adding a third image of high
contrast changes the meaning
of all three pictures, creating
even more meaning and
interest to the viewers’
experience.
Sergei Eisenstein: Montage of Attractions

‣Even changing the order in
which the contrast appears
changes the subtextual
meanings, and the story we
take away.
Montage of Attractions: Visa

‣Creating a desktop RSS
reader with low contrast in
the application transforms
the subtextual meaning of
news to be within the
context of the Visa brand.
Emotional connections
 in the context of a larger brand
‣Visual contrast of four main
elements

‣Creates visual, auditory
juxtapositions for my music
experience in the context of
Apple
Emotional connections
 in the context of a larger brand
‣The emotional, subtextual
meanings created in the
interface are transferred to
the store

‣Audiences are persuaded
and trained on how to shop
by organizing the music
that’s most important to
them.
Create attractions for all audiences

‣The future trend for
agencies is to create
meaningful interfaces for
external and internal
audiences
The Brand At the Top Ultimately Wins
‣Following basic usability, top of the visual hierarchy is most
important item.

‣Contrast and juxtaposition dictates meaning, value
Brands as a Platform
       APIs rule.
APIs
‣Application Programming Interface
‣Allows developers to take a controlled subset of your data
  ‣Create interfaces for their own niche audiences
‣The conceptual framework isn’t new at all
APIs

                        Brand


           Developers


Audience
This is Not a Website




       It’s the Twitter Web interface
How Twitter Works (in theory)
Desktop apps
Tweetdeck, Twhirl

  Web Apps
   Twitter.com,
Search.Twitter.com,
   Web Widgets,
     Facebook

 Phone Apps
   Twitterberry
   Twitterific,
      et. al.

       TV
What Makes Twitter So Engaging?

‣Juxtaposition of images of faces with
unpredictable text

‣API allows developers to design this
engaging contrast in environment suited to
their audience.

‣Montage of attractions = any text
juxtaposition will make contrast of messages
more sub-textually meaningful
How Twitter Engages:
Juxtaposing images and text


                 I’m walking the dog.

                 This party is insane!

                 I’m sacrificing goats.
How Twitter Engages:
Juxtaposing images and text


                 I’m walking the dog.

                 This party is insane!

                 I’m sacrificing goats.
How Twitter Engages:
Juxtaposing images and text


                 I’m walking the dog.

                 This party is insane!

                 I’m sacrificing goats.
Juxtaposition Between Tweets

‣More than any three-ring
circus, the Twitter Web
interface is driving almost
endless possibilities of
subtextual meaning via
contrasting images and
text.
Juxtaposition Between Web Pages

‣The experience of
navigating Twitter.com is
always juxtaposing
contrasting images

‣The only consistency is
in the Logo at top and
ordering of objects
Juxtaposition Between Application Designs
‣Each App provides a more fine-tuned UX
  ‣for the media and audience
Miller ServerSpeak


‣B2B
‣Teaching Bartender Tips
  ‣Watch the video
  ‣Take the quiz
  ‣Win a prize
Solution: Common Engine Content
‣One inventory of content serves up experience unique to segment
But We Can’t Offer Prizes

 ‣We can offer prizes if they have no tangible value




 ‣How much is a Facebook Virtual Trophy worth?
 ‣115 exposures per win
Mapping the Experience
                                                Viewer

                             Cl ub hous e



             Server
             Speak                           Par t y
                                            Central

                           Videos,
                           Quizzes,
                           Prizes,
                           User Data
                                               ‘Ol
                                            R el iab l e
             Sp otl ight




                             Home Away
                             From Home
APIs enable the
 “local destinations”
of the information age
 Put the content, utility where people are.
Distribution History of the New York Times
Newsboys
                                      API

           Newsstands

                        Honor Boxes
This is Not
Just Push Marketing
Why Use Social Networks for Pull?


 ‣Put brand in the context of friends, peer group
   ‣Social Proof
     ‣The crowded line, canned laughter
Bring The Social Network Back To You
API Push/Pull is Important For People

 ‣Portability creates stronger friendships
 ‣Positioning within the peer group
 ‣Makes usernames and passwords easy to remember
   ‣For the user
   ‣For the brand
Twitpic: Dual-Purpose API use
 ‣Put your picture on TwitPic
   ‣Sends it to Twitter




This is not Twitter. Just using Twitter user data.
How Brands Collaborate for API Push/Pull
How Can Brands Take Advantage of this?

‣Start one step into their own registration process
‣Provide API-based functions that help users on their own
 site

  ‣But is there critical mass in social networking?
Top Four Most Popular TV Shows

‣M*A*S*H* 50.1M
‣Dallas 41.47M
‣Facebook 40M US users
‣Roots 36.38M
The Death of Mom Jokes in
     Social Networks
     When Everyone is on Social Networks:
   Social Networking in Small, Private Groups
Niche Networks Leveraging
Time/Place/Exclusivity
Now That People Get Social Networks


‣Private Social Networks help facilitate:
  ‣Consensus for purchase
  ‣Big Ticket items like Diamond Rings, Wedding Dresses
  ‣Coordination purchases like vacations
  ‣Sharing pictures, conversation with small groups
Let’s Wrap This Thing Up.
    What the heck was he talking about?
The More Things Change...

‣Linear narrative has, and will continue to be solid
  ‣Interactive, circular narrative is how brands need to
  furnish content going forward

‣Provide ways for people to mediate societal norms
‣Think more in terms of sponsoring experiences
Preparing For Ubiquitous Computing

‣Look for visual relationships, contrasts, meanings in
 platforms

‣How do people express identity, hierarchy within peer
 groups?

‣Agencies need to think in terms of connecting people to
 content, with meaningful design and UX

  ‣ Inside and outside the organization
Think of brands as platforms

‣Widgets
  ‣Put value wherever people are
‣Applications
  ‣Brands must provide utility
‣APIs
  ‣The world is becoming networked
Help People Connect
     Or be left behind.
Thank you.
‣Michael Leis
 ‣Trellist Marketing | Technology
 ‣Senior Associate, Strategy
 ‣mleis@trellist.com
 ‣@mleis

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Future Web Trends

  • 1. Future Web Trends Where brands, people, and technology meet. Presented at Colle + McVoy, January 23, 2009
  • 2. Stop Chasing ‣Trying to find the coolest shiny object will not help you ‣Google has looked at over one trillion pages ‣How much information will be created this year? ‣Four Exabytes ‣(4.0x10^19)
  • 3. Look for the larger framework ‣Don’t start with the story ‣Start with the narrative ‣The entire arc of communication ‣Pick the best parts ‣Create subtext ‣Make them technologically available
  • 4. Aristotle ‣Poetics ‣The art of imitating life ‣Linear Narrative ‣Beginning, middle, end ‣350 BCE
  • 5. Poetry is the Foundation of Narrative ‣Poets have always been civilization’s systems thinkers ‣Taking complex societal movements ‣Expressing these concepts in concise, evocative terms ‣Requires deft manipulation of narrative conventions ‣Billy Collins, “Aristotle”
  • 6. The destination we cannot help imagining
  • 7. A streak of light in the sky
  • 8. A hat on a peg
  • 10. And outside the cabin, falling leaves
  • 11. Classic 3-Act Narrative ‣Broadly, this is this is the framework we use to create stories Visible Story Beginning Middle End Complete Narrative Linear timeline
  • 12. Classic Campaigns These videos, as well as the navigation above it are both examples of classic beginning-middle-end narrative convention. It works! Beginning Middle End
  • 13. Circular Narrative What makes circular narrative different, in this broad stroke, is that the visible storyline is detached from the linear timeline which it refers to. story Circular Narrative Beginning Middle End Complete Narrative Linear timeline Story takes place after main timeline
  • 14. What is the result of well- executed circular narrative?
  • 15. Arguably the greatest movie of all time
  • 16. Citizen Kane Structure We try to solve the mystery of Kane’s last word, “Rosebud” by ‣ learning about his life through the filter of those who were closest to him.
  • 18. Mapping the Story Viewer ‣And if we were to create a Kane’s Wal ter Thatc her conceptual model of this Life interaction: M r B er ns tein J e didia h Lel and Character interactions with Rosebud Kane to explain Rosebud M r. Thomp s on Sus a n Al e x a nde r Exposed in scenes to the S er vant viewer through character filter
  • 19. This is Social Media Community User Experience Public Internet ‣When Will Evans Brand visualized brand- Branded Public Content centered social Brand Brand media, it was clear Community this is the same model as circular narrative Brand Lifes t yl e/ Editor ial Find out more about Will at Brand blog.semanticfoundry.com
  • 20. Circular Narrative is Interactive Narrative Linear to the viewer, circular to the brand
  • 21. Circular Media Societal norms Opportunity to represent My norms? peers on TV via mobile Check peers
  • 22. What Bridges these Devices? Widgets
  • 23. ComScore reports: everyone uses widgets ‣77% penetration in the US ‣Just over 80% in Canada ‣Many Don’t even know they’re using them
  • 25. Portable Brands ‣Marketing through branded portals (free)
  • 26. Portable Brands ‣To a Facebook profile
  • 29. Claus Facebook Page User Experience Viewer Each media object filters MP3s narrative from the brand to Claus the product, through the Claus character, to the Video e - c ard audience. Palm Centro Sadly, this nice, effective (90k+ friends) circular The Wal l G if t narrative was planned in a ap p l ic ation linear model, leading to.... Naught y or N ice Claus as circular narrative first published by Adam Broitman http://amediacirc.us/
  • 30. Sigh.
  • 31. Applications Deeper meaning in the context of brands.
  • 32. The greater meaning of juxtaposition An idea from 1923 is what fuels Social Media Today
  • 33. Sergei Eisenstein ‣At the Circus, discovered that each added ring (attraction) increased the subtext and meaning created depending on contrast. ‣In 1923, he applied this to film theory with the “Montage of Attractions”
  • 34. Sergei Eisenstein: Montage of Attractions ‣With one image, the viewer can come to a simple conclusion about its meaning.
  • 35. Sergei Eisenstein: Montage of Attractions ‣Juxtaposing two images of low contrast (similar color values) tells the viewer that these items are linked. ‣A greater subtextual meaning and interest is created.
  • 36. Sergei Eisenstein: Montage of Attractions ‣Adding a third image of high contrast changes the meaning of all three pictures, creating even more meaning and interest to the viewers’ experience.
  • 37. Sergei Eisenstein: Montage of Attractions ‣Even changing the order in which the contrast appears changes the subtextual meanings, and the story we take away.
  • 38. Montage of Attractions: Visa ‣Creating a desktop RSS reader with low contrast in the application transforms the subtextual meaning of news to be within the context of the Visa brand.
  • 39. Emotional connections in the context of a larger brand ‣Visual contrast of four main elements ‣Creates visual, auditory juxtapositions for my music experience in the context of Apple
  • 40. Emotional connections in the context of a larger brand ‣The emotional, subtextual meanings created in the interface are transferred to the store ‣Audiences are persuaded and trained on how to shop by organizing the music that’s most important to them.
  • 41. Create attractions for all audiences ‣The future trend for agencies is to create meaningful interfaces for external and internal audiences
  • 42. The Brand At the Top Ultimately Wins ‣Following basic usability, top of the visual hierarchy is most important item. ‣Contrast and juxtaposition dictates meaning, value
  • 43. Brands as a Platform APIs rule.
  • 44. APIs ‣Application Programming Interface ‣Allows developers to take a controlled subset of your data ‣Create interfaces for their own niche audiences ‣The conceptual framework isn’t new at all
  • 45. APIs Brand Developers Audience
  • 46. This is Not a Website It’s the Twitter Web interface
  • 47. How Twitter Works (in theory) Desktop apps Tweetdeck, Twhirl Web Apps Twitter.com, Search.Twitter.com, Web Widgets, Facebook Phone Apps Twitterberry Twitterific, et. al. TV
  • 48. What Makes Twitter So Engaging? ‣Juxtaposition of images of faces with unpredictable text ‣API allows developers to design this engaging contrast in environment suited to their audience. ‣Montage of attractions = any text juxtaposition will make contrast of messages more sub-textually meaningful
  • 49. How Twitter Engages: Juxtaposing images and text I’m walking the dog. This party is insane! I’m sacrificing goats.
  • 50. How Twitter Engages: Juxtaposing images and text I’m walking the dog. This party is insane! I’m sacrificing goats.
  • 51. How Twitter Engages: Juxtaposing images and text I’m walking the dog. This party is insane! I’m sacrificing goats.
  • 52. Juxtaposition Between Tweets ‣More than any three-ring circus, the Twitter Web interface is driving almost endless possibilities of subtextual meaning via contrasting images and text.
  • 53. Juxtaposition Between Web Pages ‣The experience of navigating Twitter.com is always juxtaposing contrasting images ‣The only consistency is in the Logo at top and ordering of objects
  • 54. Juxtaposition Between Application Designs ‣Each App provides a more fine-tuned UX ‣for the media and audience
  • 55. Miller ServerSpeak ‣B2B ‣Teaching Bartender Tips ‣Watch the video ‣Take the quiz ‣Win a prize
  • 56. Solution: Common Engine Content ‣One inventory of content serves up experience unique to segment
  • 57. But We Can’t Offer Prizes ‣We can offer prizes if they have no tangible value ‣How much is a Facebook Virtual Trophy worth? ‣115 exposures per win
  • 58. Mapping the Experience Viewer Cl ub hous e Server Speak Par t y Central Videos, Quizzes, Prizes, User Data ‘Ol R el iab l e Sp otl ight Home Away From Home
  • 59. APIs enable the “local destinations” of the information age Put the content, utility where people are.
  • 60. Distribution History of the New York Times Newsboys API Newsstands Honor Boxes
  • 61. This is Not Just Push Marketing
  • 62. Why Use Social Networks for Pull? ‣Put brand in the context of friends, peer group ‣Social Proof ‣The crowded line, canned laughter
  • 63. Bring The Social Network Back To You
  • 64. API Push/Pull is Important For People ‣Portability creates stronger friendships ‣Positioning within the peer group ‣Makes usernames and passwords easy to remember ‣For the user ‣For the brand
  • 65. Twitpic: Dual-Purpose API use ‣Put your picture on TwitPic ‣Sends it to Twitter This is not Twitter. Just using Twitter user data.
  • 66. How Brands Collaborate for API Push/Pull
  • 67. How Can Brands Take Advantage of this? ‣Start one step into their own registration process ‣Provide API-based functions that help users on their own site ‣But is there critical mass in social networking?
  • 68. Top Four Most Popular TV Shows ‣M*A*S*H* 50.1M ‣Dallas 41.47M ‣Facebook 40M US users ‣Roots 36.38M
  • 69. The Death of Mom Jokes in Social Networks When Everyone is on Social Networks: Social Networking in Small, Private Groups
  • 71. Now That People Get Social Networks ‣Private Social Networks help facilitate: ‣Consensus for purchase ‣Big Ticket items like Diamond Rings, Wedding Dresses ‣Coordination purchases like vacations ‣Sharing pictures, conversation with small groups
  • 72. Let’s Wrap This Thing Up. What the heck was he talking about?
  • 73. The More Things Change... ‣Linear narrative has, and will continue to be solid ‣Interactive, circular narrative is how brands need to furnish content going forward ‣Provide ways for people to mediate societal norms ‣Think more in terms of sponsoring experiences
  • 74. Preparing For Ubiquitous Computing ‣Look for visual relationships, contrasts, meanings in platforms ‣How do people express identity, hierarchy within peer groups? ‣Agencies need to think in terms of connecting people to content, with meaningful design and UX ‣ Inside and outside the organization
  • 75. Think of brands as platforms ‣Widgets ‣Put value wherever people are ‣Applications ‣Brands must provide utility ‣APIs ‣The world is becoming networked
  • 76. Help People Connect Or be left behind.
  • 77. Thank you. ‣Michael Leis ‣Trellist Marketing | Technology ‣Senior Associate, Strategy ‣mleis@trellist.com ‣@mleis