The Content Strategist as Digital Curator The term “curate” is the interactive world’s new buzzword. During content creation and governance discussions, client pitches and creative brainstorms, I’ve watched this word gain traction at almost warp speed. As a transplant from museums and libraries into interactive media, I can’t help but ask what is it about this word that deserves redefinition for the web? Article Continues Below Curation has a distinguished history in cultural institutions. For a long time, we’ve considered digital objects such as articles, slideshows, and video to be short-lived. Consider some examples: NYTimes.com Topics employs content managers who sift through The Times’ archive to create new meaning by grouping articles and resources that were filed away (or distributed to library databases). More commercially, NBC Universal’s video site Hulu takes videos sourced from multiple networks and then rearranges them into collections that give a new perspective to the collection as a whole. What’s the payoff?
Le Storytelling est il l’avenir de l’industrie de la musique ? | Les Noubas d'ici Partagez/Share L’usage des nouvelles technologies permet à l’artiste de se créer un storytelling transmedia. Ce qui permet décupler l’effet de la démarche comme le montrent les différentes études. Les nouveaux modèles de distribution Les auteurs et les maisons de disque se confrontent aujourd’hui principalement à un problème : la baisse des ventes des supports physiques (CD, DVD) directement liée à l’explosion du numérique. Même si souvent invoquée comme principale crainte par les producteurs, la musique ne représente que 2,9% des téléchargements illégaux, comme le démontre l’étude publiée par Ars Technica. Par exemple, Spotify est un fournisseur d’accès gratuit à la musique qui comptait l’année dernière 10.000.000 d’utilisateurs pour son service financé par la publicité. Les nouveaux utilisateurs de Spotify continueront de profiter du service gratuit, tel qu’il est actuellement proposé, pendant encore 6 mois. « A reason to buy » : Une raison pour acheter Decoded by Jay-Z L’ARG “Year Zero”
Defining Earned, Owned And Paid Media The terms "earned, owned and paid (aka bought) media" have become very popular in the interactive marketing space today. In fact, taken together they can be applied as a simple way for interactive marketers to categorize and ultimately prioritize all of the media options they have today. Nokia was an early pioneer in this space (see Dan Goodall's posts on the subject). They now categorize all of their global interactive media as earned, owned or bought. Many agencies, including R/GA, Critical Mass, Sapient and Isobar (my former employer) also use the model to help develop digital strategies. Yet as popular as these themes have become, they're often loosely applied across the industry and essentially no one is speaking the same language. Ultimately these types of media work best together but making the hard choices of what to include and what not to include is crucial - especially when budgets are tight. Create a solar system of owned media.
11 tendances digitales pour 2011 selon Millward Brown En 2011, les marques seront plus que jamais obligées d’étendre leur présence sur internet ; elle se partagera entre les sites web ouverts à tous et les sites à univers clos (nécessitant une identification) puisque la navigation web traditionnelle tend de plus en plus vers une lecture de pages directement sur Facebook (les fan pages) ou via des applications téléchargées. Découvrons les 11 tendances digitales identifiées par Millward Brown et son réseau interne d’experts Futures Group. Les usages d’Internet se fragmentent Ces applications et fan pages seront plus investis par les Marques car elles permettent aux professionnels du marketing de simplifier et de gérer les interactions avec les consommateurs. Les Marques devront cependant développer des interfaces multiples, souvent en mettant en place différentes applications pour plates-formes de plus en plus spécifiques, afin de garantir leur pertinence et de leur présence globale, partout où les consommateurs pourront espérer les trouver.
Marketing Strategy Marketing & Innovation Marketing 2.0 and Web 2.0 La musique au rythme du tweet Twitter fait désormais partie du paysage musical, et permet, comme d'autres réseaux sociaux, de nouveaux rapports entre les artistes, les auditeurs et les entreprises. Twitter favorise la relation personnelle entre l'artiste et ses fans, et cette connexion devient un réel enjeu de succès. Énorme plateforme de diffusion (200 millions de comptes, plus de 155 millions de messages envoyés par jour), Twitter permet la propagation et la traçabilité du bouche à oreille, et donc sa transformation éventuelle en source de gains. Pendant ses cinq premières années, le succès de la plateforme a pu se mesurer en nombre d'utilisateurs et en trafic généré. Des tops et des flops Mais de la promotion de la musique à l'acte commercial, il y a un pas. D'après l'étude Who Says What to Whom on Twitter publiée en 2011 par Yahoo Research, les hyperliens vers des contenus vidéo et musicaux sont ceux qui circulent le plus longtemps sur Twitter.
IBM - Interactive Marketing Resource Center - Home Welcome Relevant, highly personalized, cross-channel marketing campaigns – that’s what Interactive Marketing is all about The road to Interactive Marketing can be challenging to navigate. Explore the Interactive Marketing Resource Center for expert advice to help you move along your path to Interactive Marketing success. Interactive Marketing Engage your audience in cross-channel dialogues that build on past and current behavior Learn how the right interactive marketing solution can help you engage each customer in an engaging, interactive dialogue that: Builds on past behavior Adapts based on current behavior, context, and each customer's reaction to each new message Consistently delivers the most compelling message to each customer, in the best inbound or outbound channel, at the perfect moment Learn more about Interactive Marketing and how you can engage your audience in cross-channel dialogues that improve efficiency and measurability of your marketing activities. Cross-channel Marketing
The Future of Marketing & Media: Data Is the New Oil This guest post was written by media futurist Gerd Leonard. Named “one of the leading Media Futurists in the World” by The Wall Street Journal, Gerd works as a futurist in the media, telecom, technology and communication industries. He is also an author, blogger, keynote speaker and strategist and is the CEO of TheFuturesAgency and a visiting professor at the Fundacao Dom Cabral in Sao Paulo / Belo Horizonte, Brazil. With the explosive growth of the Internet, mobile devices and social networking, a connected world is indeed a very different world. Just witness the meteoric rise of YouTube, Facebook and Twitter, and the demise of the recorded music industry as we knew it. I would go so far as to argue the only reason advertising in its pre-Web 2.0 form (a global business worth approx. $400 billion per year) ever existed was simply because we were not yet truly connected as today’s mobile, social and real-time Internet did not yet exist. This is where we get to the enormous value of Data.
Why the Music Industry Must Change Its Strategy to Reach Digital Natives Mark Mulligan is vice president and research director at Forrester Research, serving consumer product strategy professionals. He is a leading expert on music and digital media. The music industry's fortunes (or lack thereof) are familiar to most. The CD is suffering one of the longest death rattles in consumer product history, and it is becoming painfully clear that digital downloads are no knight in shining armor about to whisk up the fallen music business and ride off into the revenue growth sunset. So how did we get here? This digitization process put you, the audience, in control. Digital Music Strategy is Playing Catch Up Napster symbolized a shift from the distribution era, where everything was sold in units, to the all-access paradigm. The Demographic Time Bomb Digital Natives The Digital Natives give us a sneak peak at the future. Digital Natives don’t have that analog era baggage. Future Music Products Need "SPARC" Music products must harness disruption — that isn’t in question.
Démystifier les discours sur le piratage Les hackers sont-il des "pirates", ou bien des "terroristes" ? C'est fou ce qu'on peut faire dire aux hackers qui n'avaient pourtant rien demandé. Petite déconstruction d'une mythologie vraiment "mytho". L’analyse des discours sur le téléchargement illégal fait apparaître plusieurs idéologies qui s’affrontent : les gardiens de la propriété intellectuelle v. les bandits sans foi ni loi, les défenseurs du partage v. les supermarchés de la culture. Jugeant le mot piratage « trop sexy » 1, la présidente de la fédération internationale des acteurs a ainsi proposé de changer de terminologie. Selon elle, « le piratage évoque quelque chose lié à l’aventure, cela vous fait penser à Johnny Depp. […] Mais nous sommes en train de parler de crime » 2. Un « jeu de cache-cache » 3 entre le sens et la forme vient définir le mythe, dont la particularité est de rendre naturel ce qui n’est pourtant qu’historique. Le mythe du piratage, ritournelle des industries culturelles
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Gerd Leonhard: TheEndOfControl: About "The End of Control" My new book, and this blog, is about the most important issue the media business is facing as it tries to move forward: control. Try Googling for a definition of “control” and you will find many interesting morsels, such as: control = power to direct or determine; “under control.” Control is the power to determine - for the purpose of this blook, that will make a very suitable definition. In my work as speaker and advisor, the tough issue of control emerges, again and again, as the key contention point within TV companies, publishers, record labels, and broadcasters: How can a commercial venture that is based on so-called “intellectual property” thrive and prosper in an environment that seems to continuously and progressively remove control from the creators/owners/providers of content, and hands it over to the people formerly known as consumers (aka the users), effectively making them more powerful every single day? Welcome to my blook, and welcome to the End of Control.