Friday, October 14, 2011

pre-parenthesis post-parenthesis

Is digital/social/mobile culture - in a way - a return to an uncontained, non-linearity that was core to human societies in the ages before industrialization, mass production and, in particular, the invention, by Gutenberg, of the printing press?

The concept of a ‘Gutenberg Parenthesis’ – as formulated by Prof. L. O. Sauerberg of the University of Southern Denmark and propagated by Thomas Pettitt from the same university - is a way of identifying and understanding the roughly 500 year period we are emerging from…

‘…during which the mediation of texts through time and across space was dominated by powerful permutations of letters, print, pages and books. Our current transitional experience toward a post-print media world dominated by digital technology and the internet can be usefully juxtaposed with that of the period - Shakespeare's - when England was making the transition into the parenthesis from a world of scribal transmission and oral performance…’

In layperson terms, the natural flow of human communication, customs, legends and storytelling was interrupted by the advent of print and ‘containment’.

Pettitt describes the “imprisonment” of words during this Parenthesis.

‘They were pressed onto pages, stitched up, bound, with stories circumscribed by beginning, middle and end -- so unlike story telling and other kinds of cultural production in previous times, when oral traditions meant dynamically changing texts and performances.’

In essence, and in post-parenthesis times, we are looking forward and seeing something that looks more like the past than the present. An uncontained, fluid, secondary orality, but digitally-powered and supported by super-literacy.

Thomas Pettitt on the Gutenberg Parenthesis from Nieman Journalism Lab on Vimeo.



So what’s this got to do with advertising?

The notion of the advertising campaign that still prevails is straight out of the Parenthesis.

The assumption that an advertising campaign will have a beginning, middle and end.

The assumption that a campaign will be a complete thing, controlled and consistent in message and appearance across every media - static and unchanging – original, individual and autonomous.

Looking at it, the advertising campaign is Parenthical and pure containment.

The reality, of course is that in the emerging post-parenthical culture is the complete antithesis, and ergo the challenge for advertising.

How does it exist in the context of sampling, remixing and re-contextualising?

How does brand planning become adaptive and agile?

In a non-linear digital culture where the past and present exist in the same plane where the even the biggest most powerful brands still have to compete with everything else on the internet for attention?

Where more content is being uploaded to the web each day in 2011 than was produced in the entire history of the internet prior to 2004?

Where access (uncontained) to media is trumping ownership (contained)?

Uncontained footnote: I gotta tell you, I’m into week four of TV detox, (ie no terrestrial or cable/sattelite TV) and have not missed it one jot. We have the BBCiplayer international on the ipad and stuff I’ve downloaded off the net but that’s it. It’s pure intention economy TV.

In post-parenthasis context, I'm joining the dots between these two statements (30 years apart but in close harmony).

Arianna Huffington, of the Huffington Post, who declared recently:
'self-expression has become the new entertainment.'
Why spend hours every day passively consuming the creativity (or otherwise) of others?

Echoing Malcolm McLaren from much longer ago who states that:
'In a DIY Culture there are no commodities'.
The point of The Sex Pistols was not to sell records but to create 5,000 other bands.

Obviously, in it's inherent fluidity, post-parenthesis doesn't have a fixed point in time, different cultures and subcultures have moved out at different times. Advertising, as a concept, may be one of the next to pop out the other side of the blip?

Anyway, that's all for now. Thanks to Johnnie Moore who's been pointing me in this direction...

Thursday, October 13, 2011

drucker diptych



I have been saying for many years,Peter Drucker once remarked, “that we are using the word ‘guru’ only because ‘charlatan’ is too long to fit into a headline.

And my personal favourite...

Culture eats strategy for breakfast.”

Wednesday, October 12, 2011

twitter jazz slight return



'You meet all kinds of cats, on absolutely equal terms, who can clue you up in all kinds of directions'

Absolute Beginners - Colin MacInnes pub: MacGibbon & Kee 1959

Tuesday, October 11, 2011

sam's guide to doodling

Todays note is a guest post from planner extraordinaire and demon bassist Sam Mackisack. As a keen doodler myself this resonated. Thanks Sam.

'Nick Cohen recently brought a TED video to my attention, Sunni Brown’s 6 minute talk entitled ‘Doodlers, Unite!’. Because it was emailed direct to me by a guy who’s opinion I respect, rather than posted on Twitter by one of those users who are so inane with their sharing they could be bots, I watched it.

It makes a great case for doodling; I’ve always been an inveterate doodler (even though I’m shit at drawing), so hearing some of the reasons why it can be such a powerful cognitive and behavioural tool is great.

So for a doodler, it’s a nice piece of validation. But for people who don’t doodle, and would like to, I couldn’t help thinking some guidance might be necessary. So here is my super-easy 6 point guide on how to start doodling:

#1. DON’T GET HUNG UP ON LANGUAGE

Words can make good accompaniments to help explain doodles, especially in your personal notebook. But don’t get too focussed on trying to find the exact right language – this is about vibe, not accuracy.

Today's note is a guest post from planner extraordinaire and demon bassist, Sam Mackisack on the art of doodling. As a keen doodler myself it resonated. Thanks Sam.

#2. THERE ARE TWO TYPES OF DOODLES – USE THEM BOTH

In my experience, there are two types of doodles – “directly relevant” and “seemingly pointless”. Directly relevant doodles help articulate and understand an idea that you are discussing or thinking about in the here and now. They’re often accompanied by language. Seemingly pointless doodles may have nothing to do with anything, and are just pretty much fun to do, and keep your hands and the visual part of your brain active in dialogue-heavy meetings. Both are wonderful, and don’t need to be segregated.

#3. MAKE INFORMATION MAPS INSTEAD OF LISTS

I’ve noticed a great number of people use their notebooks to write long, bullet-pointed lists. The flow of these is based entirely on the chronology of a meeting – a pretty unreliable thing at the best of times. So instead of writing lists, try jotting down points at random across your page. Then join-the-dots – soon you might find synchronicities between thoughts, ideas and reminders where you hadn’t seen them.

#4. DOODLE WHILE YOU THINK AND LISTEN

It’s not rude. Honestly. If someone’s addressing you directly, then eye contact is always nice. But the rest of the time, doodling randomly while someone speaks can actually help you process what they’re saying, and find your own way of capturing their thinking. Don’t get shitty if you see someone doing it in a meeting.

#5. DOODLE LIKE A KID

Children are much better at doodling than us. They don’t try and find a reason for doing it - they just do it. So try remembering any doodles that you did as a child or teenager, and bring them back. My first port of call when I’m doodling is usually the skateboard brands and band logos I drew when I was 14. I know them off by heart, and the process of drawing them helps me concentrate.

#6. USE YOUR DOODLING TO HELP CRAFT HOW YOU PRESENT INFORMATION

Oftentimes, your doodling isn’t just doing to make it easy for you to understand information. It could help others as well. So rather than just jammin’ on PowerPoint slides and bulletpoints, try presenting complex stuff by doodle.'

And here’s this guide in doodle form:


Friday, October 07, 2011

we are all weird part 2

Back in the early 90's I worked as a club dj, record producer and also as chief buyer in a specialist record store.

We sold mainly club music - house, techno, hip-hop, drum and bass, plus jazz and soul and the cooler end of indie rock.

Over time I got to know the taste of many of my customers, most of them were either working dj's or bedroom dj's with a finely honed discernment.

These customers quickly got to know the best times to come into the shop to catch the worms. Saturday mornings first thing there would often be a line forming before I could get to opening the shop. They knew that the boxes of American imports arrived early and they wanted the pick of the top tunes before the hoi polloi got at them.

Of course, bits and pieces of interesting stuff came into stock all through the week. The super keen would be in sniffing around most days at lunchtimes or cooking up ficticious 'work' meetings out of the office and hanging round the shop.

I started making up bags for a few of the best customers as things appeared, then they could come in on a Friday night when we weren't so busy and listen to stuff and buy in a more relaxed way.

Pretty soon I was making up bags for upwards of 25 customers every week.

Because they trusted my choices (I was a dj of repute and credible trainspotter) 9 times out of 10 they took whatever I recommended.

From time to time I'd slip them a freebie or two, white-label promos or limited editions. As I was the buyer, record companies and distributors gave me a lot of promo stuff. To be fair I'd snaffle a few for myself (of course, I had my own dj cred to protect, but one couldn't play everything and I had chiseled out my own particular style and groove - Chicago-style house, DJ Pierre Wild Pitch that kinda thing - so not everything was appropriate).

I hazard a guess that around 20%-30% of the sales of 12" club tunes came from this 'on-approval' process.

Plus I had a number of mail order customers from remote areas of Scotland who I posted out a box of tunes to every week, and they simply sent me back by return anything they didn't want.

Again, 90% of the time nothing came back.

Over time, they trusted my choices because I never stitched anyone up, I gave them fair share of the rare and sought-after imports and pre-releases and gave them a bit extra for free from time to time.

This is a long winded explanation of how I discovered the notion of 'permission marketing'.

I earned the privilege of making purchases on behalf of my customers - or on approval - by being useful, credible and trustworthy, by being interested enough in them to know pretty much exactly what they would want.

In this way I was able to push the volume of sales by finding more product for my customers rather than having to chase customers for the product. (Though, of course, this happened by default as word got round that there was a record shop that didn't sell any shit, and where the staff took the time to offer a proper personal service for the discerning spotter).

So that's my little vinyl segue into this next bit.

I reviewed Seth Godin's latest book We Are All Weird the other week, and Seth sent me in the post the 12" coloured vinyl limited edition edition audio version. I guess it kinda completes the circle. Back in the record shop I never knew what Permission Marketing was, it just seemed like good practice. Years later, reading Seth's stuff, it all fell into place.

Here's the package...



The commemorative stamp...



And the coloured vinyl..



Thank you Seth, this takes pride of place alongside my complete set of Felix Da Housecat's Radikal Fear label from the mid 90's.

Thursday, October 06, 2011

deep fried mars bars



As a Scot abroad a myth that follows one everywhere is around the dietary foibles attributed to the Scottish nation.

Yes, I'm talking about the deep-fried Mars bar.

In the 30 or so years I lived and ate in Scotland I never once encountered this phenomenon.

In fact, the closest thing I've seen was from the quintessentially English Nigella Lawson, who battered and fried a Bounty bar in her TV show.

Imagine my surprise (perhaps not delight, however) at discovering the above pictured culinary offering in my local Fish and Chip emporium in leafy suburban Melbourne...

Wednesday, October 05, 2011

the technology always comes first



In the film PressPausePlay, Bill Drummond makes this point.

Electric guitars were invented because the guitar in 30's Big Band's stuggled to be heard above the brass.

Then along came Hendrix et al, abusing the technology and inventing a genre.

Artists never invented oil paint, or the movie camera but they saw the opportunity the technology gave for creativity.

Here's a couple more for you.

The story goes that the distorted 'metal' guitar sound was invented by Dave Davies of the Kinks who slashed the speaker on his Vox AC30, then launched into the riff of You Really Got Me.

The Roland TB-303 Bass Line synth was originally made as a cheap tool for guitarists who wanted bass accompaniment while honing their licks. Only about 10,000 units were produced between 1981-84 and on the surface it looked like a flop product.

Then in the later end of the 1980s bootstrapped DJs and producers in Chicago found that by overdriving and cranking the box you could achieve the squelchy acid bass sound, and a new genre was born.

Again, all examples of the technology coming first, then artists messing with it - in ways the engineers never imagined - and new artforms coming out the other end.

The lesson here for our advertising creatives is clear. To always be embracing new technologies for their possibilities for creativity.

In particular, the possibilities afforded by mobile, are almost infinite.

For a simple start, mobile can replicate all previous mass media, and then some, particularly with the emergence of Augmented Reality platforms like Layar .

If I was a young creative type out to make my mark today, this is where I would be looking to demonstrate my creativity.

This is the technology I would be abusing, f*cking with, overdriving, cranking and generally poking the box. The tech comes along first then the artist messes with it and creates something new and unexpected.

That's my tip for the day, kids.

Thursday, September 29, 2011

get shirty

Interesting to see that my one of my former employers - Weapon7 in London - have been acquired by AMV-BBDO.

I had a chuckle at this clip, in which CEO (now Chairman) Steven Hess dispelled any misreporting of the details of the deal to the staff in his own inimitable style.

Best wishes and congratulations to Steven, Mark et al.

action time vision

Following yesterday's mini-rant in which I hypothesised that the statement which declares 'TV plus multi-channel campaigns are more effective than TV alone', in it's structure is simply reinforcing the myth of TV authority and makes more sense by flipping it and saying multi-channel campaigns are more effective if the include TV in the mix, some serendipitous further unravelling occured.

Following the links within Andy Whitlock's excellent post An insight about insight in which he correctly points out that;

'Insights are most exciting/dramatic when we’ve previously been looking at the wrong thing'

As an example Andy pointed to this startlingly simple yet revelatory insight from Mark Sorrell.

'There are a lot of surveys and statistics and sound-bites out there saying things like “The majority of viewers now watch TV with a second screen in front of them...I don’t doubt that the basic numbers are entirely correct ...but the entire statement is back-to-front. The majority of home internet users have the TV on in the background...The internet is usurping the TV as the primary source of entertainment in the home. The TV is still being switched on [but is] suitably ambient...Mostly, it just chunters away to itself, pleasing human noises filling your lounge..

TV is the second screen'.


Absolutely spot on. We've been looking at it back to front and as Beaudrillard said 'Systems...retain authority only as long as we treat them as having authority'.

Television is ambient, it's background, it's shared and commands only partial attention.

It's more like radio. A comforting noise in the room that occasionally, sporadically holds our interest.

The internet however (and I'm not distinguishing between devices, mobile means internet and vice versa) is personal media.

It's not about X replacing Y. This has never happened.

There's still books, newspapers, cinema, radio etc. Despite the fact that the mobile platform can in fact replicate all previous media it has not killed them, it's just changed their role.

TV has done a decent job of disrupting itself over the years. Recognising that it is not the focal point any more but simply one of several platforms that deliver content and mesh together is it's current disruption.

Alternative TV.

Wednesday, September 28, 2011

a spectre haunts the [creative] imagination



'Systems are inherently brittle and retain authority only as long as we treat them as having authority', according to Beaudrillard.

As humans, of course, we have this inherent authority bias, never more apparent than in the famous Stanford Prison experiment that we rediscovered recently.

The experiment was conducted at Stanford University from August 14 to August 20 of 1971 by a team of researchers led by professor Philip Zimbardo to examine the psychological effects of becoming a prisoner or prison guard, with pretty startling results.

While likening the advertising establishment to the situation Zimbardo was attempting to evoke is probably a bit harsh,  the system justification we persistently hear describes how multi-channel advertising campaigns are nearly twice as effective as their traditional counterparts.

However this is often framed as TV plus multi-channel is more effective than TV alone.

Hurrah, say the digital community, recognition for the ghetto.

But, digerati, this framing is simply reinforcing the myth of  system authority.

How about saying multi-channel campaigns are more effective if the include TV in the mix?

Simply flipping (reframing) the question completely changes the context.

Beaudrillard also says 'There is nothing more mysterious than a TV set left on in an empty room. It is even stranger than a man talking to himself or a woman standing dreaming at her stove. It is as if another planet is communicating with you.'

While the world of advertising is somewhat more polite, here is an old adage 'no-one ever got fired for buying a billboard in Times Square', similarly no-one ever got fired for buying a 30 second spot in the Super Bowl (or Grand Final).

That's not to say these tactics don't have effect, they clearly do, but what else is required? And what system or authority bias is it that is continually getting in the way of experimenting with other approaches?

Or is it simply fear?

But as Beaudrillard tells us, once you lose the fear of systems, or conventions, the status quo, they lose the hold they have over you.

Tuesday, September 27, 2011

motorcycle emptiness



Amusing, if ultimately gimmicky, cognitive bias experiment kinda thing from Carlsberg Belgium.

Though 1.6million (and rising) You Tube views tells it's own story.

It's all over the web but my specific finders fee goes to Niklas Lindstrom.

Friday, September 23, 2011

we are all weird

You know the Dylan line from Tangled up in Blue?

'...Pouring off of every page like it was written in my soul..'

As a serial contrarian and willful misfit in this business of advertising, to say Seth Godin's latest manifesto 'We Are All Weird' resonated is the understatement of the year.

It's a slight return to marketing critique theme for Seth, following the more personal empowerment focus of Linchpin and even Poke The Box.

Seth's vitriol is aimed firmly at the notion of mass as the engine of culture.

'If your work revolves around finding the masses, creating for the masses or selling to the masses [the change] is very threatening'

'Since each market is now a market of one and a market of now, the marketer has no choice but to surrender all pretence to mass'.

We've talked about the notion of embracing divergence over convergence in these pages before.

The thrust of Seth's argument challenges the education system - that which services industry by producing compliant workers - through to government - again perpetrating wholesale compliance - with Ken Robinson-esque pointyness.

'And so the factory-for-the-production-of-normal works overtime to sanitise and corporatise and discipline our kids in to normalcy'

Seth argues that up-close, normal disappears. There is, in fact, no blob of normal, no centre of the curve, just millions of individuals, ad hoc groups and communities that learn differently, think differently and dream differently.

For the marketer? Looking for mass is missing the point. A better idea is to look for the opportunities to co-market with the parts of the market that are most engaged and connected.

Word.

We Are All Weird is the latest in the Domino Project series. A limited edition physical print run, with unlimited digital edition.

I hadn't noticed it happen but I've actually purchased just about every one of the Domino releases.

I'm regressing to my dj trainspotter days! Back in the day as a club dj I had several labels, Relief (from Chicago), Dance Mania (ditto) and Strictly Rhythm (NY) which qualified as automatic purchase material regardless of artist.

New Strictlys? 3 of 'em? Straight in the bag.

The Domino Project is heading that way too. Pressfield? In the bag. Sivers? in the bag.

And as if by magic, We Are All Weird has also been manufactured as a limited edition (of 250) LP (weirdness, natch) in red and black mottled vinyl.

Not for sale unfortunately.

Wednesday, September 21, 2011

precision guesswork: TASICT September 2011


Here are the slides from my talk at TASICT in Hobart on Tuesday 20th September for those who requested them.

If you enjoyed the session or violently disagreed with anything feel free to leave your comment here. Then jump over to Slideshare to download the pdf.

authentic brand story



In The New Marketing Manifesto, John Grant noted 'Authenticity is the benchmark against which all brands are now judged'.

Also - in a moment of arch-ness - Seth Godin said in Permission Marketing: 'If you can fake authenticity, the rest will take care of itself.'

I'll take the word from the bird...

UPDATE: Some younger readers have expressed confusion over the 'bird' reference.
Charlie Parker was known as 'Bird', short for 'Yardbird'.
Yardbird is a jazzbo colloquialism for 'chicken', a young Parker is said to have hit a chicken with his car by accident while on tour with the Jay McShann Orchestra, and proceeded to cook and eat the unfortunate fowl later that evening post gig. Fact fans.

Friday, September 09, 2011

skill and inspiration, what a concept!

If you don't already read Bob @Lefsetz then I suggest you should.

He's the Seth Godin of the music 'business'. I get his email every day (sometimes more) and every one has a gem or two.

I've paraphrased some chunks of one of this weeks mailers here.

As I said, Lefsetz writes about the music business but his pointers relate to every business.

Try this on for size...

"You read "The Long Tail" and believed a new era was upon us, an egalitarian one in which everybody got to play and be recognized, where [digial products] were plentiful and those making it survived financially...but this is untrue.

Consolidation is always lurking.

Happened with record companies. Happened in live entertainment. And it's going to happen [to every business].

But put yourself in the shoes of the [customer]. He's confronted with chaos, he wants someone to make sense of the clutter, and the [companies] who do this will have all the power and ultimately all the money.

Skill and inspiration, what a concept!

It's what listeners want, even though [mediocre businesses] might recoil at the thought of this.

Because it leaves them out.

And with everybody able to hear [about your products or services] instantly, word spreads pretty fast that you're mediocre.

You just can't shove what people don't want down their throats. This is a sea change in advertising, in music. The product leads, it must be intrinsically good.

The only people left out will be the wannabes, who thought it was all going to be easier, those sour grapes individuals who always thought the man was against them.

No, you just weren't good enough.

And you're not going to be good enough tomorrow.

And with good being the main criterion, it's less important what kind of [advertising you do] than your ability to infect people and grow an audience. Anybody can make it. It's about self-starting as opposed to getting a check from a major.

But at the end of the day only a very few will triumph".

Dynamite.

noel gallagher and relational value



There a basically two concepts of value. Both are correct.
The notion of intrinsic - or inherent value - and that of relational or derived value.

I’ve had a couple of thoughts on intrinsic value in these pages before, but this nugget addresses the relational.

An overview…

A thing has a relational value when its value depends on having a valuer who places said value upon that thing in relation to something else.

Commercial value, for instance, is subject to markets consisting of both buyers and sellers and therefore is totally relational.

Artistic or aesthetic value is also relational, or derived.
Amongst other factors, the canon of the artist or producer is significant.

Which brings us to this statement from Noel Gallagher as he prepares to release his first set of post-Oasis recordings, and shares with us a nice slice of uncanny Manc wisdom on viewing his new work in context to the Oasis legacy.

"Let's say my career had gone backwards. Let say this new solo album had been my debut, and it was my last two records that sold 20 million copies instead of the first two records.

Had this been the case, all the other albums leading up to those last two would be considered a fucking journey.

They would be perceived as albums that represent the road to greatness.

But just because it started off great doesn't make those other albums any less of a journey.

I'll use an American football analogy since we're in America: Let's say you're behind with two minutes to go and you come back to tie the game.

It almost feels like you've won. Right? But let's say you've been ahead the whole game and you allow the opponent to tie things up in the final two minutes.

Then it feels like you've lost. But the fact of the matter is it's still a fucking tie. The only difference is perception."


Noel Gallagher quote comes from this article by Chuck Klosterman in Grantland.

Recap on Theory of Value

Extra special thanks and finders fee to the legend (and erstwhile Liam Gallagher lookalike sort of) that is Petar Vujosevic aka Niko Herzeg.

Tuesday, September 06, 2011

multi-touch digital displays



I'm a sucker for these 'future' of touch-screen technology videos.

The technology dovetails nicely into the era of no traffic on the roads, and where everyone at the bus stop is smiling.
Presumably, not unconnected to the fact that they have had the time to make nice vegetable omelettes for breakfast with the family.

Outdoors, if we factor in the law of the brick and the garbage can (I'm in Australia, they don't know what dustbin means), the greatest potential innovation on show here is the unbreakable 'glass' of each screen.

Corning, the creators of this clip, are manufacturers of the Gorilla Glass that is used on over 200 million mobile devices.

(Yes, it's on the iPhone 4. And that's never smashed...)

I'm guessing they haven't quite cracked that bit yet, but when they do...

Monday, September 05, 2011

klout

One simple reason to not lose any sleep over one's Klout score...



If data is the new oil, it's worth pointing out that it is crude oil.

It needs to be processed and filtered to be useful.

Even after that it's just information.

Data and information become important when turned into knowledge and understanding.

See Jonathan MacDonald's The Fallacy of Accurate Information.
Also my own Influence vs Popularity for a bit of context to this post.

Friday, September 02, 2011

NOW THAT'S WHAT I CALL BRANDED UTILITY



SYDNEY: Ikea is trialling 'MANLAND' for four days this weekend (Father's Day etc) as a men-only play space to hang out in while wives and girlfriends go shopping.

Publicity manager Jude Leon said the idea was modelled on Ikea’s existing child play area, SMALAND.

Ms Leon also said women were given a buzzer to remind them to collect their other half after 30 minutes of shopping.

Free hot-dogs was the clincher, to be fair.

There's a new Ikea opening up the road from our place next week.
We wait...

via news.com.au
see also Ikea Australia

be seeing you

Voyurl describe their service as 'like a private version of Google Analytics, made just for you and only about you. We wrap up the trends hiding in your online behavior and give that information back to you in easy-to-understand and fun-to-play-with ways. Explore interactive, drill-downable visualizations that reveal interesting insights about how you use the web..'

Voyurl also give the option of installing publishes everything you view in your browser and streaming it in real-time, out in public.

Likewise, you can view the 'clickstream' of others who are sharing share their 'clickstreams'.

Founder Adam Leibsohn said Voyurl is a 'reaction against the kind of "grey market" data-pimping that makes certain people run screaming from the "social web...I saw a lot of white-label apps that were gathering and selling personal data in this really irresponsible way -- people would tell me that they literally do nothing for their users, while collecting all their information behind the scenes. We take that data and turn it around and give it back to you, to improve the user experience.'

Again, another clue pointing towards the further personalisation of media and experience, and the notion of the personal layer that overlays the social layer in post-web 2.0. In clinical psychology, voyeurism is described as the sexual interest in or practice of spying on people engaged in intimate behaviors...so in this case data must be sexy.

One to watch. And be watched.

Finders fee: FastCoDesign.
via ProjectVRM mailing list.

Voyurl beta invites can be requested here.