Wednesday, July 05, 2017

meme fitness

Meme 'fitness' is not dependent on the meme itself having any properties of good 'quality'.

It just needs an environment that increases replicability.


Case in point is the 'Amazon didn't kill the retail industry...' thing that has replicated itself successfully despite being complete horseshit.

None of those 'dead' things are dead.
Apart from Blockbuster, which was a brand rather than a category in any case.

But the meme is selected for in a Dunning-Kruger environment.




Wednesday, June 28, 2017

all this useless beauty

‘Nonsense prevails, modesty fails
Grace and virtue turn into stupidity
What shall we do, what shall we do with all this useless beauty?’
Elvis Costello ‘All This Useless Beauty’ 1995

Legendary British creative director Dave Trott is famously quoted as saying that advertising festivals actually prevent creativity.

‘You’re not doing advertising for six million people in the street anymore, but for ten people on the jury, and for a few clients.’

I also recall a comment made by Tom Goodwin a couple of years ago around Cannes in particular.

‘Cannes has become a self-serving fetishisation of the newly possible and the highly improbable. It’s predictable and formulaic in the extreme.’

It’s hard not to agree with these statements - at least in part – when observing some of this year’s winning entries.

Much of the silliness seemed to be confined to the ‘Innovation’ category.

A Gold Lion for a Grand Theft Auto 5 mod seems a bit of a stretch, while the Grand Prix was awarded to a project that plans to save the world by melting down guns.

Even the briefest glance at those cases, sheds some light on the mid-festival announcement from Publicis regarding their intention to give awards a miss next year in order to focus funding and effort on building their AI platform.

On the other hand there were a number of excellent, and well deserved, big winners.

Including Melbourne’s own Clemenger BBDO and their remarkable ‘Meet Graham’ work for TAC.

A few years ago Australian agencies combined could expect to take home around 50 lions in a good year.

At the last count Clems had accumulated around 56 on their own, including 29 for ‘Graham’.

Aside from the inevitable silliness on the fringes these festivals do serve a commercial purpose for agencies.

For the most part it’s reasonable to say that the volume and quality of new business an agency attracts is explicitly connected to the volume and quality of the awards they accrue.

Consistent performance in major advertising awards are one indicator of ‘fitness’ in the evolutionary sense. Agency ‘sexiness’ if you prefer.

This idea that ‘indicators’ are sexy comes from the work of Israeli scientist Amotz Zahavi.

In his ‘Handicap Principle’ hypothesis, Zahavi proposes that the only way to reliably demonstrate quality during ‘courtship’ is to display a ‘costly’ (alluring) signal. The peacock's tail is his most famous example.

These expensive signals are evolutionarily stable indicators of the brand and the agency’s quality, because cheap signals are too easy for low-quality imitators to fake.

Commitment to creativity signals advertiser ‘fitness’ – ultimately indicating that the most creative advertiser has greater ‘genetic’ value than its less creative competitors. After all, consumers tend to prefer advertisers that display high levels of intelligent creativity and, consequently, brands prefer agencies that do the same.

Participation in the spectacle of Cannes might seem like energetically expensive waste of time, but these kind of wasteful displays are exactly what we would expect from traits designed for ‘reproductive competition’.

I’d stick my neck out and say that big advertising festivals aren’t going away anytime soon.

However perhaps there is a case for a bit of a ‘reset’ and refocus on the commercial part of creativity.

The kind of creativity that touches Dave Trott’s ‘six million people in the street’.

With that thought in mind, and in closing, we stumbled across this excerpt from Prof Ronald Jay Cohen's 'Editor's note' to the judges in The Journal of Psychology and Marketing’s Awards in Advertising 1986.

Think of this as an objective ‘outside view’.

Cohen encourages jurors, in their deliberations, to view the awards in this way.

‘To the extent that it is possible, we hope to avoid the pitfalls associated other awards in the advertising industry. Thus we hope to avoid common criticisms of awards like ‘it's just a popularity contest’ by having voters justify their selections with reference to criteria such as attention-getting ability, attention-sustaining ability, communication of message, memorability of message, persuasiveness, creativity, and psychological sophistication.

Further, voters are advised to take into consideration what is happening in the actual marketplace with respect to the advertised product or service.
Wonderful creativity in a vacuum does not good [advertising] make.

Award-winning advertising is a successful marriage of creativity and ‘sellativity’.

Award-winning advertising is the type of advertising that reconfirms the classic Gestalt adage that ‘the whole is equal to more than the sum of its parts’.

Here, all of the elements of the [advertising] combine to form something that transcends any of the elements alone something that is ‘magical’ in some way.

A pitfall to avoid is becoming enthralled with the elements and failing to realize that there is something lacking from the commercial as a whole.’


The pitfalls of short-termism and over-obsession with metrics are well documented, however the bigger danger is that we are forgetting what advertising is actually for and how it works.

Then all we have is creativity in a vacuum, useless beauty.

Tuesday, May 23, 2017

zuboff's law number 3

'Every digital application that can be used for surveillance and control will be used for surveillance and control'.

In the car, on my way to work, I was listening to an episode of the 'Here We Are'podcast on the car stereo.

The show is hosted by American comedian Shane Mauss, who interviews local science experts and academics he meets while taking his stand-up comedy show from city to city.

In this particular episode he interviewed Professor Adam Bradley from the University of Colorado, a literary critic, musicologist, and a writer on popular culture. They discussed music in general, hip-hop, memory, and the brain.

In a section of the chat Bradley made a point that caught my ear as it seemed to connect to 'modular mind' theory.

Modularity is the idea that the mind is, at least in part, composed of innate neural structures or modules which have distinct established evolutionarily developed functions.

This perspective on modularity comes principally from evolutionary psychology, and the work of Leda Cosmides and John Tooby. They suggest that the mind's modules are units of mental processing that evolved in response to selection pressures that faced our ancient hunter gatherer ancestors, when natural selection was forming the modern human species.

One such unit of processing is likely to be for language.

Music emerged in early human cultures for different purposes than simply inter-personal communication. And it therefore likely that music might be processed by another distinctly separate module.

To illustrate this point the Professor hypothesised that to ask one particular question to another person in the context of normal conversation would generally elicit an uncomfortable response.

'Do you ever wish you had never been born?' .


At the very least it's conceptually a bit strange to contemplate.

However, essentially the same proposition rendered in the context of a song, in the lyrics of the Queen song 'Bohemian Rhapsody' specifically, evokes far less existential angst.

It's therefore reasonable to suggest that the module for processing language and the module for processing music respond to similar stimulus in different ways.

I'm still in my car at this point, nodding with interest, when my Apple watch starts to vibrate on my wrist.

I glance at it and the message on the screen.

The discussion has clearly also caught the ear of my watch, it thinks that it's me talking, and it proceeds to ask me if I am contemplating suicide at this moment, and offers up options for help if this was the case.

Shoshana Zuboff is author of the classic 'In the Age of the Smart Machine: The Future of Work and Power'.

First published in 1988 the work was the culmination of several years studying the extensive involvement and implications of information technology in organisations.

Many of ideas in the work have endured, not least the trifecta known as Zuboff's Laws.

  • Everything that can be automated will be automated.
  • Everything that can be informated will be informated.
  • Every digital application that can be used for surveillance and control will be used for surveillance and control, irrespective of its originating intention.

Or as folk wisdom would have it; there are only two groups of people who's movements are continuously monitored.

The first group are monitored involuntarily by order of the courts or suchlike with tracking devices attached to their person.

The second group is everybody else.

Every digital application that can be used for surveillance and control will be used for surveillance and control, irrespective of its originating intention.

I'll let you know if I have any difficulties in obtaining insurance in the near future.

Tuesday, May 09, 2017

if advertising is dead...

The death of this, the death of that, the death of the other and the death of the next thing.

The impending death of something or other is reported every other week.

The death of advertising in particular.

Mea culpa. About 10 years ago I probably was that douche-bag.

I wrote about my folly and subsequent enlightenment a couple of years ago in The Dunning-Kruger Peak of Advertising.

Eventually one gets over one's own bullshit, to a degree.

Or at least goes into recovery.

(I'm taking each day as it comes.)

And with every announcement of the demise of advertising comes the announcement of a new agency model (sic), so it seems that even advertising has abandoned advertising.

As the management consultancies stand in line to buy up agencies all the talk is of doing-things-differently, disruption or redefining-the-industry.

What if the change the industry really needs is to refocus itself towards producing brilliant advertising?

Back in 1979, the emerging young painter Julian Schnabel presented his two breakthrough solo exhibitions at Mary Boone’s gallery in New York.

The shows mainly featured his signature neo-expressionist wax paintings and plate paintings.

Amid the popular and influential artworld narrative of the time included widely read articles with titles like 'The End of Painting' and 'Last Exit: Painting' in respected journals such as Artforum.

It should be noted that those essays (penned by critics Douglas Crimp and Thomas Lawson, respectively) should be approached with some caution unless readers are particularly fluent in academic postmodernist gobbledygook.

The final nail in painting's coffin had barely been bludgeoned into its place when at the exact same time other commentators began to herald Schnabel’s works as 'the RETURN of painting'.

In later years (and looking back), Schnabel - somewhat wryly - reflected:

'I thought that if painting is dead, then it’s a nice time to start painting.'


It strikes me that there is an emerging opportunity for advertising agencies that actually want to make advertising.

It's worth presenting Schnabel's full comment on the 'return to painting', but looked at through an advertising lens.

“I thought that if [advertising] is dead, then it’s a nice time to start [doing advertising].

People have been talking about the death of [advertising] for so many years that most of those people are dead now.”

Tuesday, March 28, 2017

life after adtech

Theodore ‘Ted’ Sturgeon is widely acclaimed as one the greats in science fiction writing.
He wrote a number of novels, was an early scriptwriter on the promising TV series Star Trek in the 50s and 60s and also one of the foremost critics in the sci-fi genre, also penning over 400 reviews before his passing in 1985.

After many years of batting back attacks on the science fiction genre from critics, he had a moment of insight.

This insight became known as Sturgeon’s Revelation, later – and somewhat less dramatically – shortened to Sturgeon’s Law.

Speaking at the World Science Fiction Convention in Philadelphia in September 1953, Sturgeon responded to ‘proper’ literary critics who claimed that 'ninety percent of science fiction is crap'.

Ted agreed. Ninety percent of science fiction is indeed crap.

But, he argued, to say ninety percent of science fiction is crap is meaningless, because science fiction conforms to the same trends of quality as all other art forms.

Sturgeon’s Law therefore states that ninety percent of everything - all film, literature, products, culture and advertising - is crap.

Less often reported is Ted’s proposed solution to the problem.

If we agree that ninety percent of everything is crap, then what’s important is to study, learn from and promote the ten percent that isn’t crap.

[Maybe 90% is generous, it’s more likely closer to 99% but you get the idea.]

In advertising there seems to be a period when any new approach, new platforms or technology comes along that – for a time - seems to somehow be viewed as exempt from this law.

Social media marketing, content marketing, AI, VR, chatbots, programmatic delivery and other adtech all arrived in their time, were heralded as the next big thing, then gradually landed in a ditch of disappointment or - as in adtech’s case - murky nefariousness.

But if we had remembered Sturgeon’s law perhaps we could have been more critical of practices and theories from the outset and avoided a lot of unpleasantness.

The shortcomings of adtech have now been fully revealed.

[As another aside, it is peculiar that in this age when information is supposed to disseminate at warp speed, mainstream media has only just caught up with what many of us have been discussing for about 4 or 5 years.]

Somehow we have to shift focus and look for the 1%.

Looking for the good AND THEN CRITICISE THAT.

Where is the good practice, how do we build on that or make that better? – and if there is none then how do we create some?

As an industry we’ve been duped and been cheated, but now we have had our eyes opened.

Will we get fooled again?

Probably, It’s not as if we are strangers to pluralistic ignorance in this business.

Anyone who has sat through campaign or brand tracking presentations by supposedly reputable research companies and thought ‘am I the only one in this room who thinks this is bullshit?’ please raise your hand now.

I thought so. Just about everyone. But we never raised our hand at the time.

The only way to break out of these cycles is to speak up, ask questions, be sceptical and ask for evidence.

A decent rule of thumb would be to DEMAND that the more extraordinary the claim of any technology platform or gizmo, the stronger the evidence must be to support that claim.

This is not a Luddite rant. Programmatic, automation and advertising technology is inevitable. Very soon all media will be distributed in this way.

Crapness, however, is not inevitable.

Bill Drummond once made this point.

The technology always comes first.

Then creative people mess with it and create something new and unexpected.

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

The technicians and engineers have had their turn, and the results were less than optimal.

Factor in blind-sided publishers, winner-takes-all multinationals being allowed to mark their own homework, the deluge of shitty content and open season for fraudsters and criminals and we’ve got a big mess to clean up.

At least 90% of the whole adtech shooting match was total crap. But it’s out in the open and we have to move on.

And 90% of everything will always be shit, but it’s only a relentless, sceptical, demand for quality and creativity that points the way forward.


Friday, February 10, 2017

might as well jump

Note: This thing was written for the Mumbrella '24 hours with...' weekly feature.

After about 6 re-writes it was still rejected as not meeting the criteria, so I gave up. This is version 2 which was the best 'take'.


------------

Are readers are familiar with the BBC comedy TV show ‘Room 101’?

On the show celebrities are invited to discuss their pet hates and then attempt to persuade the host – Frank Skinner - to send those hates into oblivion in Room 101.

The literary Room 101 is the torture room in the George Orwell novel 'Nineteen Eighty-Four' which reputedly contains ‘the worst thing in the world’.

Interestingly George Orwell himself named Room 101 after a real meeting room in BBC Broadcasting House where he sat through many tedious meetings.

Perhaps you have one such room in your agency…

If I were ever to appear on the show, one of my items for Room 101 would almost certainly be in-flight magazines.

In particular those ‘one day in Marrakech’ types of articles.

‘Wake up early and take a stroll through the local artisanal shepherds market where you can pick up a single-origin Nicaraguan black honey espresso – infused with Apricot, of course – and peruse the selection of hand-made authentic Mongolian compost toilets.’

Hopefully I can get through this article without that kind of status-signaling twaddle. Or at least keep it to a minimum.

I say minimum, as I’m only human.

So, a day in the life - minus the conspicuous ‘authenticity’…

The day begins…

As much as I can I try and organise working time during daylight hours.

Routinely staying up way past bedtime to finish work that didn’t get done during the day is an indicator that something else has gone awry.

Some of us think of ourselves as night people, but - as a species - we have evolved to function best in the daytime.

For a start, we can't see in the dark.

Given that sabre-tooth tigers and suchlike tended to hunt at night this was of some importance or our hunter-gatherer ancestors.

There’s a lot of talk these days about this-or-that disruptive innovation.

In terms of impact innovations such as the electric light were exponentially more disruptive than any Uber or Snapchat glasses will ever be.

Even if you prefer to work at night, it is still the down time on the evolutionary body clock. I have extra admiration for people like A&E doctors who work through the night. It’s a hard enough job as it is without battling against 2 million years of evolution.

I’d rather just get up a bit earlier in the morning. Speaking of which…

6am.

I get up. But nothing gets me down.

I’d like to be able to say that this is a tactical self-nudge to anchor my biological clock, however it’s more about the necessity of getting on the road. I live down the Mornington Peninsula so I’m part of the traffic on the M3, M11 then M1.

If I’m not on the M1 by 7am it can take forever to get to South Melb.

I’ve generally selected the next day's clothes etc the night before – by ‘selected’ I mean jeans and whatever t-shirt is top of the pile (its my variant of the famous Obama two-suits method).

A morning routine helps me function without having to think about what I’m doing, and get out the door without waking the family at stupid o’clock.

Car time is often creative thinking time. But who couldn’t be creative zipping through the morning rush in a canary yellow Porsche 911 Carrera?

It’s a bit harder in a 2003 Honda Jazz, but I manage.

I recently read about the cartoonist Scott Adams (creator of Dilbert) who thought up all the original Dilbert cartoons between 5am and 7am before going to his day job.

Even after quitting his job and going pro he continued to do the strip from 6am to 7am and doesn't attempt any creative work in afternoon, reserving that time for admin tasks.

With a bit of luck I’ll get into the office around 7.45. This means I’ve got about an hour and a half to get some creative or investigative work done before I have to start attending meetings.

Once or twice a week I’ll use this time to keep up with political sections of the major newspaper sites, it’s a good idea for me and my team to keep up to speed on policy issues, locally and nationally.

I’d like to tell you more but the sensitive nature of my work for the government demands utmost secrecy. I know you will understand.

I am healthy and well and making lots of money.

(Like Travis Bickle, I’m God’s lonely man.)

It’s hard to say what a typical day is. We work with all manner of government departments and institutions with budgets ranging from tiny to some of the biggest spenders in Australia.

I’m lucky to have a very capable team - all are generalist strategic planners but among them I have three directors - each with their distinct experience and specialisms to add from Behavioural insights, Ehrenberg-Bass Marketing Science and Cultural Science.

In a general sense our remit involves working with information and putting it to use (to paraphrase Stanley Pollitt). This is not just marketing or media research but all the information available – in order to identify and help solve a client's problems.

Lunchtime

Until recently I’d spent the bulk of my career in creative agencies and no suppliers ever wanted to take me to lunch.

It’s a different story in a media agency.

Everyone wants to take you out.

To keep it simple, I generally decline politely.

Not for any virtue-signaling reason, I’ve got a bit of a weird diet to follow (don’t ask), so it’s just easier to bring my own lunch.

Aside from client work our big project at the moment is further developing out our cultural insights platform, DIALECT (Diversity in Identity, Area, Linguistics, Ethnicity, Culture and Technology).

This platform allows us to explore and transform multiple cultural data inputs into usable market intelligence, mapping important cultural nuances – where they exist – and also the human universals that play out across cultures.

DIALECT is essentially our foray into the emerging field of applied Social Physics, fusing data analysis and mathematical laws of biology to understand group behaviour.

Today is our weekly review of the platform, and our Cultural Director, is taking me through the next set of iterations and incrementals. I nod and pretend to understand agile development methodology.

By mid-afternoon I’m already thinking about sleep.

I regard sleep as an essential part of my work.

At the moment I’m interested in 90-minute sleep cycles.

90mins is the optimum cycle, this means that you can feel more refreshed after 3 hours sleep than after 5 – waking after 5 hours means you have woken mid-cycle.

The psychologist Richard Wiseman says a good sleep is like a wash cycle on a washing machine – cleaning out your mind of the day’s memories that you don't need.

We all receive vast amounts of information during the day, and quite a lot of it – campaign tracker research reports, for example – can be totally useless, so this sorts out which memories are important and which to discard.

At this time of year the many articles that claim to reveal the top 24 (or more) marketing trends for 2017 can be safely set to boil wash.

A good way of distracting the mind and getting off to sleep is thinking of very positive scenarios.

I’ve come across many marketers who must be able to sleep very easily.

They are especially adept at building fantasy worlds in their head and should be able to drift off easily with very positive imagery of loyalty programs, social media engagement and suchlike.

Before the end of the day I have a catch-up on internal training with our Marketing Science expert in Canberra. She’s coming down in a couple of weeks to get us up to speed with the finer points of NBD-Dirichlet Distribution and Ehrenberg’s law of buying frequencies.

6pm

Back to the Honda Jazz and back to the freeway for the commute home. Tonight I listen to a couple of episodes of the BBC Radio 4 podcast ‘The Infinite Monkey Cage’ that I’ve been saving. Who would have thought that particle physics would be the new comedy?

7pm

At home, I try and park work stuff into my subconscious as much as possible and let it sort itself out while I'm doing other things.

Discerning creatives will be familiar with the seminal 1939 work by James Webb Young, entitled ‘A Technique for Producing Ideas’.

Stage 3 of the 5 stage process Young outlines involves removing a problem you are trying to solve out of your conscious mind to stimulate the unconscious.

He likens it to how Sherlock Holmes would often stop right in the middle of a case, and drag Watson off to a cello recital, or something.

That was irritating to the practical minded Watson, but letting the unconscious chew on a problem was essential to the creative process for Holmes.

To let my own subconscious chew, I’ll take the dog out with my boy for a bit then when he’s tucked up maybe Mrs P and I will watch some written-by-algorithm series on Netflix, like ‘Designated Survivor’.

Or re-run old favourites like ‘Utopia’, ‘The West Wing’ or ‘The Thick of It’, anything just to try and switch off my mind from Government work.

I travel most weeks, back and forth to Canberra usually, so before bedtime I might pack my bag.

Flying time is good reading time. I’ve adopted the catchphrase ‘Nothing in advertising makes sense except in the light of evolution’ and I’m devouring a lot of evolutionary psychology just now.

Does all science and no novels make Jack a dull boy?

Round about 10.30pm it is time for some Peach Momotaro Blooming Tea, brewed from its own biodegradable tea temple and then I’m off to sleep for seven and a half hours exactly (that’s 5 sleep cycles).

What?

I only promised to keep conspicuous authenticity and status-signaling to a manageable minimum.






Friday, February 03, 2017

legends of orson-ness

On October 30, 1938, Orson Welles famous radio adaptation of H.G. Wells’s science fiction novel ‘War of the Worlds’ played on CBS Radio’s weekly ‘Mercury Theatre on the Air’ show.

Mercury Theatre’s regular theme was adapting classic literary works for radio broadcast.

By the late 30’s, much of America was adopting the new disruptive technology of radio for news and entertainment.

As part of the adaptation – and to fit with idea of presenting the play in the form of faux-news bulletins - Welles, his creative partner John Houseman, and writer Howard Koch selected the small town of Grovers Mill from a map of New Jersey to be the site of the alien invasion.

The rest is history, of course.

According to lore (and some allegedly scientific analysis - Hadley Cantril’s paper ‘The Invasion from Mars: A Study in the Psychology of Panic’ a notable example) something in the region of one million Americans were sent into blind panic - some taking heart attacks and others committing suicide - all of them certain that New Jersey and America were under attack from Martian invaders.

The reality is a somewhat different story.

Very few listeners were duped by War of the Worlds.

For a start, the audience was pretty small.

Mercury Theatre went out against a long running and hugely popular NBC comedy show playing at the same time slot, which regularly scooped up upwards of 80% of the audience.

At the best of times Mercury Theatre accounted for only about 4-5%. Nothing approaching the one million number.

And most of those listeners were well aware that the show’s schtick was dramatic radio adaptation.

The stories of widespread panic were actually fabricated, and grossly exaggerated by the newspapers – most notably, The New York Times – in the subsequent days.

The story goes that the print media were looking to discredit this new emerging channel for news, the radio, as they viewed it as an imminent threat to their advertising revenue model, and therefore their existence.

So they cooked up a bit of fake news.

Not a bad strategy, it shifted the extra units.

The threat of death to printed news, or at least the advertising revenue, never materialized, and the free publicity for Mercury Theatre may even have helped make radio drama seem even sexier, and contributed to increase popularity. Who knows?

Either way, within 24 months post-War of the Worlds, Welles stock was so high he was able to do a total-control studio deal with RKO, and produce his first feature film, Citizen Kane; to this day widely regarded as one of the best movies of all time.

So it was win-win-win.

But, in a sense all news, is fake.

Brietbart and HuffPost, for example, will report on the same 'story' through different editorial lenses.

It could even be argued that biased media are actually more informative.

Readers with a particular political bias are bound to prefer the news media with a similar bias. It’s confirmation bias as strategy.

Or if you prefer, news consumption simply reflects behavioural loyalty.

Consumers like and know more about the news outlets they consume more regularly and know little about news outlets they do not consume.

And the current clamor from sections of the internet to pressure advertisers such as Amazon to cease advertising on sites like Breitbart – and theoretically cut off their revenue stream – has a familiar ring, don’t you think?

Saturday, December 24, 2016

'twas the night before christmas

This will be the final communication from the Boat HQ in 2016.

As ever, thanks for reading, commenting and sharing in the last 12 months.

I'll be back sporadically from the middle of January, I reckon.

Feliz Navidad etc.



Friday, November 11, 2016

selling the digital economy


Functional stupidity, or Fachidioten as the Germans wonderfully phrase it, tends to manifest itself in three main behaviours.


Not thinking about your assumptions
Not asking why you are doing something
Not considering the consequences or wider meaning of your actions.

There's a whole book on this stuff, I challenge you to read it and not weep with equal parts hilarity and despair.

We attended a business breakfast seminar this week hosted by two digital economy product/services.

Their principal aim, obviously, was to demonstrate the value of their platforms to the media community.

I'm not going to name them specifically - this piece is in no way an attack on those companies in particular - however events conspired to futher demonstrate some of the prevalent fachidioten style ideological dissonance among media types, these days.

The dominant themes of discussion revolved around millennials (natch), the benefits to advertisers of the platforms' capabilities in automation, algorithm curation, programmatic approaches, data-driven approaches, hyper personalisation and extreme targeting (by age, gender, location, mood, behaviour, real-time and every conceivable niche etc). 

Cue head-nodding across the floor.

(That data-driven targeting is increasingly, and unquestioningly, assumed and accepted as inherently good is fascinating, but a topic for another time).

Following the presentations, came the obligatory Q&A.

An non-millennial, woman at the back of the hall raised her hand with a question for the vendors.
In a quiet voice she graciously acknowledged the efforts our host were making to adapt there platforms to the technological, targeting efficiency and performance needs of modern marketers.

Then in the very same modest way she dropped the bomb.

'Could [the vendors] tell us a bit about what they were doing to grow their own user base, and grow their own brands?'

To which the digital economy companies representatives - without the slightest recognition of the irony that was to follow - happily chirped, 

'Were running TV ads, doing press and outdoor and partnering with large telco's on their advertising and partnering with the big supermarkets' 

'Thank you' she replied, with a very slight - but visible to me - half-smile.



Monday, October 31, 2016

no scrubs (or... is every girl crazy ‘bout a sharp dressed man?)

In the famous study conducted by Townsend & Levy (1990) the two scientists wondered about the effects of status (as signified by clothing), AND attractiveness, on both male and female subjects willingness to engage in romantic relationships (on the Craig David scale.. eg going for a drink on Monday, and though until Wednesday...).

The big question for the chaps was whether high status was enough to compensate for less handsomness?

To test this, a selection of male targets were pre-rated for physical attractiveness and divided into two categories -  described as handsome, and 'homely'.

The targets were then assigned one of three outfits:

Outfit number one included sharp suit, shirt, tie and a Rolex watch. Targets wearing this garb were described as being doctors (high status).

The second outfit included a simple plain white shirt and trousers and its wearers were described as having medium status occupations.

The third outfit was the uniform of a Burger King employee. Obviously, low status.

In the results, and for the most part, the women subjects expressed a preference for high status males, regardless of good-looks than with medium or low status / handsome males

The clothes maketh the man, it would appear?
Or is it simply the status?

Of course, we wondered if this would replicate in advertising agencies, given that dress codes are somewhat reversed.

Here’s an experiment to try.

Get three groups of agency males  together of varying good-lookingness, and a panel of agency women.

Group 1 outfits. Ironic t-shirt, beards and tattoos. Described as being creatives (eg high status).

Group 2. Cardigans, brogues, glasses. Described as being planners (medium status – although we all know that they are the most important people in the agency).

Group 3. Expensive suit (slightly too small a la Norman Wisdom, no socks, slip-on shoes. Described as being Account handlers (low status).

We can compare data at a later point.


Friday, October 28, 2016

what we've got here is... failure to communicate



The announcement that Google has made small but significant adjustments the way it handles the personal data collected from Google product users and the 'behavioural' data via its ad network, DoubleClick came and went with surprisingly little commentary.

In case you missed it, he previous policy had been: “We will not combine DoubleClick cookie information with personally identifiable information unless we have your opt-in consent”.

Now you have to opt-out.

The updated policy now states: “Depending on your account settings, your activity on other sites and ads may be associated with your personal information in order to improve Google’s services and the ads delivers by Google”.


That this change happens at around about the same time as the release of Google’s new total surveillance machine (ooops... phone) 'Pixel' may be purely coincidence, although - to be fair - I expect many of us assumed that total surveillance had had been the case on all along.

Either way, the battle continues between - on the one side - the Googles, Facebooks and assorted nefarious 3rd party adtech doing all in their power to harvest and process all available data.

And us - the hapless users - on the other side, either lethargically capitulating or offering token resistance through the application of ad-blockers and anti-tracking.

(Indeed, as something of a public service, this blog had a piece of code added that would inform you if your browser is vulnerable to 3rd party tracking, the makers seem to have disabled it now, though)

This creates something of a dilemma if one appreciates the 'social contract' between advertising and the content we want to read or see.

But what if there were a way of neither breaking the rules nor playing by them?

Whilst reading The Age of Absurdity by Michael Foley we were struck by the following idea.

Foley advocates for ‘detachment’ from the various absurdities of contemporary life.

Though not explicitly noted, the self-commoditisation practiced by individuals in the digital age would be included.

Detachment means ‘if you can't change the world, at least don't let it change you’.

And a paradoxical form of detachment is, what Foley calls, manic engagement'

To illustrate this Foley points to a scene in the 1967 movie Cool Hand Luke, starring Paul Newman in the lead role as charismatic petty criminal - now prison inmate - Luke.

Luke and his fellow chain-gang convicts are spreading gravel on a dirt road and, as usual, working as slowly as possible.

Suddenly, Luke strangely starts to go at the gravel spreading work with a manic over-enthusiasm.

The others in the gang look on with puzzled bemusement, but then - one by one - begin to copy and, likewise, start shovelling with disproportionate gusto.

This winds-up the guards no end. What are they playing at? Do we stop them?

The gang shift the entire mountain of gravel like men possessed, eventually running out of road to cover then collapse, laughing hysterically while the enraged and bewildered guards look on.

Perhaps one way to foil the aforementioned nefarious adtech 3rd party trackers is by practicing a form of manic engagement in our internet activities.

Achieving detachment by manic engagement.

Can detachment be achieved via Adblocking? After all, who really knows what the adblockers are doing with our data?.

Consider, however, a strategy of manic engagement.


A mass detachment by millions of internet users who disguise their regular behaviour by manically clicking on every link and ad served, performing multiple random searches for tractor parts, Mongolian compost toilets, Elton John memorabilia, indeed any other bizzare term that comes to mind (the more bizzare the better), then following up on every retargeting attempt with more clicks and searches.

Creating incommensurately more noise than signal.

Pumping the data hosepipe full of confusion, misinformation and obfuscation creating a ridiculously false 'profile' and disguising real intentions.

A bit labour intensive, agreed, but surely there's a personal ad-fraud bot-net out there somewhere...



Tuesday, October 18, 2016

lord kelvin's folly



In 1894 the president of the Royal Society - the UK's national academy of science - Lord Kelvin, confidently predicted that radio had 'no future'.

The first radio factory was opened 5 years later, and within 8 years a radio set sat in over 50% of US homes.

The time taken to reach 50% of homes is generally accepted as a reasonable way to measure this kind of impact.

Then the transistor was invented in 1947, and ushered in the era of much smaller portable radios.

American electronics companies showed little interest in developing this nascent idea of portable music so in stepped a Japanese start-up called Sony.

Sony launched the first transistor radio in 1954 – it’s possibly no coincidence that rock’n’roll and teenage culture blew up very shortly after.

The aforementioned Lord Kelvin was no stranger to grand - but spectacularly wrong - predictions.

He was also certain that nothing heavier-than-air would ever fly and that X-rays were simply an elaborate hoax.

These innovations of the early 20th century – including electricity, electric light, telephony, TV, radio, central heating, cars, aircraft – all had far greater impact on society than digital technologies have had - up to this point.

To use our previous measure, both radio and television were adopted much faster – under 10 years to reach 50% of households - than personal computers or mobile phones; circa 15-17 years respectively.

Other much hyped technologies – smart watches, connected homes, 3D printers, wearable tech – are being adopted even more slowly.

Regardless, it's important to note that the technology itself is not becoming more disruptive – the majority of the poster children of digital disruption have been services built upon the existing web infrastructure – and because of this we confuse diversification with acceleration.

Yes, the impact of digital technology is expanding on just about every front - and will continue to do so slowly - but the occasional reality check is in order.

Digital technology is actually not changing society like never before, nor is the speed of technological change accelerating like never before.

Which is all a shame really, given we are facing a not too distant future of 10billion of us crammed onto a tiny planet without enough food or water.

Meaningful disruption – of the same scale and impact as electricity or the radio in past times – will have to be about infrastructure, hygiene, food production, environment and healthcare. Not Snapchat glasses or smart clothes pegs.




Thursday, October 13, 2016

who’s watching?...no-one, apparently

What can you do if you need to convince someone of something, but you don’t have proper evidence?

One simple way is to demonstrate something else to be true and then just pretend it’s the same thing.

In statistics this method is referred to as a ‘semi-attached figure’.

Simply pick a couple of things that sound kind of the same – though they aren’t (this is the important point) – and make a comparison between them to validate your conclusion.

An everyday example would be the number of reports that contrast hours spent TV viewing with internet use - and represent the numbers as though it was the same thing. This fallacy is further compounded by the fact that these activities increasingly occur simultaneously.

Among other examples of this particular ‘bait-and-switch'- now you know it you'll see them everywhere - this one from a Hall & Partners report for the on-demand offer of Aussie TV channel SBS particularly caught our eye.



As Zoe - in our strategy team - duly noted ‘Who’s watching?...No-one, apparently’.

Happy spotting.

Friday, October 07, 2016

car jamming

The latest OzTAM Multi-Screen Report for Q2 of 2016 indicates that television’s reach overall is dropping year on year – Q2 2015 reporting reach at 88.3%, and the current report at 88.1%.

Yes, a whole 0.2%.

More interestingly, Mumbrella’s coverage of the report takes some care to point out that TV viewing among younger audiences is experiencing continuous decline.

Indeed, the ‘hardest hit’ demographic is the ‘advertiser friendly’ 25-39 bracket, which PLUMMETS from 84.2% reach last year to 81.8% this year.

Reporting of this nature like brings to mind the classic ‘Reconstruction of Automobile Destruction’ psychology study by Loftus and Palmer (1974) on response-bias and adds some further credence to the suggestion by some commentators – notably Professor Mark Ritson – that there appears to be a media imbalance towards ‘reporting’ the ‘decline’ of so-called ‘traditional’ media in favour of ‘digital’ despite lack of proper evidence.

Loftus and Palmer’s experiment involved showing groups of participants some films of traffic accidents.

After watching the film they were asked to describe what had happened as if they were eyewitnesses.

Among the questions asked – and the key point of the experiment – was one specific question framed in different ways. Participants were asked to estimate how fast the cars were going when they either 'smashed', 'collided', 'bumped', 'hit' or 'contacted' each other.

In almost every case the participants’ estimation of speed was affected by the verb used.

Participants who were asked the ‘SMASHED’ question thought the cars were going FASTER.

The ‘CONTACTED’ condition reported the lowest speed estimate with the other conditions somewhere in-between.

In short, simply the verb used can influence the answer a person gives (a 'response-bias').

With this in mind one notices a type of response-bias priming all over the aforementioned news piece.

The ‘advertiser friendly’ prefix is curious - and something of an argumentum ad populum - given that it is fairly well established that the over 50’s account for close to half of all consumer spending, though I’m resisting the temptation to go all Bob Hoffman on this one.

(At least the m-word* was absent from the piece, so there’s some progress, I suppose.)

More worthy of some scrutiny is the curious use of the ‘plummeted’ verb to describe a relatively minor blip of less than 2.4%.

Because, in the very next breath, tablet and smartphone penetration are described as remaining ‘stable’ year-on-year, growing at 2% to 49% and 81% respectively.

So a 2.4% decline in TV penetration among under 40’s is plummeting, while 2% growth in smartphone/tablet penetration is ‘stable’.

Nicely done, response bias priming.

https://mumbrella.com.au/younger-audiences-continue-shift-from-tv-shows-multi-screen-report-399884

http://www.oztam.com.au/documents/Other/Australian%20Multi%20Screen%20Report%20Q2%202016%20FINAL.pdf

https://webfiles.uci.edu/eloftus/LoftusPalmer74.pdf

*snake people



Friday, September 02, 2016

just another person with data

Just claiming this one, as I've seen a few variants since its original tweetage.
Don't want a Tom Goodwin situation.

Saturday, May 28, 2016

never mind the bull elks

Bull Elks face, what the economist Robert Frank calls, a collective action problem.

Over time the genes for bigger antlers have prevailed because larger antlers make an individual bull more likely to win in a fight with a rival bull.

Bulls that win more fights have greater status in the herd, and access to more lady elk action etc, so there’s significant benefit on an individual level.

However, large antlers force on their bearers some less than optimal compromises.

Getting about in the elks natural habitat - dense wooded areas – is hampered by giant antler-age, and therefore increases the risk killed and eaten by predators such as wolves.

As a group, elks would be much better off if each bull's antlers were much smaller, bulls with smaller antlers would be better able to escape predators.

But as long as there are some bulls with the big antlers the less well endowed will always come off worse in battles, and therefore less likely to pass the genes for those smaller antlers into the next generation.

The individual payoff on larger antlers is thus substantially larger than the collective payoff.

The collective action problem (on behalf of bull elk genes) is that even though it would be better for all bull elk if everyone’s antlers were smaller, it’s not in any individual bull's interest.

Any trait that emerges because it helps individuals compete in battles against members of the same species runs the risk of resulting in a handicap for the species as a whole.

This might be what's going on in online advertising.

While publishers at one point may have shared common interests with advertisers - reaching readers -each also had conflicting interests, principally around how each made a buck.

Enter stage right, 3rd party adtech with the promise of identifying and tracking prospective customers on behalf of advertisers, thus devolving the publisher from their part of the conundrum - providing the audience - and 'incentivising' huge volumes of fraudulent traffic that drives down the value of CPMs.

This created a wedge - adtech are not interested in the needs of readers, but publishers became distanced from the needs of their readers and their advertisers - and before you know it we’re in the whole mess of aforementioned fraud, malware and goodness knows what else.

There's an argument for banners as simply low-cost mini-billboards, a super cheap vehicle for impressions. So cheap that the fact that most people don’t see them, and that a significant chunk of views are fraudlent doesn't really matter. The market has adjusted the cost down to make them good buy even factoring in the waste (this is proper wastage, not 'costly' waste that carries signaling power kind of waste).

Meanwhile, the advertisers who really only want to efficiently reach punters, start scratching their heads.

The individual payoff for online publishers on adtech antlers once promised to be large, now the collective payoff is more like being stuck in the woods with a wolf.

Don Marti wrapped this up nicely with 3 points.

When bottom feeders pay indiscriminately for fraudulent and legit banners, they are funding malware development. 

The glut of ow-quality impressions don’t pay for original sites, and fuel all the other bad behavior.

When advertisers buy on markets that include both legit and fraudulent inventory, publishers pay for fraud in the form of lower CPMs.


It's a collective action problem.




Friday, April 29, 2016

can brands really be altruistic?

Philosophy defines altruism in different ways, however most definitions will generally revolve around describing altruistic behaviours as those that benefit others rather than oneself.

The term altruism (French, altruisme) was coined by the 19th century philosopher - incidentally, also the founder of the discipline we now know as sociology - Auguste Comte.

He described altruism as our ‘moral obligation to renounce self-interest and live for others’

Aside from ethics, altruism in biology similarly describes a range of behaviors that may be performed by animals, which benefit others while seemingly to their own disadvantage.

We say ‘seemingly’ as there is no moral lens that can be applied.

For instance, by behaving altruistically, an organism may reduce it’s own chances of survival, or the number of offspring it is likely to produce itself, but give a boost to the likelihood that other organisms that share its genes may survive and produce offspring.

It doesn’t make sense to share food with just anybody, it is more sensible to share with your relatives – they are genetically similar.

The costs and benefits animal altruism in the biological sphere are measured in terms of the resulting reproductive fitness, or expected number of genetic descendants.

It appears then, that the biological notion of altruism is somewhat different to the ethical concept.

For humans, an act would only be called 'altruistic' if it was done with the conscious moral intention of helping another, but in the biological sense there is no such requirement.

So, which definition is appropriate when talking of brand altruism?

In 1973 the Russian biologist Theodosius Dobzhansky famously wrote ‘Nothing in Biology Makes Sense Except in the Light of Evolution’.

It could also be noted that nothing in brand behaviour makes sense except in the light of evolution.

Brands, like organisms, have two principle concerns.

Survival and reproductive fitness.

Survival should be a self-evident notion. In terms of reproduction we would look at salience and distribution as measures of fitness.

So-called brand altruism then, is perhaps better understood through the lens of Biological Market Theory.

Animals (including humans) can be observed exchanging benefits through reciprocity mechanisms. This happens in a variety of ways and in a variety of scenarios, however the common thread is that benefits in kind almost always find their way back to the original giver.

The theory of reciprocal altruism was originally developed and published in 1971 by the evolutionary biologist Bob Trivers in order to explain to explain instances of (apparent) altruism among unrelated organisms, including members of different species.

Trivers' basic idea was pretty straightforward: it may payback to help another, if there is an expectation of the favour being returned in the future.

Equivalent to the heuristic ‘You scratch my back, I'll scratch yours’.

The cost of helping is offset by the likelihood of the return benefit, allowing the behaviour to evolve by natural selection.

However, even reciprocal altruists are vulnerable to exploitation by rogue non-altruists.

Suppose we have a group – or category, let’s say supermarkets – made up exclusively of altruists, all playing nicely together, and placing the benefit of their suppliers and customers above their own needs. It only takes a single mutant to enter the category, adopt some selfish policies to gain relative fitness advantages then the altruistic system starts to collapse and eventually become overtaken.

Altruism, by definition, incurs a fitness cost.
So why would a brand perform a costly act?

As an aside, it’s probably no accident that the current popularity of the brand altruism idea corresponds with the development on another on the consumer side – virtue signaling.

Much has been written on virtue signaling so there is no need to unpack the term fully here, but suffice to say that – and depending on which report one reads - apparently upwards of 70% of millennials declare that the social responsibility record and ‘altruism’ of a brand is a major factor in their propensity to buy or use that brand.

It is also claimed that this next generation of consumers will be willing to PAY MORE for altruistic brands! What cannot be disputed is the propensity the connected generation to perform actions (mostly online) that signal to others that ‘I’m a good person’.

It’s worth noting that the message need not be actually accompanied by doing anything good. This opens the window for brand altruism as a virtue-outsourcing vehicle.

And as we have noted in previous posts, authenticity is everything. Once one can fake that then one has it made.

So is brand altruism something of a misnomer, and simply a contemporary biological market tactic pandering to the current cultural mode for virtue signaling?

If this were the case then that may cause some significant cognitive dissonance for the authenticity seeking future consumers.

(Not all is lost however. Lack of millennial buying power notwithstanding, there is still much fun to be had given that the only thing people seem to like more than virtue signaling is judging other people.)

Perhaps another idea to consider is this.

Brand altruism may simply be interpreted as signal.
A costly and strategic signal, that provides an honest indicator of quality.

A brand might make a strategic investment in altruism that acts simply as a signal of its ability to be altruistic - the brand signals that it has the assets to do so.

In this sense, brand altruism is simply another form of costly signalling just like investing in high quality advertising and equivalent to a ‘handicap’ for which the peacock's tail has become a metaphor.

It’s altruism, but it’s competitive.

To paraphrase Ambler and Hollier’s much cited work (and one this writer returns to frequently) ‘The Waste in Advertising Is the Part That Works’.

‘The perceived extravagance of [a brand’s altruistic acts] contributes to advertising effectiveness by increasing credibility. It draws especially on the Handicap Principle in biology: animals use wasteful characteristics to signal their exceptional biological fitness. It hypothesizes that excesses in [altruism] work in a similar way by signalling brand fitness…’

In summary, we should probably understand this emerging idea of brand altruism as a part of the brand marketing process through which brands compete with each other in terms of conspicuous generosity (or if you prefer, observable competitive altruism) in order to enhance the status, reputation and perceived quality of the brand.

If some good is worth doing, it’s worth doing in public.

And, of course, the more salient the ‘altruistic’ acts of the brand are then the associated ‘generosity’ traits transfer to buyers and users of the brand, more grist to our virtue signaling.

For sure, it is good that brands may wish to contribute to a greater good, or to society as a whole. Let’s hope that the brands that are successful enough and profitable enough continue to do so. But let’s not get too caught up with esoteric notions of ‘pure’ altruism.

Rest easy advertisers and marketers. We can make the world better and still be our selfish, insecure and status-seeking selves.


Friday, February 26, 2016

magic, monkeys, moggies and management gurus


There’s a clip in an episode of illusionist Derren Brown’s TV show in which he predicts he can flip a coin 10 times in a row and it will come up heads every time.

He proceeds to do exactly this, flipping the coin into a bowl 10 times and it comes up heads every time, just as predicted.

Magic, right? Or at least some sort of quantum entanglement.

The truth is less mysterious; he flipped the coin for about ten hours straight until he produced the sequence he wanted. His team then edited out all the failed flips and presented only that successful sequence.

Similarly, you’ll be familiar with the famous thought experiment that describes how an infinite number of monkeys bashing on typewriters for long enough, will result in one of them eventually writing a novel.

But what are the chances our monkey author would bash out a follow-up?

Or another monkey would come up with anything?

How about the many popular videos on YouTube that feature cats?

Is this evidence that featuring cats in your video makes it more likely that it will be successful?

Perhaps the success of some cat videos is simply proportionate to the huge number of cat videos that are out there in the first place, the vast majority of which receive little or no views at all, bar their proud owners.

In the coin-flipping skit, monkeys who produce nothing, and the mountain of unwatched cat videos that are forgotten, we only see the survivors.

The same survivorship bias is prevalent in marketing departments and agencies every day. For instance, it’s common for marketers and agencies to get distracted by the high response rates and dramatic ROI that appear to result from certain marketing activities.

Discounts and price promotions are just one salient example. While they can contribute to short-term sales boosts, they tend to be taken up by consumers who are already brand buyers, and are therefore detrimental to profitability.

Survivorship bias is the error of looking only at features that winners appear to have in common, and assuming they’re the only reasons why things are successful.

Management guru Tom Peters studied several companies enjoying successful periods and published a book – In Search of Excellence – outlining a success formula based on those things that the companies appeared to have in common.

However, many of the organisations highlighted by Peters then found themselves having difficulties within a few years, while employing virtually the same strategies that had made them successful.

Perhaps the book would have been more appropriately titled In Search of Halo Effects.

One does not have to look far on the interwebs to find studies that appear to show how a single factor, such as company culture, customer focus or a company’s commitment to social responsibility, lead to high performance.

It could just as easily be argued that it’s because companies are high performing that they subsequently benefit from better culture, or are able to contribute to social responsibility activities.

More recently Richard Shotton and Aiden O’Callaghan from ZO in the UK published a splendid report debunking the idea that brand ‘purpose’ is a driver of success as popularised by the Jim Stengel book ‘Grow’.

It turns out that spectacularly failing brands like Nokia and Kodak were just as ideal-driven as the successful brands Stengel chose to feature in Grow.

But those examples didn’t fit the story.

And we prefer the story, if we are honest.

Sometimes this means turning fact into fiction, even for business book authors.

As our favourite literary Darwinist, Jonathan Gottschall, points out in The Storytelling Animal.

'When we read nonfiction, we read with our shields up. We are critical and skeptical. But when we are absorbed in a story, we drop our intellectual guard. We are moved emotionally, and this seems to leave us defenseless.'
It turns out that many of the things that we commonly believe to be contributions to company performance are in fact attributions.

We’re mistaking outcomes for inputs.

Skill is a factor, but so is luck. Skill allows you to make punts that are a bit more informed, but it’s no guarantee of success.

Success is, for the most part, the result of decisions made under conditions of uncertainty, and always shaped in part by factors outside our control.

As Daniel Kahneman famously noted, 'A stupid decision that works out well becomes a brilliant decision in hindsight.'

Business theorist Phil Rosenzweig unpacks much of this flawed logic prevalent in contemporary business thinking, in his book The Halo Effect.

“Business is full of mysteries, but none greater than this: What really works?”

In finding out what works, Rosenzweig advises that we should be mindful of dazzling halo effects from apparent winners, and examine the failures a bit more closely.

What can we learn from magic, monkeys, moggies and management gurus?

Firstly, all strategies involve managing risk and uncertainty.

Execution is also uncertain. What works well for one situation may not be effective for another, however similar.

Randomness plays a greater role in success (and failure) than we like to admit and bad outcomes don’t always mean that mistakes were made.

(Likewise, successful outcomes don’t necessarily mean that we made brilliant decisions.)

Successful strategy, then, is skillfully interacting with chance.

It could be that successful strategy emerges simply because some people are better at interacting with chance and bad strategy comes from the failure to take chance opportunities by confusing outcomes with inputs and being too easily distracted by halo effects.

Thursday, February 25, 2016

some product! carri on storytelling.


You may know the semi-legendary rant by graphic designer Stefan Sagmeister in which he splendidly calls BS on ‘storytelling’.

Speaking at a Canadian design festival in 2014, Sagmeister attacked the current vogue in the communications industry for describing our work as that of storytellers.

'Now everybody’s a storyteller,' he says.

‘Recently I read an interview with someone who designs roller coasters and he referred to himself as a ‘storyteller.’ No fuckhead, you are not a storyteller, you’re a roller coaster designer!’

He continues ‘There is this fallacy out there. I don’t think I fell for it, but somehow maybe unconsciously I did, you know... I’ve seen a number of films so I must be able to make a film’.

People who actually tell stories, meaning people who write novels and make feature films don’t see themselves as storytellers. It’s all the people who are not storytellers suddenly now want to be storytellers.’

I’m not sure if Sagmeister expands on this in any of the 22 books he has published.

All this is pretty funny, but is it fair?

Given the prevalence of inane drivel spouted in the name of brand storytelling on the interwebs is hard not to side with Stefan.

Where to begin?

In the early chapters of his fantastic book ‘The Storytelling Animal' author and literary Darwinist Jonathan Gottschall makes this observation:

'The storytelling mind is allergic to uncertainty, randomness, and coincidence. It is addicted to meaning. If the storytelling mind cannot find meaningful patterns in the world, it will try to impose them. In short, the storytelling mind is a factory that churns out true stories when it can, but will manufacture lies when it can’t.'

Why might the mind be wired for storytelling?

"We are an insatiably curious species’ says the sociobiologist, EO Wilson '…provided the subjects are our personal selves and people we know or would like to know'

So it would also appear that we are born to gossip. (Albeit within narrow parameters.)

Indeed, the evolutionary psychologist Robin Dunbar agrees, calling gossip ‘an instrument of social order and cohesion’ - akin to the grooming behaviour common among our cousins in the larger primate world.

Primate grooming is not so much about hygiene, although that is a nice by-product. Grooming is essentially a substitute for language.

It creates bonds, establishes social status and influences other primates.

Dunbar and other evolutionary psychologists suggest that humans developed language specifically to serve the same social purposes.

(Grooming was simply not practical for early humans. Given their large social groups - around 150 or so - grooming one another would have been an impossible time-suck for our hunter gatherer ancestors.)

Language evolved, as it was a more practical and useful way of keeping up to date with friends and family, and obtaining social information about others in the group.

Particularly information about whom one should trust.

This explains – at least in part - why all of us 21st century humans are still pretty preoccupied with gossip and stories about other peoples behavior and reputation.

Reputation became important in this sense because – as a rule of thumb – it made more survival sense to be more generous toward others who were also reputable.

I often afford a wry smile at the call from some corners of the marketing world for ‘authentic brand stories’.

This is something of an oxymoron given that it is in the nature of stories to feed our social instincts for gossip only cherry picking the most dramatic and salient parts in recounting events.

The behavioural scientist Daniel Nettle echoes EO Wilson:

‘Conversations are only interesting to the extent that you know about the individuals involved and your social world is bound into theirs…

Given that dramatic characters are mostly strangers to us, then, the conversation will have to be unusually interesting to hold our attention. That is, the drama has to be an intensified version of the concerns of ordinary conversation.’

He goes on to argue that we don’t watch films about people going shopping; we watch films about people going shopping who are having an affair with an ex-lover.

Similarly, a book about some old geezer who goes fishing is not that interesting.

But a story about an old man who goes fishing off the coast of Cuba and ends up in an epic existential battle with a giant pointy nosed fish while contemplating his own mortality is more compelling.

To Sagmeister’s earlier point, everyone is a storyteller to some degree – inasmuch as this innate allergy to uncertainty, randomness, and coincidence requires it in order that we tell our own story to ourselves.

Among communications professionals perhaps that the ability to create evocative brand stories probably depends on a couple of key skills - not necessarily available to all and the reason why great creative minds are so valuable.

The first– and this is planner territory for the most part - is the ability to observe and interpret the hidden parts of everyday life (aka insight), then ensure that the drama is an intensified version of these concerns.

Secondly, is the creative’s ability to work within our cognitive limitations and make things simple yet still contain enough neuro-juice to get noticed.

(This is not to infer that people are stupid, rather that we have a lot more important things to occupy our minds with than brand stories - simplicity is paramount.)

I think it was Dave Trott who coined the idea that any idiot can take a simple idea and make it complicated. It takes a lot more skill to make the complicated simple.

The great stories – and therefore the great brand stories – always reflect the great universal themes of life.

Evolutionary study has produced a universal picture of the human mind that can be mapped and reflected in all human activity.

From the ice age to the dole-age there is but one concern. Ok, more like five.

Surviving, finding mates, being a parent, being part of a group and being the hero who triumphs in the face of adversity.

Brand storytellers should relax. Perhaps not try so hard.

Storytellingit seems, is less something that is done to us, and more something we are super skilled in doing to ourselves.

Our innate ability to confabulate and fill in the gaps - often extensive - with plausability,  and preserve some sort of narrative continuity based on the merest scraps of information is nothing short of a marvel.

So, carri on storytelling.

Gottschall agrees:
'The way we experience story will evolve, but as storytelling animals, we will no more give it up than start walking on all fours.'

(And even in a perfect world, where everyone was equal.
I’d still own the film rights and be working on the sequel).

Sunday, February 14, 2016

gossip

During his last year in office, Winston Churchill was in attendance an official ceremony.

A few rows behind him two backbench MP’s were gossiping. "There’s Churchill. They say he is getting senile. They say it’s time he stepped down and let someone younger run things." And so on.

At a break in proceedings, Churchill turned to the two men and said, "Gentlemen, they also say he is deaf"