This document provides an introduction and literature review for a study on the effectiveness of interactive documentaries. It discusses two interactive documentaries, Fort McMoney and Hollow, that used different techniques to gauge audience impact. Fort McMoney utilized user testing to understand audience experience and shape impact. It achieved large numbers of views and comments. Hollow spread its message about economic decline in a small town through associated media and saw impact through community emails and tweets, though the filmmakers knew large-scale issues couldn't be solved overnight. The author plans to conduct their own user testing through observation and questionnaires to study audience interaction and effect for their interactive documentary Lost Belief.
This document is a foreword for the report "Making A New Reality" which examines emerging media like VR and AR. The foreword argues that now is the time for social justice funders to engage with emerging media for several reasons: immersive media is in its early stages so inclusion can be built in from the start, it has the potential to powerfully shape narratives and worldviews, and traditional media models risk repeating problems of limited diversity and inclusion. The foreword urges funders to support research, artist experimentation, and community storytelling in emerging media to help ensure equity and social justice are core values as the field develops.
Running engaging Market Research Online Communities. Social media has gained considerable human relevance. User-created content, citizen journalism and online social interactions (e.g. conversation, collaboration, participation, sharing, connecting) are embedded into the daily lives of consumers. With the different semantic waves of the web, the entire market research process and industry has undergone clear changes. Market research has changed from asking questions to having conversations with consumers. Online Research Communities have proven to be a viable environment to engage with consumers as well as marketing executives in a connected and participatory way. What makes research communities unique is that they assemble consumers to interact in an asynchronous longitudinal setting by applying social media techniques. Companies outsource tasks to a crowd (e.g. product and service creation and testing) in an open call in order to bring consumers inside organizations all the way up to the boardroom. Research communities bring true consumer connect between marketers and their target groups as they use interactive tools to tap into social interactions between people, and allow a more equal relationship between researchers, brands and participants.
The Art of Research: Using the power of images to increase the value of the D...InSites Consulting
DIESEL recognizes the need for social currency among today's increasingly digitalized Generation Y and is focusing its efforts on Pinterest as the ideal location to inspire and connect with females within their desired target demographic. DIESEL is known for tapping into subcultures with self-aware marketing, which is also the case on Pinterest. The platform allows DIESEL to build a unique look and feel by making it easy for them to bring the personality and DNA of the brand in an accessible magazine-like online display.
As a fashion company, DIESEL can use Pinterest as a brand-building exercise where they can tell the brand story, showcase DIESEL’s many facets, display individual collections and campaigns and where anyone can learn what the brand stands for. DIESEL launched its Pinterest page in the early days of the platform. Over the last year, they maintained their boards merely as a mirror of their Facebook content. The strategy was to showcase their collection as a lifestyle brand.
Early 2013, the growing popularity of the platform brought Pinterest into strategic focus in its own right. Additionally, considering DIESEL’s strategic decision to augment its focus on communicating with women and the fact that Pinterest is more used by women, DIESEL wanted to focus its efforts on Pinterest to use it as a valuable communication channel to connect with this female target group online. In order to optimize the platform for brand activation, instead of a repository of Facebook content, there was a strong need for insights on the best digital strategy for the DIESEL Pinterest page.
What is the best approach to integrate Traditional Media and Social Media int...Carine ESTEVES
This document discusses approaches to integrating traditional and social media into a single marketing strategy. It analyzes whether traditional and social media compete or complement each other. Through interviews and analysis, the document finds that traditional and social media do not compete and instead complement each other. Multiple media channels have become dominant, and traditional and social media are beginning to converge into a single media. The document develops suggestions for allocating media time based on different marketing objectives.
Synergizing natural and research communities: Caring about the research ecosy...InSites Consulting
Research panels are under pressure due to declining response rates to traditional surveys. Researchers need alternatives to learn about consumer attitudes and behavior. This document discusses using social media netnography and online research communities as alternatives. It proposes a connected research philosophy to create a win-win-win for the research agency, client, and consumer. It details a research design combining social media analysis, an online community recruited from a relevant social media site, and a consumer survey about social media research. The results found value for the client in unexpected insights and understanding consumer language.
Ruffles wanted to reconnect with Turkish youth as the brand faced challenges from competitors. An online research community of 100 young people was used over 6 weeks to understand this target group. Insights were generated through online and offline research including blogs, forums, workshops. Bringing together the consumer and business perspectives enhanced decision making. The project highlighted opportunities to reposition Ruffles from a "me" to a "we" brand and make it more unisex to attract more consumers. It provided learnings on empowering Generation Y and translating insights into brand positioning and activation strategies.
For IKEA, the yearly Catalogue is the main communication channel with existing and potential customers globally. This case study shows how the 2013 edition of the Catalogue and possible covers for the 2014 edition were evaluated qualitatively around the world, through Market Research Online Communities (or Consumer Consulting Boards) in five different countries.
The document is a major project essay that analyzes whether the decline of mass media will lead to a shift from brand building through advertising to public relations based on conversation and relationships. It first evaluates evidence around the decline of mass media and advertising, finding that while mass media is changing with new online formats, there is no clear evidence it is declining. It then examines how advertising has adapted to the online environment through targeted and social ads. While advertising has grown online, consumers now have more control over ads and word-of-mouth is important for brands. The essay concludes that brands are focusing on engaging consumers through social media to develop relationships and conversations in order to build their brands.
This document is a foreword for the report "Making A New Reality" which examines emerging media like VR and AR. The foreword argues that now is the time for social justice funders to engage with emerging media for several reasons: immersive media is in its early stages so inclusion can be built in from the start, it has the potential to powerfully shape narratives and worldviews, and traditional media models risk repeating problems of limited diversity and inclusion. The foreword urges funders to support research, artist experimentation, and community storytelling in emerging media to help ensure equity and social justice are core values as the field develops.
Running engaging Market Research Online Communities. Social media has gained considerable human relevance. User-created content, citizen journalism and online social interactions (e.g. conversation, collaboration, participation, sharing, connecting) are embedded into the daily lives of consumers. With the different semantic waves of the web, the entire market research process and industry has undergone clear changes. Market research has changed from asking questions to having conversations with consumers. Online Research Communities have proven to be a viable environment to engage with consumers as well as marketing executives in a connected and participatory way. What makes research communities unique is that they assemble consumers to interact in an asynchronous longitudinal setting by applying social media techniques. Companies outsource tasks to a crowd (e.g. product and service creation and testing) in an open call in order to bring consumers inside organizations all the way up to the boardroom. Research communities bring true consumer connect between marketers and their target groups as they use interactive tools to tap into social interactions between people, and allow a more equal relationship between researchers, brands and participants.
The Art of Research: Using the power of images to increase the value of the D...InSites Consulting
DIESEL recognizes the need for social currency among today's increasingly digitalized Generation Y and is focusing its efforts on Pinterest as the ideal location to inspire and connect with females within their desired target demographic. DIESEL is known for tapping into subcultures with self-aware marketing, which is also the case on Pinterest. The platform allows DIESEL to build a unique look and feel by making it easy for them to bring the personality and DNA of the brand in an accessible magazine-like online display.
As a fashion company, DIESEL can use Pinterest as a brand-building exercise where they can tell the brand story, showcase DIESEL’s many facets, display individual collections and campaigns and where anyone can learn what the brand stands for. DIESEL launched its Pinterest page in the early days of the platform. Over the last year, they maintained their boards merely as a mirror of their Facebook content. The strategy was to showcase their collection as a lifestyle brand.
Early 2013, the growing popularity of the platform brought Pinterest into strategic focus in its own right. Additionally, considering DIESEL’s strategic decision to augment its focus on communicating with women and the fact that Pinterest is more used by women, DIESEL wanted to focus its efforts on Pinterest to use it as a valuable communication channel to connect with this female target group online. In order to optimize the platform for brand activation, instead of a repository of Facebook content, there was a strong need for insights on the best digital strategy for the DIESEL Pinterest page.
What is the best approach to integrate Traditional Media and Social Media int...Carine ESTEVES
This document discusses approaches to integrating traditional and social media into a single marketing strategy. It analyzes whether traditional and social media compete or complement each other. Through interviews and analysis, the document finds that traditional and social media do not compete and instead complement each other. Multiple media channels have become dominant, and traditional and social media are beginning to converge into a single media. The document develops suggestions for allocating media time based on different marketing objectives.
Synergizing natural and research communities: Caring about the research ecosy...InSites Consulting
Research panels are under pressure due to declining response rates to traditional surveys. Researchers need alternatives to learn about consumer attitudes and behavior. This document discusses using social media netnography and online research communities as alternatives. It proposes a connected research philosophy to create a win-win-win for the research agency, client, and consumer. It details a research design combining social media analysis, an online community recruited from a relevant social media site, and a consumer survey about social media research. The results found value for the client in unexpected insights and understanding consumer language.
Ruffles wanted to reconnect with Turkish youth as the brand faced challenges from competitors. An online research community of 100 young people was used over 6 weeks to understand this target group. Insights were generated through online and offline research including blogs, forums, workshops. Bringing together the consumer and business perspectives enhanced decision making. The project highlighted opportunities to reposition Ruffles from a "me" to a "we" brand and make it more unisex to attract more consumers. It provided learnings on empowering Generation Y and translating insights into brand positioning and activation strategies.
For IKEA, the yearly Catalogue is the main communication channel with existing and potential customers globally. This case study shows how the 2013 edition of the Catalogue and possible covers for the 2014 edition were evaluated qualitatively around the world, through Market Research Online Communities (or Consumer Consulting Boards) in five different countries.
The document is a major project essay that analyzes whether the decline of mass media will lead to a shift from brand building through advertising to public relations based on conversation and relationships. It first evaluates evidence around the decline of mass media and advertising, finding that while mass media is changing with new online formats, there is no clear evidence it is declining. It then examines how advertising has adapted to the online environment through targeted and social ads. While advertising has grown online, consumers now have more control over ads and word-of-mouth is important for brands. The essay concludes that brands are focusing on engaging consumers through social media to develop relationships and conversations in order to build their brands.
The document discusses social lift, which is the amount of time and speed with which content spreads from its original source through social media and other avenues. Measuring social lift can help marketers predict how many people will see an ad or program and maximize their budgets. Analyzing past examples of social lift, like Super Bowl ads, can help marketers lock in lower rates for future ads that are predicted to go viral. The key is using social lift tools to sequence paid, earned, and owned media initiatives to create ripple effects that multiply the value of advertising spending.
Synergizing Natural and Research CommunitiesTom De Ruyck
Research panels are facing declining response rates and decreased motivation for participation. As an alternative, researchers are exploring the use of social media as it provides a new stream of freely available consumer information through methods like social media netnography. However, user-generated social media content should be treated with caution, learning from mistakes of the past. The document discusses creating a "win-win-win" situation for researchers, clients, and research participants by combining social media netnography with online research communities in a respectful, ethical manner.
Mobilizing Urban Parents Around the WorldTom De Ruyck
The document discusses a research project conducted by Quinny, a stroller brand owned by Dorel, to better understand their target audience of urban parents. Quinny launched an online community with over 120 parents from 7 major cities to identify universal insights. The community found that urban parents from different cultures shared insights like embracing the challenges of city life, wanting children to experience nature amid urbanization, and desiring a sense of community. These insights helped Quinny innovate new products and branding to connect globally with urban parents.
Exploring the World of Water - Danone R&D Case StudyTom De Ruyck
Danone wanted to understand water consumption habits and perceptions in order to determine the main consumer benefits of water. To investigate from different angles, a 'fusion research' design was implemented combining multiple methods. This included a user-generated brainstorm, quantitative diary, multimedia ethnography, and research community. The goal was to confirm benefits of water and which would be most impactful. This holistic approach allowed for triangulation of insights to develop a comprehensive understanding of water from the consumer perspective.
This document discusses online research communities (MROCs) for connecting companies with consumers to collaborate on qualitative research projects. It provides tips for successfully running online research communities in Asian markets. The key points are:
1) Engagement is important for generating interactions between participants; natural engagement comes from topics of interest while method engagement relies on fun/interactive research methods.
2) Impact engagement within companies is needed to activate managers' use of consumer insights; this can be achieved through positive disruption and allowing executives to observe consumer conversations.
3) When running communities in Asia, it is best to conduct them in local languages by default, though some can be global, and the technology needs to facilitate participation anywhere by Asian consumers.
Inspirational Customer Dialogues - IKEA Catalogue [PAPER]Tom De Ruyck
The document discusses using online communities as a research tool to evaluate IKEA's yearly catalog. A qualitative study was conducted through online communities in 5 countries to understand reactions to IKEA's 2013 catalog and possible covers for the 2014 edition. The communities allowed researchers to triangulate data from different customer types, research methods, environments, and perspectives. This provided a more comprehensive understanding compared to traditional focus groups. Key benefits of the online communities included obtaining insights from more diverse participants over a longer period, combining various research techniques, and involving participants in additional testing and evaluation stages. The communities served as a flexible, cost-effective "fusion research tool" to holistically evaluate IKEA's iconic catalog.
Ogilvy Public Relations Worldwide and Georgetown University’s Center for Social Impact Communication developed this study with the objectives of showcasing trends in cause involvement and evaluating the role of a variety of activities in fostering engagement. An online survey was conducted by TNS Global among a nationally representative sample of 2,000 Americans ages 18 and over. The survey was fielded November 30 to December 22, 2010, and has a margin of error of +/-2.2% at the 95% confidence level.
This document discusses the potential for social media platforms to be used for social good. It provides two case studies as examples: the Kony 2012 campaign, which used high-quality video and social media like YouTube to raise awareness about Joseph Kony and was highly successful in reaching a global audience; and the Soita Mummolle campaign in Finland, which used grassroots techniques like street campaigns and knitting guerrillas along with social media like Facebook to address loneliness among seniors. The document also discusses challenges for social media campaigns, such as emerging from a crowded environment, monitoring the truthfulness of information, and accounting for cultural differences.
A thought piece presented by the Digital Lab and prepared by Sarah Jane Blackman and Pierre-Jean Choquelle of Proximity Paris dissecting the phenomenon of modern-day digital social expression and the Super...
Social media audience_and_the_arts_an_introduction_v1Antony_Hing
Post GFC social media and social commerce are the new global growth zones.
Rising demand for professional content is coinciding with a surge and acceptance of social commerce. Online consumers are willing to pay for professional content. Midway through 2011 the hot zone is social film entertainment platforms with film and video at the epicentre of social media activity.
Marketers need to convert their messages into film and video friendly formats at professional quality.
Participatory filmmaking will be a feature of social movies. changing the film experience and lead to greater crowdsourcing innovation.
Humans are changing how they shop, live and learn. Gamification provides next generation tools for change. Tablets are spreading the social cloud faster and wider.
Superchcarged word of mouth will determine the success or failure of brands.
Marketing plans must integrate social media because Google has made social content a ranking factor
The social tools for publishing are getting easier by the day with LinkedIn groups being a perfect example.
Those who learn to originate and publish content in a professional way will sail into blue oceans. But even curating and republishing content can be a blue ocean activity.
Not all Audineces are equal: social change agents are the ones to find and engage with earliest.
There are plentiful online resources from trusted authorities like Tom Smith, Susan Lincoln-Rice, Natalie Tran, Brian Solis, Mari Smith, Brian Halligan, Tim Bajaran, James Schramko, Michelle Macphearson and David Rogers.
Get prepared, skilled, practiced and connected
Better yet aim to become a trusted authority in your niche!
This document discusses how to plan for changing behaviors in an era of infinite media and attention economies. It argues that traditional media planning based on media scarcity no longer applies. Instead, opportunities exist in understanding how niche ideas spread through social networks on an individual level. Effective strategies involve designing for spreadability by incentivizing remixing and recontextualizing of content to appeal to different social circles. The goal is to strengthen social bonds and confer a sense of status and belonging to different communities.
The Economist ideas community june 2012 finalNick Blunden
This document discusses how the relationship between people and information is fundamentally changing in an age of information abundance. Key points include:
- Information is no longer scarce and is increasing exponentially, with 5 exabytes in 2003 but that amount now created every two days.
- Digital tools have made media creators of us all and information is now a social currency actively traded by many, not just consumed by the masses.
- This represents both opportunities and challenges for traditional media companies and culture. While some see only threats, others see opportunities to engage intelligent audiences with high-quality content.
- Influence is now less about who you know and more about the ideas one has to share in this new ideas-driven economy where intelligence is
La sociedad esta inmersa en un cumulo de informaciones, decidir como evoluciona la tecnología y como nuestro ser se ve involucrado a pasos gigantescos y sin limite de tiempo.. es una decisión al cambio.
This document discusses the changing state of news media. It notes that traditional print newspapers and TV news audiences are declining as more people get their news online. This has prompted questions about what exactly constitutes "news" now. The document explores whether news has become more of a product tailored for consumers rather than just a source of information. It also examines the tension between traditional journalism standards and the rise of citizen journalism via social media.
Second screen strategy: Digital, social & mobile best practices for conferenc...Jack Morton Worldwide
Today, 90% of media consumption is screen based. In 2014, the number of mobile devices in the world will exceed the global population. By 2018, there will be 1.4 connected mobile devices per person. That means that, as people move through the world, they will increasingly move with at least one other screen in hand (and even more devices on hand).
While the Second Screen revolution may have started with distracted television viewers, today, the multi-screen world demands marketers who know how to plan for it. This presentation breaks down second screen strategy into actionable advice specifically for event marketers. Yet the trends in consumer behavior apply to all brands that seek to connect with the people who matter most to them in an increasingly screen-based world.
This was a catch-all "market analysis" presentation I put together in October 2008, based in part on some thinking of Jeff Jarvis regarding an emerging "press sphere," among other topics addressed here.
Queuing and The Age of Context: Release 1 The Digital Consumer CollaborativeDave Norton
Companies are trying to understand the digital consumer but they often get the basics wrong. Digital consumers are not a segment. They aren't 'early adopters.' Almost every consumer today is a digital consumer. A digital consumer wants to do more with his or her digital tools and will share data to get the job done. Sensors, data, location, social media, and mobile are five forces that create digital context.
This deck was presented in February 2014 to 100 companies who are following the general insights gathered from the Digital Consumer Collaborative via web seminar.
Release 1 covers
- What is the Digital Consumer Collaborative
- How to define the digital consumer
- Three key attributes of consumer behavior: queuing, topics, and tasks.
- The five forces that create digital context
- Sensors, data, location, social media, and mobile
- Scoble & Israel’s, The Age of Context
- Redefining what context means
- Digital ethnography and other steps that companies can take to understand the consumer.
An audio presentation can be found on Stone Mantel’s website, YouTube, and SlideShare.
Media Literacy (Brief) Overview StoryboardJames Brown
The document provides an overview of key concepts in media literacy through a brief storyboard:
1. All media are constructed by someone for the purpose of creating a specific view of reality, not simply reflecting it.
2. Understanding how media constructs reality allows people to become critical media consumers and creators who can act in their own best interests.
3. Media both filters information for consumers and shapes cultural values and norms, though the relationship between media and culture is complex. The influence of media is pervasive in areas like gender and political perceptions.
4. While media has benefits, negative impacts of increased use include effects on social interactions, cognition, health, education and well-being, highlighting the importance of
The document discusses online advertising and how banner ads have historically had very low click-through rates. It notes that people spend more time online than with their families and outlines spending on online ads, which was up 18% in 2011 to $31 billion. The rest of the document proposes that banners can be more effective if they are interactive, entertaining or useful, self-contained, and contextual. It provides examples of campaigns that incorporated these principles and were more successful at engaging users than traditional static banner ads.
El documento presenta los cuatro pilares de la educación según la UNESCO: 1) aprender a conocer, 2) aprender a hacer, 3) aprender a vivir juntos y 4) aprender a ser. Luego, enumera las áreas en las que el autor ha aprendido durante su maestría, incluyendo trabajar con software, análisis matemáticos, investigación informática y prácticas de análisis matemático.
The document discusses social lift, which is the amount of time and speed with which content spreads from its original source through social media and other avenues. Measuring social lift can help marketers predict how many people will see an ad or program and maximize their budgets. Analyzing past examples of social lift, like Super Bowl ads, can help marketers lock in lower rates for future ads that are predicted to go viral. The key is using social lift tools to sequence paid, earned, and owned media initiatives to create ripple effects that multiply the value of advertising spending.
Synergizing Natural and Research CommunitiesTom De Ruyck
Research panels are facing declining response rates and decreased motivation for participation. As an alternative, researchers are exploring the use of social media as it provides a new stream of freely available consumer information through methods like social media netnography. However, user-generated social media content should be treated with caution, learning from mistakes of the past. The document discusses creating a "win-win-win" situation for researchers, clients, and research participants by combining social media netnography with online research communities in a respectful, ethical manner.
Mobilizing Urban Parents Around the WorldTom De Ruyck
The document discusses a research project conducted by Quinny, a stroller brand owned by Dorel, to better understand their target audience of urban parents. Quinny launched an online community with over 120 parents from 7 major cities to identify universal insights. The community found that urban parents from different cultures shared insights like embracing the challenges of city life, wanting children to experience nature amid urbanization, and desiring a sense of community. These insights helped Quinny innovate new products and branding to connect globally with urban parents.
Exploring the World of Water - Danone R&D Case StudyTom De Ruyck
Danone wanted to understand water consumption habits and perceptions in order to determine the main consumer benefits of water. To investigate from different angles, a 'fusion research' design was implemented combining multiple methods. This included a user-generated brainstorm, quantitative diary, multimedia ethnography, and research community. The goal was to confirm benefits of water and which would be most impactful. This holistic approach allowed for triangulation of insights to develop a comprehensive understanding of water from the consumer perspective.
This document discusses online research communities (MROCs) for connecting companies with consumers to collaborate on qualitative research projects. It provides tips for successfully running online research communities in Asian markets. The key points are:
1) Engagement is important for generating interactions between participants; natural engagement comes from topics of interest while method engagement relies on fun/interactive research methods.
2) Impact engagement within companies is needed to activate managers' use of consumer insights; this can be achieved through positive disruption and allowing executives to observe consumer conversations.
3) When running communities in Asia, it is best to conduct them in local languages by default, though some can be global, and the technology needs to facilitate participation anywhere by Asian consumers.
Inspirational Customer Dialogues - IKEA Catalogue [PAPER]Tom De Ruyck
The document discusses using online communities as a research tool to evaluate IKEA's yearly catalog. A qualitative study was conducted through online communities in 5 countries to understand reactions to IKEA's 2013 catalog and possible covers for the 2014 edition. The communities allowed researchers to triangulate data from different customer types, research methods, environments, and perspectives. This provided a more comprehensive understanding compared to traditional focus groups. Key benefits of the online communities included obtaining insights from more diverse participants over a longer period, combining various research techniques, and involving participants in additional testing and evaluation stages. The communities served as a flexible, cost-effective "fusion research tool" to holistically evaluate IKEA's iconic catalog.
Ogilvy Public Relations Worldwide and Georgetown University’s Center for Social Impact Communication developed this study with the objectives of showcasing trends in cause involvement and evaluating the role of a variety of activities in fostering engagement. An online survey was conducted by TNS Global among a nationally representative sample of 2,000 Americans ages 18 and over. The survey was fielded November 30 to December 22, 2010, and has a margin of error of +/-2.2% at the 95% confidence level.
This document discusses the potential for social media platforms to be used for social good. It provides two case studies as examples: the Kony 2012 campaign, which used high-quality video and social media like YouTube to raise awareness about Joseph Kony and was highly successful in reaching a global audience; and the Soita Mummolle campaign in Finland, which used grassroots techniques like street campaigns and knitting guerrillas along with social media like Facebook to address loneliness among seniors. The document also discusses challenges for social media campaigns, such as emerging from a crowded environment, monitoring the truthfulness of information, and accounting for cultural differences.
A thought piece presented by the Digital Lab and prepared by Sarah Jane Blackman and Pierre-Jean Choquelle of Proximity Paris dissecting the phenomenon of modern-day digital social expression and the Super...
Social media audience_and_the_arts_an_introduction_v1Antony_Hing
Post GFC social media and social commerce are the new global growth zones.
Rising demand for professional content is coinciding with a surge and acceptance of social commerce. Online consumers are willing to pay for professional content. Midway through 2011 the hot zone is social film entertainment platforms with film and video at the epicentre of social media activity.
Marketers need to convert their messages into film and video friendly formats at professional quality.
Participatory filmmaking will be a feature of social movies. changing the film experience and lead to greater crowdsourcing innovation.
Humans are changing how they shop, live and learn. Gamification provides next generation tools for change. Tablets are spreading the social cloud faster and wider.
Superchcarged word of mouth will determine the success or failure of brands.
Marketing plans must integrate social media because Google has made social content a ranking factor
The social tools for publishing are getting easier by the day with LinkedIn groups being a perfect example.
Those who learn to originate and publish content in a professional way will sail into blue oceans. But even curating and republishing content can be a blue ocean activity.
Not all Audineces are equal: social change agents are the ones to find and engage with earliest.
There are plentiful online resources from trusted authorities like Tom Smith, Susan Lincoln-Rice, Natalie Tran, Brian Solis, Mari Smith, Brian Halligan, Tim Bajaran, James Schramko, Michelle Macphearson and David Rogers.
Get prepared, skilled, practiced and connected
Better yet aim to become a trusted authority in your niche!
This document discusses how to plan for changing behaviors in an era of infinite media and attention economies. It argues that traditional media planning based on media scarcity no longer applies. Instead, opportunities exist in understanding how niche ideas spread through social networks on an individual level. Effective strategies involve designing for spreadability by incentivizing remixing and recontextualizing of content to appeal to different social circles. The goal is to strengthen social bonds and confer a sense of status and belonging to different communities.
The Economist ideas community june 2012 finalNick Blunden
This document discusses how the relationship between people and information is fundamentally changing in an age of information abundance. Key points include:
- Information is no longer scarce and is increasing exponentially, with 5 exabytes in 2003 but that amount now created every two days.
- Digital tools have made media creators of us all and information is now a social currency actively traded by many, not just consumed by the masses.
- This represents both opportunities and challenges for traditional media companies and culture. While some see only threats, others see opportunities to engage intelligent audiences with high-quality content.
- Influence is now less about who you know and more about the ideas one has to share in this new ideas-driven economy where intelligence is
La sociedad esta inmersa en un cumulo de informaciones, decidir como evoluciona la tecnología y como nuestro ser se ve involucrado a pasos gigantescos y sin limite de tiempo.. es una decisión al cambio.
This document discusses the changing state of news media. It notes that traditional print newspapers and TV news audiences are declining as more people get their news online. This has prompted questions about what exactly constitutes "news" now. The document explores whether news has become more of a product tailored for consumers rather than just a source of information. It also examines the tension between traditional journalism standards and the rise of citizen journalism via social media.
Second screen strategy: Digital, social & mobile best practices for conferenc...Jack Morton Worldwide
Today, 90% of media consumption is screen based. In 2014, the number of mobile devices in the world will exceed the global population. By 2018, there will be 1.4 connected mobile devices per person. That means that, as people move through the world, they will increasingly move with at least one other screen in hand (and even more devices on hand).
While the Second Screen revolution may have started with distracted television viewers, today, the multi-screen world demands marketers who know how to plan for it. This presentation breaks down second screen strategy into actionable advice specifically for event marketers. Yet the trends in consumer behavior apply to all brands that seek to connect with the people who matter most to them in an increasingly screen-based world.
This was a catch-all "market analysis" presentation I put together in October 2008, based in part on some thinking of Jeff Jarvis regarding an emerging "press sphere," among other topics addressed here.
Queuing and The Age of Context: Release 1 The Digital Consumer CollaborativeDave Norton
Companies are trying to understand the digital consumer but they often get the basics wrong. Digital consumers are not a segment. They aren't 'early adopters.' Almost every consumer today is a digital consumer. A digital consumer wants to do more with his or her digital tools and will share data to get the job done. Sensors, data, location, social media, and mobile are five forces that create digital context.
This deck was presented in February 2014 to 100 companies who are following the general insights gathered from the Digital Consumer Collaborative via web seminar.
Release 1 covers
- What is the Digital Consumer Collaborative
- How to define the digital consumer
- Three key attributes of consumer behavior: queuing, topics, and tasks.
- The five forces that create digital context
- Sensors, data, location, social media, and mobile
- Scoble & Israel’s, The Age of Context
- Redefining what context means
- Digital ethnography and other steps that companies can take to understand the consumer.
An audio presentation can be found on Stone Mantel’s website, YouTube, and SlideShare.
Media Literacy (Brief) Overview StoryboardJames Brown
The document provides an overview of key concepts in media literacy through a brief storyboard:
1. All media are constructed by someone for the purpose of creating a specific view of reality, not simply reflecting it.
2. Understanding how media constructs reality allows people to become critical media consumers and creators who can act in their own best interests.
3. Media both filters information for consumers and shapes cultural values and norms, though the relationship between media and culture is complex. The influence of media is pervasive in areas like gender and political perceptions.
4. While media has benefits, negative impacts of increased use include effects on social interactions, cognition, health, education and well-being, highlighting the importance of
The document discusses online advertising and how banner ads have historically had very low click-through rates. It notes that people spend more time online than with their families and outlines spending on online ads, which was up 18% in 2011 to $31 billion. The rest of the document proposes that banners can be more effective if they are interactive, entertaining or useful, self-contained, and contextual. It provides examples of campaigns that incorporated these principles and were more successful at engaging users than traditional static banner ads.
El documento presenta los cuatro pilares de la educación según la UNESCO: 1) aprender a conocer, 2) aprender a hacer, 3) aprender a vivir juntos y 4) aprender a ser. Luego, enumera las áreas en las que el autor ha aprendido durante su maestría, incluyendo trabajar con software, análisis matemáticos, investigación informática y prácticas de análisis matemático.
2015 may 5th vienna local searchtoday - vertical succes travel caseDennis Van Allemeersch
Travel case on why an intermediary, OTA in this case, can fail or succeed in the travel vertical. Ending with the emerging 3rd disruption cycle in online travel.
Imperative programming reflects the sequential nature of computer operations and uses sequences, selections, and iterations of commands. Object-oriented programming was developed to improve efficiency and reduce errors in complex software. Concurrent programming was developed for programs using multi-processor systems to make efficient use of resources. Imperative programming, also called procedural programming, consists of executable commands combined into modular blocks of self-contained code.
El documento resume brevemente varios temas clave de la historia de América Latina durante la época colonial, incluyendo la conquista de los imperios azteca e inca, la economía colonial basada en la minería, agricultura y ganadería, y las instituciones como la encomienda y la mita que regulaban la mano de obra indígena.
Ford launched the Figo Aspire sedan in India. The Figo Aspire is Ford's entry into the compact sedan segment and has several features like six airbags, leather seats, and various storage areas. It comes with 1.2-liter and 1.5-liter petrol and diesel engine options. The Figo Aspire has received positive customer response for its spacious cabin, safety features, and boot space. Its main competitors are the Maruti Suzuki Dzire, Hyundai Xcent, Tata Zest, and Honda Amaze.
Knightdale Baptist Church Hanging of The Greens, November 29th 2015Knightdale Church
This document provides information about an upcoming Hanging of the Greens service at Knightdale Baptist Church on November 29th, 2015. It includes the order of service, announcements about upcoming church events like a Christmas parade and fellowship meals, and financial reports. It also lists the church's mission statement and contact information.
A secure protocol for Spontaneous Wireless Ad Hoc Networks CreationSahil Bajaj
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1. It uses asymmetric cryptography for device identification and symmetric cryptography for exchanging session keys between nodes.
2. New devices authenticate by sending an identity card signed by a trusted node to validate network membership. This distributed validation avoids the need for a central authority.
3. The protocol establishes secure communication and resource/service sharing between mobile nodes in an ad hoc network without any existing infrastructure or centralized administration.
Energy Management Strategies for MURB & Commercial BuildingsEnercare Inc.
Enercare’s 3rd annual Thought Leadership event series, Energy Management: What’s New and What’s Next, explores energy conservation opportunities, the latest technologies and regulations shaping the multi-residential and commercial building management space.
You can’t manage what you don’t measure. This presentation by PL Consulting Corp will cover the use of energy audits and hydro bill analysis to understand the equipment and energy usage in your building. Energy audits, which include financials such as cost savings, incentives and estimated capital costs, equip building operators to make informed decisions on equipment replacement and operational adjustments. In addition to better understanding your building, this presentation will cover conservation measures such as intuitive automated controls which can effectively and significantly reduce overall consumption and increase your bottom line.
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9/28/2019 Karlin
journal.media-culture.org.au/index.php/mcjournal/rt/printerFriendly/444/0 1/4
M/C Journal, Vol 14, No 6 (2011)
Measuring Impact: The Importance of Evaluation for Documentary Film Campaigns
Beth Karlin, John Johnson
Abstract
Introduction
Documentary film has grown significantly in the past decade, with high profile films such as Fahrenheit 9/11, Supersize Me, and An Inconvenient Truth garnering
increased attention both at the box office and in the news media. In addition, the rising prominence of web-based media has provided new opportunities for
documentary to create social impact. Films are now typically released with websites, Facebook pages, twitter feeds, and web videos to increase both reach and
impact. This combination of technology and broader audience appeal has given rise to a current landscape in which documentary films are imbedded within
coordinated multi-media campaigns.
New media have not only opened up new avenues for communicating with audiences, they have also created new opportunities for data collection and analysis of
film impacts. A recent report by McKinsey and Company highlighted this potential, introducing and discussing the implications of increasing consumer information
being recorded on the Internet as well as through networked sensors in the physical world. As they found: "Big data—large pools of data that can be captured,
communicated, aggregated, stored, and analyzed—is now part of every sector and function of the global economy" (Manyika et al. iv). This data can be mined to
learn a great deal about both individual and cultural response to documentary films and the issues they represent.
Although film has a rich history in humanities research, this new set of tools enables an empirical approach grounded in the social sciences. However, several
researchers across disciplines have noted that limited investigation has been conducted in this area. Although there has always been an emphasis on social impact in
film and many filmmakers and scholars have made legitimate (and possibly illegitimate) claims of impact, few have attempted to empirically justify these claims.
Over fifteen years ago, noted film scholar Brian Winston commented that "the underlying assumption of most social documentaries—that they shall act as agents of
reform and change—is almost never demonstrated" (236). A decade later, Political Scientist David Whiteman repeated this sentiment, arguing that, "despite
widespread speculation about the impact of documentaries, the topic has received relatively little systematic attention" ("Evolving"). And earlier this year, the
introduction to a special issue of Mass Communication and Society on documentary film stated, "documentary film, despite its growing influence and many impacts,
has mostly been overlooked by social scientists studying the media and communication" (Nisbet and Aufderheide 451).
Film has been studied extensively as entertainment, as narrative, and as cultural even ...
This document summarizes and analyzes several sources on the topics of participatory culture, online communities, and social film. It discusses definitions of key concepts like community, interactivity, and collaborative production. The document also examines whether projects like the Inside Experience and KillCam: live are examples of social film or web drama based on features like pre-recorded versus live content and opportunities for participant interaction. Through this research, the author seeks to further understand social film as a concept and critically evaluate a specific project.
The document discusses the evolution of the social web and internet of things. It describes how early giants like Google harnessed collective intelligence by treating every link as a vote. It also discusses concepts like ubiquitous computing, the internet of things, and how technologies are aiming to make the human and natural environment legible to computers. However, others argue this could diminish the distinct competencies of humans and machines. The document advocates for an internet of people that enhances lives through open collaboration. Affect and emotion may serve as connection points between individuals and their environment in a networked future.
AS G322 revision booklet pt1 (Film Industry)Belinda Raji
This document provides an overview of key concepts for the AS G322 exam on media studies, focusing on section B. It discusses media institutions and how they produce and distribute media to audiences. It also examines how digital technologies and convergence have transformed audiences from passive receivers to active participants (prosumers). Students are advised to choose a contemporary film institution for their case study and analyze its relationships with production, distribution, and audience consumption. Competing views are presented on whether institutions or audiences wield more influence over what media gets made and distributed.
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This document provides an overview of key concepts for understanding film institutions, distribution, and audiences for an AS Media Studies exam. It discusses how film institutions produce and distribute films globally and how audiences interact with media in the digital age. Technologies like streaming and user-generated content have blurred lines between producers and audiences. The document also examines the dominance of major Hollywood distributors in the UK market and how digital technologies are transforming the film industry.
The document discusses a proposed design for a platform and visualization tool called Eyewitness that aims to help contextualize and synthesize citizen media video content (CMVC) from politically significant events. The design seeks to empower citizens by allowing them to collectively reconstruct historical records of events using CMVC rather than content from state or corporate media, which may propagate certain narratives. The challenges of CMVC like lack of context, large quantities, and varying quality make understanding and interpreting such content difficult. The proposed Eyewitness platform aims to address these challenges through a meta-design framework that facilitates participation and sensemaking of CMVC.
Rovio Mobile was a small Finnish game developer company that was on the edge of bankruptcy in 2009. They created the mobile game Angry Birds to try to survive, betting on the growing iPhone app market. The game became a huge success, with over 100 million downloads and becoming the best selling game in the Apple Store. The game was simple - players used a slingshot to destroy structures by throwing birds. It was easy to play in short bursts. This success was possible due to the rise of internet platforms that allowed peer-to-peer sharing of content and games. People have also engaged in piracy and illegal sharing of copyrighted content, making it harder for media companies to sustain traditional business models.
The documentary examines how social media platforms manipulate people and spread misinformation for profit through addictive design and tracking of user data. Experts explain how platforms prioritize user engagement, growth, and advertising over well-being. Through interviews and dramatizations, the film depicts social media's effects on mental health, politics, and truth.
The document discusses models for analyzing audiences of media texts, including the effects model, uses and gratifications model, cultural studies model, and reception analysis model. It argues that early models viewed audiences as passive, but more modern approaches see audiences as active interpreters who are influenced by social and cultural contexts. Reception analysis, which examines how individuals subjectively experience media while considering social forces, is presented as the most applicable approach for understanding contemporary audiences.
Brought to life by Cheryl Hsu, Kaitlyn Whelan and Rachel Noonan, this strategic foresight project endeavours to understand the current trends and drivers in open media, and through scenario-building and experience-based storytelling extrapolate how the internet might shape the future.
The goal of strategic foresight is to pluralize the possible futures in open media in order to better understand and anticipate drivers of change. The research and information in this dossier is an open resource that can be used to help multi-sector stakeholders develop anticipatory strategies that are more resilient in the face of uncertain futures.
The document provides an introduction to a strategic foresight project exploring trends and possible futures in open media. It outlines emerging trends in digital media landscape including increased self-publishing abilities, on-demand and personalized content consumption, mobile and wireless distribution of media, and the growth of open APIs. The project aims to understand key drivers of change and envision multiple potential futures for open media through scenario building and storytelling.
This document provides revision materials for the AS Media Section B exam on audiences and institutions. It includes tips on key topics, past exam questions, and summaries of important concepts like convergence, audiences, film distribution, and the relationship between audiences and institutions. It emphasizes understanding how digital technologies have transformed media production, distribution and consumption, blurring boundaries between producers and audiences.
The document discusses how content and technology have become intertwined in the 21st century. It explores how the internet shifted traditional media models and required new modes of content circulation using social media. This led to greater emphasis on user-generated content and new companies helping content creators distribute their work. Verifying the accuracy of online content also became more challenging. The document then examines several platforms and tools that journalists and content creators use to research, distribute and verify digital content.
My 3/5/12 Discussion with students at the Harvard Kennedy School about my experience with crowdsourcing story content with web based tools for two public media projects, one covering the effects of the economic crisis in 2009 from an NYC perspective, the other a call for stories about the current gay rights movement.
The document discusses how the creation, distribution, and consumption of media content is changing. It notes that with new technologies, everyone can now be a content creator and distributor. While there is more content being created than ever before, it is mostly personal content not intended for monetization. Distribution is no longer a barrier either, as platforms like YouTube and social media allow widespread sharing of content. However, with so much content available, it is difficult for any one piece to stand out. The document recommends trying new things, building on prior successes, and focusing more on how media changes behavior rather than the content itself.
Research on Socially Enabled TV Advertisingsarah_cui
How many digital devices do you have? According to the 2014 Nielsen Digital Consumer Report, Americans now own four digital devices on average, and the average U.S. consumer spends 60 hours a week consuming content across devices. The proliferation of digital devices and platforms contributes to the media revolution and blurring traditional media definitions.
As a result, consumers’ media habits are changing. Nowadays, watching TV while simultaneously using a smartphone, laptop or tablet is on the verge of becoming a majority behavior worldwide. A survey of 55,000 people by the research consultancy TNS shows that 56% of Americans engage in another digital activity when they are watching TV. The rapid adoption of a second screen has transformed the traditional TV watching experience. Instead of only watching TV, audiences now are enhancing their viewing experience by actively surfing the Web, engaging with social networks and shopping online while they are watching TV. Especially, this “multitasking” behavior is fostering a surge of real-time social media conversation between friends, fans and online communities.
Facing this new trend of media usage, advertisers want to introduce socially enabled TV advertising to communicate with their target audiences. In this way, audiences could be actively interacting with ads and co-creating advertising content. To get a better understanding of how audiences think about this new form of advertising, we conducted indepth interviews in this research.
The first part of this report closely examines audiences’ TV watching behaviors, social media uses and the ways that they engage with media. Then we give our analysis of primary data in detail and provide three key findings: Bonding Facilitator, Reciprocal Interaction and Hashtag Marketing. Finally, our recommendations will be offered about what could be done to further improve the engagement and the effectiveness of socially enabled TV advertising.
Taking a look at storytelling in the digital era, keeping in mind the three-legged stool -- content, technology, and business model. Lots of examples. Lots of links. I used this in a presentation to a media studies class at Woodbury University on March 31, 2014
The document summarizes the history and development of digital storytelling from its origins in the late 1980s through its adoption in various contexts over time. It traces how digital storytelling was pioneered by artists Dana Atchley and Joe Lambert and later developed at organizations like the Center for Digital Storytelling. It then analyzes the diffusion and adoption of digital storytelling using Rogers' innovation diffusion theory, identifying innovators, early adopters, and categorizing adopters over time. Key factors like perceived attributes and the roles of change agents in its adoption are also discussed.
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Best Digital Marketing Strategy Build Your Online Presence 2024.pptxpavankumarpayexelsol
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Explore the essential graphic design tools and software that can elevate your creative projects. Discover industry favorites and innovative solutions for stunning design results.
NHL Stenden University of Applied Sciences Diploma Degree Transcript
A case study of lost belief
1. A case study of Lost Belief
(2015):and the effectiveness of
interactive documentaries
Emily Burcham
Communicating Research B1032563
Abstract
This report is looking into how effective interactive documentaries are onaudiences. I
will be comparingtwoleading interactive documentaries Fort McMoneyandHollow to
see how they gaugedtheir audienceimpact. Aswell as conductingusertesting onmy
ownInteractive documentaryvia a sit alongobservation, to see how effectiveLost
Belief is ona groupfromits target audience.
2. 1
Contents
Introduction
Literature Review
o Fort McMoney
o Hollow
Research methods
o Sit-Along Observation
o Screen Capture
o Observation Form
o Questionnaire
Discussion of findings
o Screen Capture
o Observation form
o Questionnaire
Conclusion
Bibliography
Appendices
3. 2
Introduction
The filmmaking industry is undergoing a revolution; withtechnology at the heart of it. The advent
ofnew filmmaking methods is increasing possibilities and making audiencesmore involved in films
“technologyhas always changedthe way wesee and talk about the world” (Kopp, 2014) Interactive
filmmaking is a growingindustry, butI believe that there isn’t enoughresearchon how effective
they canactually be. “There is a totality of experience, whichis ofa different order to a linear
documentary”(Perlmutter, 2014). Many filmmakers are apprehensive aboutadopting new technology
believing that it will kill traditional filmmaking. A genre where this philosophy is most significant is
in the documentaryfilmmaking industry. Interactivedocumentaries or i-docsimplement
documentaryfilms withinan interactive user interface.
There is a lot ofdebate aroundwhether interactivity in filmmaking engages ordisengages an
audience. With this paper my aim is to add some clarity to that debate by looking at my own
Interactive documentary.To see how my user interacts with it in terms ofits design and subject
matter, looking into whatkind of effectit has on people and findingout how similar i-docsalso do
this. Lost Belief is based aroundthe Pagancalendar, with one of the main aims being to change
people’s perceptions aboutthe religion. Therefore gauging how well it impacts on people is very
important. I will do this by usertesting Lost Belief ona groupofpeople frommy target audience. I
will thenreflect onthese results tosee if it has the intended impact.This will then hopefully answer
the question of,how effective is my I-doc onits audienceand do the complexities ofit affect the
user’s emersion into the story?
I plan tolook into how industryprofessionals judgethe impact their interactive documentaries
have. What techniquesthey have used, whatoutcomes they have derived, as well as whether they
feel they have benefited more from being interactive orwhether they couldofachieved the same
impact from being a conventionaldocumentary?I will thenconductmyownuser testing based on
my research, whichwill be carried out in the formof a sit-along observation and questionnaire. This
information shouldhopefully aid my practicein making Lost Belief.Givingme an insight on how
well it functionsandits effect onmy audience.
Literature Review
Aninteractive documentaryis “any projectthat starts withthe intention to documentthe ‘real’ and
that uses digital interactive technology to realise this intension” (Aston and Gaudenzi, 2012) The impact
that i-docshave and how people judge that impact has always been a disputed. Tom Perlmutter
(2014) claims that “there’s a totality experience, whichis of different order fromliner docs”saying
that the i-doc “is becomingthe artwork ofourage” (Perlmutter, 2015). He eludes tothe factthat
Interactive films are the next big thingto changethe media world, like TV did to cinema and cinema
did to theatre. However there are still some filmmakers that have reservations towards adopting
digital media into films. Irene McGinn (2010) believes that “the types of narrative required fora
satisfying game, verses a satisfying film, are too different fora complete andsuccessful
convergencetooccur” (McGinn, 2010) to many, interaction takes the engagement ofthe story away
from the audienceas they’re able to ventureto other sections wheneverthey want, possibly
missing parts of the story.With traditional linear documentaries the audience don’t get an option,
4. 3
they follow the story the filmmaker wantsthem tomake. A lot of filmmakers don’t wanttheir
audiences to have controlovertheir story they wantthem toview what the filmmaker wants them
to view. There is also anissue froma commercial perspective, interactive films are limited in the
way they are distributed, with the main platformbeing online. So financinganinteractive projectis
restricted as many believe that interactive films won’thave the same scale ofaudience as a
traditional documentary.
Howeverthere are filmmakers like Ingrid Kopp(2014),whohavetransitionedinto the world of
interactive documentaryfroma filmmaking past that explain as a filmmaker “we never really
needed to think about whatthe audience was doingbecause wekind of new what they were doing”
(Kopp, 2014). Howeverwith interactive design the user and the audience’s engagement with the
projectis vital to its impact on its subject.“The useris actively affectingthe reality ofthe interactive
documentarywhile browsingit, butshe is also affectedby it” (Gaudenzi, 2009). The affect the i-doc has
onthe usercan only determine how effectivethe i-doc is. Buthow do we measure the scale to
whichpeople are affected?Well leading creative technologist Clint Barry (2014) claims that “impact
isn’t this number,in a way, it’s something you really have to dig into andstudy” (Power to the Pixel, 2014)
his companyHi-impact use many systematic methods toextract audience data. They try to
understandhow to effectively manipulate the structureof a projecttoappeal to certain audiences.
Howeverfrom looking into existing i-docsto see how they determine their effectiveness the
majority choosemuchsimpler methods, suchasuser testing and social media.
Fort McMoney
A great example of an i-doc that has had enormousimpact onits subjectmatter is Fort McMoney
(Dufresne, 2015) an interactive documentaryreferred to as a docu-game(see appendix 1). It is set in oneof
the world’s largest oil reserves FortMcMurrayand uses game mechanics toengage the userin
creating debates aroundthe social, economic andethical issues raised within community.“We
wanted toput the whole communityin the hands ofthe audience”(Power to the pixel, 2015) this
structureevidently meant that they needed to measure the impact the i-doc had, as this was crucial
to the successofthe project.Ifpeople didn’t engage with it there wouldn’thave been a project.The
team designed Fort McMoneytohave many social areas that stimulated their audience and
influence debates in different ways. This hasled to some staggering numberson how muchofan
audience they received “2,000,000 pageviews, 615,000 visits, 412,000 playersand 6500
comments”(Power to the pixel, 2015). However as David Furnesssaid “numbersalone aren’t enoughto
gauge the successofan interactive documentary”(Dufresne and Flynn, 2015). They used many diverse
techniquesto gain impact like utilising the press “creatorsprovided innovative contentand
newspapersdrive audiences to the project”(Dufresneand Flynn, 2015). They initially partnered with news
agencies to spread the word,whichhelped generate a debate aroundthe i-doc. Duringthe
productionthey set upsome ‘game masters’ toencouragethe audience“those people were there
to stimulate the debate” (Power to the pixel, 2015). Butthe main method I was interested in, and have
taken influence from,is how they useduser testing to shape the impact of the i-doc.David states
“Forme, user testing is asking notonly ‘do youunderstandthe story,’but also ‘do youunderstand
the experience?’” (Dufresne and Flynn, 2015) This interactive documentary“has the potential to create
and sustain engagedcommunities or interests aroundissues and shared concerns” (Nash, 2015) which
is something that I wantto achieve with Lost Belief.I’vetaken guidancefromthe waythey have
measured audience engagement via usertesting.
5. 4
Hollow
Aninteractive documentarythat followsalong the same lines as Lost Belief inthe way it is
structuredis Hollow (seeappendix 2). Aninteractive documentarythat tells the story ofMcDowell; a
small countyin Americathat is being deserted by its youngpeople, as they head offto findwork in
bigger cities, leading to the county’seconomydeclining. “There is so many things that we wanted
to happenwith Hollow,all these stories that we wantedto see change” (McMillion, 2014) the film lets
the residents ofthe McDowell countyuploadtheir personal stories and opinionswhichare then put
into the i-doc,within a parallax scrolling infrastructure,whichissimilar to how Lost Belief is
structured.Oneof the main ways they managed to make an impact withthe film wasby associating
it with newsagencies andother relevant media “no-onesjustgonnastumble uponyourprojectyou
have to putit outthere andyou have to putit in as many places as possible” (McMillion, 2014).But
even Elaine McMillion the director/producer admits herself that “Inthe case of Hollow,major
infrastructuralissues and health issues and educational issues can’t be changedover the courseof
one year” (Morowitz, 2015) they knew fromthe outsetthat this i-doc alone wasn’t goingto change
things overnight, it wasgoing tobe from spreading the message. “I don’tknow if we ever really
thoughtthat all ofour philosophybehind this wouldactually pay off, butwe are seeing it through
these peoples emails and tweets to us” (Astle et al., 2013) A lot oftheir judgementoftheir impact was
based on the social media they received. This i-doc hasreally impacted onthe small townto try and
make a difference,and that is mainly seen not from usertesting, statistics orgauging the opinions
ofa global audience butfrom simply seeing the changein the community “I measure more onthe
individual level andthe impact that I’ve seen andheard I’ve heard from communitymembers after
the project”(Morowitz, 2015). Fromthis research I have foundthatthe best wayto measure impact is
to spread the wordaboutit, utilise social media anduser test it onits audience.
Research Methods
Inorder to gaugethe effectivenessof Lost Belief I will be user testing it on people that fit withinmy
target audience. User testing is “evaluating a productorservice by testing it with representative
users”(Usability.gov, 2015) it’s a crucialpart of the productionprocessin anyinteractive project,
withoutgoodfunctionality the projectseffectiveness onthe audience is compromised. “When
usability testing is a partof design and development, the knowledge weget aboutourusers
experience supportsall aspectsof design and development” (Barnum, 2011). FollowingFort McMoney’s
and Hollow’sexample I wantto findout, does my audienceunderstand the conceptof Lost Belief
and wasit easy to understandthat concept.
Sit-Along Observation
I conductedmyusertesting via a sit-along observation so that I would be able to gauge the
emotional response my userhas to the project,becauseone of the benefits of this method is that
yourable to see their physical responseto the project. “Althoughit is possible tocollect far more
elaborate data, observing usersis a quickwayto obtain an objective view ofa product”(Gomoll and
Nicol, 1990). I also wanted to documenthow well they explored the project,lookingat which
6. 5
navigation path they took, how muchattention they spent on eachsection and whetherthey
enjoyed it. I did this byfollowing the three main observational protocol;test monitoringwhere I
observed andrecorded the participants behaviour,direct recordingwhere I recordedwhatthe
participant is doing and thinking aloudwhere I recordedwhatthe participant wassaying duringthe
observation “Inthe interest ofmaking usable designs weobserve, we don’ask” (Nielsen and Pernice,
2011).
I conductedmyselfin an unobtrusivemanner with my participants sothey couldexplore my i-doc
ontheir own“withunobtrusiveobservation you learn whether people canuse yourdesign in an easy
and efficient way,and whetherit is not the case” (D'Hertefelt, 1999). The way I conductedmyself during
the observation wasvital as I wantedmy participant tofeel as relaxed as possible in order to get the
best results. “Getting this interaction right is essential to creatinga positive experience forthe
participant and reliable results fromthe test” (Barnum, 2011). Originally I set outto have around10
participants, howeverwith the amountof data I will be gaining I decided to cutthis down,tosave
time and focusmoreon the eachparticipant. I eventually hadfourparticipants whichI found by
sending outan email (see appendix 3) to people whofitted withinmy target audience of around20-50
year olds with a sense of how to usetechnology.This gave me a perception ofhow Lost Belief will
be received within its general audience. Howeverthere are some issue with usertesting via an
observation method, the main being that you gain so muchdata that it can be hardto analyse.
HoweverI feel, I’ve combated this issue by not havingmany participants and by setting the data out
into a table.
Screen capture
My plan was torecord the screenof the user as they wentthrough Lost Belief to get data onwhat
buttonsthey clicked, whichnavigation path they took and how muchtime they spenton certain
sections.I wouldof liked toof had uniformedvideos, howeverdue to the softwarenot being
available in the university they were all filmed in different locations,so they varied in quality. For
some participants I hadto film with a video camera instead of usingscreen capture software.Which
wasn’t ideal as it was harder totry and keep them outof the footage andfocusonthe screen; butI
made this clear to my userand they all seemed happy withthis method.But dueto a number of
reason, lack ofmemory orbattery onthe equipment, I wasn’table to film all of the observation.
With some participants I observedthem using their owncomputerssomanaged to film the screen
via their screencapture software.Butthis wasn’t ideal and if I was to dothis again I woulddefinitely
try and be a bit more organised. Instead ofsaying to my participants that they couldchose a time
and place I wouldof allocated them a time andfounda space ideal for the observation to take place.
Apartfrom this set back, I feel that the observations wentwell. They led to a number ofchanges
throughoutthetesting. Whichmeant that each participant tested a different versionof Lost Belief
and led to each observation being different.This I feel wasbetter, thantesting the same version
every time as I couldgaugetheir reactions tothe changesas well as to the initial project.I plan to
also reference these videos in the development of Lost Belief asthis research has helped the
productionofmy project.Inall this footage has been invaluable to me.
Observation Form
Whilst the participants tested Lost Belief,I filled outan observation form in orderto recordtheir
physical reaction to the i-doc that wasn'tbeing recorded onthe screen. I noted data suchas what
questionsthey asked, if they got stuckorif there wasanything that they want to commenton.
7. 6
OnceI hadall this data I collated it into a table to better clarify the results. I couldsee whatneeded
changingin my projectin order forit to have better functionalityand better impact onits audience.
Onthe formI loggedthe participant’s age and whatmood they were in whentesting Lost Belief.I
felt that their age was significantas I wanted tosee how people from different generations reacted
to it. AlthoughI only managed to get one participant over the age of 30 as some people had to drop
outdue to ill health. This still gave me a different perspective on the project,whichis especially
helpful as my target audience is mainly people in their late 20’sand 30’s.I wouldofliked to ofhad
more people within this bracket, however the participants weremainly people I knew and so were in
their early 20’s.Their moodwas also important to my study as I want to see the feeling they got
from Lost Belief,thiscouldonly be done froma sit-along observation.As it gave me a good idea of
justhow effective the i-doc was ontheir general temperament.
Questionnaire
Whilst the observationwill tell me their responses and the screencapturewill tell me how well they
navigated throughthe project,I also wantto know their opinionof the project.Soonce the
participant had gonethroughthe i-doc I asked them to fill out a questionnaire to gain their
comprehensionof Lost Belief.Thequestionnaire will be mainly based onthe Likert scales (Likert 1932)
where the user is offereda set ofanswersbased ona scale of 1-5.“Participantdon’t always like to
state a negative opinion out-loud,butthey are oftenwiling to express one whenfacedwith a
ranking system” (Unger and Chandler, 2009). I wanted to usethis method as it allowed me to get a better
perspective ofwhat my participant thoughtaboutthe projectwhilstat the same time not offering
the participant a too complexanswer. I want to keep it rather minimal as I don’twant to overwhelm
my participant with questions,as they’ve already spent time user testing the project.
When constructingthequestionsI followed Bell and Waters plan to “goback to yourhypothesis or
to the objectivesand decide whichquestions youneed to ask to achieve those objectives” (Bell, 2010).
So based onthis the questionsI putin the questionnaire were based aroundthe objectivesI set out
in my proposal. Followingthe Likert scale I decided to offermy participant a set of1-5 options
rangingfrom nothing – a lot, to gaugetheir reactionin a waythat wouldn'tintimidate my user.I will
also give them the option toexpress their opinionsvia a standardtext box, soif they have more to
say that can’t be expressed via the Likert scale they have that option.
Discussionof findings
I conductedmyusertesting andgot some great data fromall the methods I used“combiningtwo
research methods providesa richerpicture ofthe user than one method canprovide onits own”
(Unger and Chandler, 2009). I managed toget fourparticipantsto take part that all signed consentforms
(see appendix 4),howevera few participants droppedout dueto ill health ortime constraints. I made
sure that they knew whatwas happeningand how the user testing wouldaffectmy project.I also
made sure they were comfortable to take part before proceeding. They also knew my practice was
to film them as they wentthroughthe i-doc whilst filling outan observation form.Then oncethey
had finished Iasked them to fill outa questionnaire based on their experience. So with all my data
collected I beganto determine what it all meant.
8. 7
Screen Capture
Lookingthroughall my footage (see appendix 5) I couldsee exactly how my user reacted to it. Their
responses tothe Lost Belief wasgenerally quite positive, althoughthe participantsdid pointout
quite a few flaws. I could see from the footagewhichareas they clicked withoutme guiding them.
They often didn’t understandwhichway togo or chosea section anddidn’t know how tocontinue
the story. Participant1 decided to scrolldowninstead ofusing the navigation system. Participant 2
mainly clicked onthe centre images taking them to the video butcouldn’tunderstandwhere the
next pages were.Participant 3 gotreally stuck tryingto navigate throughthe pages,going from
home to yule to spring butnot toany other pages. Participant 4had better luck navigate through
all the pages butused a scrolling method the majority of the time. Apartfromthe forth participant
they all choseYule first, whichis goodas this is where I want them to start “People think ‘top-
down’,so toenhance interactivity, youshouldmake navigation obvious,convenientand easy to
use” (Le Peuple and Scane, 2003) wetraditionally gofrom left to right and fromtop to bottomin the
western worldwhenwe are faced withan interface, whichis whyi designed Lost Belief sothat Yule
wouldbe first. I think this theory is somewhat provenby this user testing. Fromthis I foundthatmy
navigation wasn’t really workingand Ineeded tomake some serious changes.
Observation Form
With the footage at not the best quality, I gotthe majority ofdata from the observation form (see
appendix 6). I also noted downwhichnavigational path they took. Tosee if the participants could
easily understandeach part and whetherthey missed sections whichwouldinterfere on their
engagement. Participant 1 didn’t use my navigation much,whichled tothem missing parts
depending onwhere they clicked. With them using a scrolling method they also didn’t really focus
muchonthe project.Participant2 was a lot more engage with the projectbutmainly liked the video
elements as they clicked on them first but didn’t realise they’re wasmore than justvideos. This
meant that they missed a lot ofthe other sections soI had to guidethem to those parts.But I did
get a very positive responsefrom participant 2.So after this I changedmy navigation so that the
buttonswere a lot more significant I tested the third participant. However even withthese changes,
they still didn’t understand the project.They foundthemselves getting stuck between the different
sections andwanted to stopthe testing half waythrough, so they missed a large chunkofthe i-doc.
Afterthis I made an introductionso the navigation was a bit clearer. Participant 4found it a lot
easier to move throughbutstill had some slight trouble.They tooalso clicked onthe centre images
first and scrolled instead of usingthe buttonsbut managed to findand watcheach section.
There was a few issues as well as the navigation however.For participant1 the pages took a while to
load whichmeant that they gotbored of waiting andscrolled past parts that hadn’t loaded in time.
This meant that they didn’t engage with them parts, whichare essential to understandingthe
pagan belief. So I added a page loader after this usertest, in orderto eradicate this issue with my
secondcontributor.Participant2 struggledto read the text on some parts and didn’t realise they
couldscroll to other partsdue to the fact that they wentto the video sections first. They also
wanted toknow more information onwhere the videos were filmed anddidn’t realise the videos
had ended, as they did so abruptly.So after this made the buttonsclearer for my third participant
howeverthey were still confusedbysome ofthe images on the scrolling pages,they didn’t like the
way that they appeared on the page. Participant4 had less trouble as I added anintroduction
explaining the i-doc more, they foundsome text hard toread butin general enjoyedthe piece.
9. 8
There were also some goodpoints that came frommy user testing. Participant 1 enjoyed the
illustrations and how they were animated. Participant 2 really enjoyedthe films andwas really
engaged with the projectin general, they said that they foundthe piece very informative.
Participant 3foundmy music quite calming and like the incorporationof a twitter feed. Participant
4 also enjoyedthe videos andenjoyed reading aboutthe rituals. So I feel every participant had a
goodreaction but a lot ofissues were foundand some participants engagement varied due to these
issues.
Questionnaire
I gota lot ofinformation fromthe observationform butI goteven more fromtheir questionnaire
(see appendix 7). A main aim of Lost Belief is to educateits audienceon the pagan belief. So one of the
main questions I wanted to ask is justhow muchmy audience has learnt fromthe i-doc? Outof the
fourparticipants twosaid they hadlearnt a lot, one said they hadlearnt a little andone said that
they didn’t know.This is a very positive result to me. Fromthis I canjudgethat Lost Belief hasat
least a little impact onmy audience and their knowledge onpaganism.
Followingon fromthis I wantedto know if their perceptionson Paganism hadchange.Many still
believe that paganism is a wickedculture ofsacrifice and witchcraft;yet their truebelief is simply a
reverence fornature and all living things. Anothermain aim of Lost Belief is to dispel that
misconception. Fromthe questionnaire I foundthat I had mixed results. One said their perceptions
had changeda lot, one said a little, one said not sureand one said not a lot. From this I can’t really
determine a result. I wishI had usertested more people as this might have given me a more
conclusiveresult. Especially as this is a rather important topic that I wantto get an answer to.
HoweverI also asked them to explain whythey’re perceptiondid ordidn’t change.Two people said
that they had an idea aboutpaganism but they learnt more about it, one person didn’t realise just
how popularit is and one personthoughtit wascool.From this I gathered that Lost Belief didhave
some impact on their already existing idea ofthe pagan religion and that they did find it fairly
engaging.
The plan with Lost Belief is to create a social aspect within the community.A place for them to go
and share their events and stories. I wantthe i-doc to be engagingto my audience, in order for
people to accepttheir belief andpossibly partake in pagan activities. Therefore asking the question
ofwouldyou considergoing to a paganevent? is important to my user test; three of my participants
said that they wouldgoto a pagan event with only onesaying that they wouldn’t.This is a great
result as it means that my i-doc is making people more aware ofpagan events andthat people are
becomingmore open-mindedtowards it. I wouldreally love to see more people embracingthis
cultureand fromthese results it seems that the i-doc is changingthat.
Anotherfactoris how muchthey enjoyed Lost Belief.This is important to any project, butI wanted
to know whichsectionthey enjoyedthe most. Forme, this will tell me, whatpart of the i-doc my
audience is going toengage with the most. It seems that everyone enjoyedmy calming music.
Some enjoyed the videos, some the animation, andsome justenjoyedthe whole thing. This is a
great result for me, knowingthat people are enjoyingmy piece is goingto make it more engaging
foraudiences and makes all the effort is worthit. I also asked them to leave any commentsin case
they maybe didn’t findit enjoyable or justwantedto let me know any extra thoughtson it that
weren’t answered with the questions. Some justadded to whatthey thoughtwasgoodabout the
10. 9
project,withone stating that they wouldrecommendit others andfoundit a goodeducational tool.
Whereas others commented onwhat I could improve upon.This feedbackwas very beneficial, as it
gave me the impression that not only are people engaging with it themselves butthey are willing to
actively help me improve it andspread the wordaboutit.
Conclusion
So fromthe usertesting I have gathered that my navigation needs improvingbut overall the
message is getting throughto my audience. Althoughthere were a few issues, the majority seemed
engaged with the projectwhichmeans that my i-doc is havingsome effect on people.
This sit-along observation and the questionnaire have been invaluable to my project.I have learnt a
great deal aboutjust how effectiveLost Belief ison its audience. IfI was to doit again howeverI
woulddefinitely workmore professionally in the organisation of my usertesting. I wouldmake sure
they were all tested in the same room, underthe same conditionsand withthe same software.This
user testing has notonly been a benefit to this module but it has also helped my master’s degree.
Fromthe feedback I have gained Ihave added an introductionto better explain my piece and Ihave
also restructuredmy main navigation. Simplifying it so that my user won’tmiss certain sections and
pieces of information.Without this user testing my projectwouldbe a very complex piece that I
don’t believe wouldhave engaged my audience half as muchas I want. Butfrom people’s reaction I
think I have putLost Belief into a very positive position, and the new structurederived from the
testing is goingmake my projectvery effective onits audience.
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Appendices
1) FortMcMoney -http://www.fortmcmoney.com/#/fortmcmoney
2) Hollow -http://hollowdocumentary.com/
3) Email
4) Consentforms