2 reasons why innovators should pay more attention to Digital Art

So, Why art?

There two main reasons why artists are essential to anyone wanting to innovate:

First: artists are the quintessential experimenters of contemporary society

Second:  contemporary artists work creatively with the tools that digital agencies use to make their own offerings

Saying that artists are innovators may not be a surprising statement—and it shouldn’t be. Yet, if your interest is experiential marketing then your focus should be on the work digital artists—also labelled often as Relational or Inter-medial artists.

‘Wait, digital art? ...what is that exactly?’

Digital art refers to the work of contemporary artists, who work with any one kind of digital media platform or who are interested in creating inter-medial experiences, that is, experiences that come as a result of the combination of different elements in their work (for instance, video and performance, projections and sculpture, or robots and lights). These artists are constantly experimenting with one sole aim in mind: creating new experiences for spectators.

These experiences can be, for instance, full blown multi-media spectacles, as in the case of renowned performer Marie-Claude Pietragalla and her ‘3D immersive spectacle’: Mr et Mme Reve.

An even more impressive sample of innovation, way beyond his time, can be found in the work of artist Nam June Paik. His 1969 Electronic Opera, made through a combination of negative video images, dancers, a background of music—where a fourteenth century clavichord sets the mood—and vectorial movements—similar to the popular screensavers in the 90s—work all in complete synchrony to deliver a powerful experience of the senses and the mind: a topless dancer and three hippies have their images manipulated distorted, and saturated with additional color; Richard Nixon and other well-known figures are twisted up; Voiceovers issue commands to the audience: "This is participation TV."—this is an incomparably compelling experience with a clear message (albeit critical) to it!

Artists working with computers can be traced all the way back to John Whitney, who worked with outdated military computers in the 1950s and 1960s. His innovative work was pivotal in making the amazing credits sequences in Alfred Hitchock’s Vertigo, Northwest and Psycho! As reported on Rhizome ‘Whitney was hired to complete the seemingly impossible task of turning Bass’s complicated designs for Vertigo into moving pictures’.

Other, perhaps less known, although not a bit less interesting artists are Frederik Heyman and Keren Cytter just two name two guys that always come to my mind.  Heyman works with a combination of photography, graphic design, and video. 

Wonderful samples of his work can be found in his website or while

Keren Cytter 2011 Avalanche series of short films is a work that I truly enjoyed—it makes you laugh, think and reflect on many aspects of filmmaking and storytelling. The films play with time perception, with character roles and traits which appear as bizarrely inconsistent, there is no clear story line, and the atmosphere is purposefully sabotaged through the use of wrong props and incoherent settings, etc. Take a look at one Cytter’s wonderful short films here.

Written by Daniel Vargas Gómez

All you wanted to know about ‘Experiential Marketing’ but were 2 afraid to ask (Part II)

I have argued (see Part I below) that the key to experiential marketing lies in the way we understand the term experience. The term, I suggested, should be understood following 2 conditions:

1) A multi-level analysis, that is, an analysis where the different elements cannot be simply added and subtracted to each other, but associated as running parallel to each other, while maintaining a still tangible relation between to each other.

And

2) The projection of a sense of unity, which assumes the coherence of the elements collected, results in the construction of a cohesive structure, which is the network.

Just to keep things clear, the term ‘network’ is widely used today in relationship to social media networks, which are, no doubt, a type of network. When it comes to experience the concept however is owed to Bruno Latour and Actor Network Theory. It would be a long roundabout to go into the details of ANT, which forces me to continue rather to the way in which such form of analysis is applied to experiential marketing.

The question of experiential marketing cannot be taken as separate from experiential offerings. This means that producing marketing experiences is related to the task of rethinking an offering in terms of an experience.

From the side of an authentic experiential offering the key elements for the creation of an experience follow from addressing these questions:

·         What sensations are unique to your offering?

·         What reflections or ideas are unique to your offering?

·         What ideas do you want the consumer to associate with the offering at time of consumption?

·         What type of memorable experiences does your offering enable?

·         What other elements (products/services/persons) will help to enhance your consumer’s experience?

In a similar fashion addressing the following questions will allow you to construct marketing efforts that are truly experiential:

·         What concept better gathers the type of experience your offering gives consumers?

·         How can the experience of your offering be transformed so as to convey it through the various marketing channels available?

·         How can you use two or more of your marketing channels to deliver a more powerful experience of your offering?

·         How does knowledge about the elements that your consumer associates with your offering affect your messaging?

·         How can you use that same knowledge to promote your offering through the various channels? (e.g. create blogs, newsletters, infographics, etc)

The more comprehensive the answer to these questions is the more experiential your offering and your marketing will be. Answering these questions will, in turn, provide potent insights about your consumers’ attitude toward the experiential and, hence, will help you to better analyze and select the key performance indicators that drive your business.

 Written by Daniel Vargas Gómez

3 Reasons Why Your Management Team Needs a Philosopher

So, you landed here for one of two reasons: either you are a manager or an executive and you don’t believe me, or perhaps, you are curious, mostly because deep down you, like almost everyone, have no clue what a philosopher does. In any case, you want to know what I’m talking about, so I won’t keep you waiting.

Managers must be good with numbers, they should preferably hold an MBA, and they should be able to encourage subordinates to be productive, right? Wrong, dead wrong. The reason most people believe in this is: either because they have climbed the corporate ladder thinking that way or, like most of us, because they think that organizing a productive team of workers is to an MBA what healing the sick is to a Physician. This reasoning is unfortunately based on the wrong metaphor: businesses today tend to entail complex interactions that are ill suited for technocrats, instead requiring a critical vision and a more creative approach. 

The first insight to keep in mind:

Adam Smith made a nail factory famous by using it as an example of the positive effects of the division of labor: divide a complex process into smaller, technically simple ones, and your productivity will soar. In Smith’s time there were not many factories, not in our sense of the term anyway. Chances were that if you adopted such process you would be able to conquer or at least take over a good share of your market. Today, however, the story is different: everyone knows about the secrets of division of labor, efficiency and cost accounting. This means that no matter how good you get at it, the advantage you get of doing so will be minimal in an established market. The key lies instead in being able to build complex products; to efficiently manage people doing complex not simple tasks—if you find yourself lost at this point, bear with me as I say a few explanatory words. It is precisely the combination of complexity over complexity what is mind-boggling for your traditional MBA graduate, who has been told over and over again that simple is better, period. The truth is that simple is better if and only if your product is as simple as a nail and your competition is not aware that division of labor exists. Given that they most probably are, then you need someone that is able to, literally, build complex offerings (the distinction between products and services has become blurry, which is why I prefer the term offering). You need someone capable of managing a team that can repeatedly deliver complex work.

Here, we arrive to the second thing you must keep in mind:

Organizing teams of people means having to deal with people; not with efficiency, process flows or any of that jargon MBAers love—those same MBAers that at my mention of the word ‘people’ roll their eyes thinking that some touchy-feelly story is coming their way.

Dealing with people is something we all do everyday all the time, so we should all be quite good at it, right? No, wrong again. As with driving a car, we can get pretty good at it, but our proficiency behind the wheel pales in comparison to the one of a formula driver. Our driving expertise consists in simply getting around town without crashing, in being able to Parallel Park, and in having once, when we were 16, showed off our ‘drifting’ skills to our high school friends. Hence, and keeping with the analogy, when it comes to dealing with people, a philosopher would be the formula driver and an MBA graduate would be the grumpy old man slowly driving on the express lane, and who, visibly annoyed, signals others to go around him. The point is that in business, just as in the highway, we do want to go faster. Or would you rather stay behind the old man, who would insist his driving is safer?  

If you want to spot the grumpy old man within your ranks, just ask your manager of choice a question of this sort next time a mild conflict among coworkers emerges: Why did X and Y clash over such a menial assignment last week? Or, why did X blow out irrationally in front of everyone this morning? Or, how can the people in Y’s team lack motivation and yet continue coming to work? If any of the answers you get explains their behavior in terms of personal character, personal issues, stress, or on it being a one time event, then you can be sure you have a grumpy old man in your hands.

You see, here is where the difference appears. A philosopher doesn't reduce human interactions to personal and professional attitudes and there is a simple reason for that: such view is entirely outdated and unscientific—the psychology of a person matters, naturally, but someone’s psychological make-up is neither stringent nor the natural cause of behavior. The key to a philosopher’s advantage lies in her ability to gain and maintain more than one perspective at the same time. Instead of seeing conflict as the necessary result of emotions or genetics, the philosopher sees it as the result of different but equally valid rationalities. Sounds complicated? It should, and as with any form of mastery it takes years of training to get there. Yet being able to understand conflict, as the expression of various points of view, is the easy part. It is being able to negotiate between them what really counts. A philosopher will do both and the result will be….alas! Greater motivation and increased productivity.

Lastly, the last reason why your company needs a philosopher is vision:

All companies have a vision, although usually nothing beyond a webpage tab dedicated to outlining some ambiguous future, where innovation is very important and they are the leaders of something. This sounds as a nice message and it may play well with an emotional approach to identity and brand cration, but it is not really a vision. It is not a vision if it does not outline concrete and attainable goals. Even if hypothetical scenarios need to be created, being able to imagine, to see the future as a concrete event, is essential to actually arriving at that future. Philosophers are trained to deal with hypothetical scenarios all the time; they are trained to create thought experiments and derive practical outcomes from them. The skill needed to see past-present-future as a continuum lies at the core of philosophical thought and it is not a matter of numbers. Economic or financial forecasts, as any honest economist will tell you, are grossly dependant on suppositions: suppositions about the market, about the demand for an offering, the behavior of your competitors, about aspects, such as technological innovations, prices, and the list could go on and on, for way too long. 

Forecasts deliver nice pictures indeed, but they are not visions, they are wishful thinking in the best of cases. Most strikingly, putting too much faith in them ends up transforming them into self-fulfilling prophecies—when they are negative—and in terrible miscalculations and unnecessary restructuring, when they are good (and we all have seen this!). The philosopher’s vision is, on the contrary, the construction of a future, yes, but more importantly, it is the construction of a pathway leading towards that future: the philosopher will tell you what has to change in the company for that future to come about.

So, next time you see the HR Manager preselecting the MBA’s…make yourself useful, and throw them to the bin once she is done.

Written by Daniel Vargas Gómez

All you wanted to know about ‘Experiential Marketing’ but were 2 afraid to ask (Part I)

Experiential marketing has become one of those terms which are so fashionable yet so obscure in what they really refer to that its impact on actual marketing practices is limited, and its potential still untapped.

So, let’s begin to clarify by being explicit about what is NOT experiential marketing:

·         It is not advertisement driven by emotions

·         It is not a shallow or superficial marketing strategy

·         It is not impossible to define

·         It is not a different term for ‘Creative Marketing’

The basics of experiential marketing lie outside of marketing practices and, hence, cannot be reduced to marketing alone. Literature on the nature of human experiences has deep sociological, anthropological, and philosophical roots. The key to creating experiential marketing campaigns lies in understanding what the term ‘Experiential’ means. Here, once more, one must begin by avoiding traditional and often simplistic definitions of ‘experience’. So we must understand what experience is not:

·         It is not a sophisticated term used to explain things like love, hate and other emotional responses, or mystical and religious events.

·         It is not an exchangeable concept with ‘feeling’ or ‘sensation’

·         It is not subjective—meaning that every experience is essentially incommensurable

·         It is not objective—meaning that every experience is quantifiable and subject to, for instance, statistical manipulation

Sometimes when we try to untie a knot too quickly we end up simply making it tighter. If ‘experiential marketing’ is the knot we need to untie, in order to find all its connections and uses, then it must be the case that we must work it out by softening each individual lace.

To properly understand experience we must think on two entirely dissimilar events in which we use the word experience to explain them. Take first the experience of standing in front of your favorite painting (I hope you have one, but if not maybe some masterpieces could serve as inspirations Picasso, Liechtenstein, Kandinsky). When standing in front of a captivating piece of art we are said to have an aesthetic experience, that is, an combination of a series of effects: the colors awake certain moods, the figures, lines or shapes are associated with other people, other places, other times, the museum or gallery itself encourages in us a certain sense of respect and awe for what is being shown, and, finally the work will also help to inspire our own creativity—depending on our interests we may be inspired by the use of forms, colors, by the depiction of an event, the way a person’s character is conveyed, etc. Now, on the other hand, think of returning from a trip to a distant country with a different culture, and telling someone how that experience was life changing. An experience will in this case refer to our new found relationships, our experimentation with new foods, new habits, and new places, and the discovery of our own particular costumes and differences with respect to the local people, etc., all of which created in us a reflection and a sense of pride and fulfillment for having felt, heard, seen and touched so many new things. Keep in mind that there is no reflection no intellectual grasp without the many new sensations, and that in equal manner, those new sensations gain meaning only when we begin to reflect on them.

In both kinds of experiences there are two fundamental aspects, two joining lines between them:

1) both can only be understood by means of what can be called a multi-level analysis, that is, an analysis of aspects that cannot be simply added and subtracted to each other, but which instead can be taken as running parallel to each other, while maintaining a subtle but tangible relation to each other;

And 2) in both kinds of experiences, we project a certain sense of unity and coherence that work by collecting the diverse elements, so that they don’t appear as separate and unrelated, but as forming a coherent structure, a network of elements. Like all networks these ones don’t exist in isolation, but are connected, in turn, to other networks, which are in any case separate from the new one—this is why no matter how new an experience is, how novel it seems, it is not disconnected from the rest of our lives, but on the contrary it is always new, novel, and exciting, with respect to other previous experiences.

The second Part of this story will discuss how to identify the experiential elements of any offering and, more importantly, it will discuss the elements that transform marketing and consumption into an experience. Subscribe to the factish and keep up to date with the creative trends that are moving the world today.



Written by Daniel Vargas Gómez

What is the factish?

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Yet, I do love science, don't get me wrong. The problem is not science, the problem is not that science is biased (it is! But that is not news). The problem is that in a world where science lives in journals that no one reads, most of us build our knowledge based on a myriad of other sources. This task faces us with a begging question:

How do you separate what's relevant and what's not?

The problem, I said, is not science. The problem is having knowledge that is neither freely accessible nor easily understandable. Have you tried reading an article on microbiology, astrophysics or evolutionary theory, lately?

Exactly... so, the issue is that knowledge lives throughout social media, online news, IMS, popular and less popular websites.....and, perhaps you get the point by now, knowledge is everywhere, but in truth it is nowhere unless you are able to grasp it, to discuss it, to criticize or to argue in favour of it. It is this endeavour what characterizes the factish.

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