Tag Archives: new media

Summertime Reads: The Element, at Work

 

There are many books written and released around this time of year to entertain us on a hot, sunny, leisurely day at the beach with an ice-cold bevvy at hand. Some of these are written to educate, examine, and create dissent around current affairs, while others are written to inspire, entertain, or encourage us to think outside the box to better make sense of the world around us. Some books even manage to move the reader on a deep and profound level.  I recently devoured a book that for me, accomplished all of these.

The Element, by acclaimed speaker and thought leader Sir Ken Robinson, discusses the basic desire for us as human beings to connect to our individual “element.”  The Element, in essence, brings us to the core of our talent and as unique individuals, what we’re most optimized to do as a productive member of society.

The theme, admittedly au courant, is reminiscent of authors like Chris Guillebeau who encourage a similar aesthetic that our prime place of happiness and productivity exists where passion meets purpose.

In a reverse Marxist twist, Robinson taps into the education system and breaks apart the very formulaic systems created to educate, take stock of our talent, and train us for the job market. He explains that our element cannot be established with the current systems in place. He explains why standardized testing is a fluke on so many levels and convincingly provides reasons why the system’s measurements of strengths and intelligence are broken.

According to Robinson, unlimited variables exist that we do not acknowledge. From the importance of creative intelligence along with other possible “senses” – kinetics, intuition, and balance, to start – we cannot possibly come close to ascertaining a true path for each of the six billion human beings on earth with the methods currently employed.

What struck me repeatedly were the similarities between the flaws in our education system — and the unaddressed flaws in the construct of the present day working environment.

Robinson says:

“The current processes of education do not take account of individual learning styles and talents. In that way, they offend the principle of distinctiveness.”

In the prevailing 21st century business model of start-up culture and the race to IPO the next product, how does this fit in?

In many ways.

We hire programmers as modern-day line workers. They serve as mechanics, tasked with developing solutions and moving repeatedly in a reactive basis rather than a proactive one. Little regard is given to the creativity and underlying passion that this person may have as an individual.

We do not inspire our programmers, developers, managers, salespeople, and even designers to be proactive, to be curious, to learn, challenge, and be challenged. At a hot organization today’s talent is underpaid, uninformed,  yet highly in-demand for the technological advancement they afford.

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A Shift Across the Narrative Continuum (Part 1)

5 years ago when I was in grad school, my media theory professor proclaimed that “years from now you’re going to remember me as the old lady yakking on about something called convergence”. I was intrigued. Then and there I decided to work this into my career somehow. Although I wasn’t quite sure how as this very process of convergence – the merging of television, internet, and radio – was and still is unfolding before our eyes.

This merging of mediums distinctly affects how we receive media from both a technological standpoint and an experiential one. Given the growing advantage of communicating easily and directly between viewers via mobile technology and the internet, the experience is no longer passive.

The other afternoon as I waited in line to pick up dry cleaning (mine, not someone else’s thankyouverymuch) I caught a few scenes of an old episode of Married with Children. The show seemed so dated and not just because of Marcy D’arcy’s wacky hairdos. The script plodded along and lacked the jumpy camera shots, asides, and irreverent dialogue that we’ve come to expect from reality shows and newer sitcoms like 30 Rock and Arrested Development that seamlessly weave multiple characters, story-lines and alternate visual scenes.

Narrative has evolved past traditional mis-en-scene on a studio set with scripted dialogue. With the advancement of technology it allows not only backchannel conversation about a show but also sets a stage for supplemental original content and conversation (there are also tremendous marketing opportunities here of which I’ll touch upon in another post).

The second season of AMC’S Mad Men that just wrapped a few weeks ago incorporated the micro-blogging tool Twitter to further the viewing experience by allowing a viewer – or simply the curious – to engage in direct dialogue with each of the main characters. Twitter updates from the so-called characters (called “brand-ambassadors”) provide bonuses like tiny updates throughout the day like what the character may be doing on a given day and what his or her thoughts are on relationships with the other characters. You can even send direct messages to your favorite character and receive a message back.

This season I followed Don Draper, Betty Draper, Peggy Olson, Roger Sterling, and Ken Cosgrove. One evening I fell asleep watching an episode and awoke to notice that Betty Draper was following me on Twitter. If that’s not spooky enough, I Twittered about the experience and almost immediately received a response from Betty: “I hoped it’d be a nice surprise, I didn’t mean to scare you, I’m sorry.”

In Australia a show called OZ Girl is slated to launch January 12th, becoming Australia’s “first social web show”. The show streams online only and encourages fans to participate by interacting directly with the main character on Facebook, Twitter, and email.

By paving the way for this non-linear narrative between television and the internet, a stronger bond is created between the viewer and the brand.

The viewer becomes an empowered fan with the ability to learn more about the characters identity, participate in dialog surrounding last night’s episode on chat rooms, buy music heard on the show, leave comments, stream b-rolls or supplementary content, and share media with friends.

For the content creator this provides almost instantaneous feedback. It also allows direct marketing opportunities, more of which I’ll touch on in a later post. As a viewer, the show becomes increasingly integrated into my lifestyle. I can watch and participate how, when, and where I want to – and this seems to be where we’re headed.