It’s quite a change coming from the academic world and a series of mercenary consultancy gigs into the world’s leading PR agency, though a really thrilling one. I’ll have to wait until I’ve been there a bit longer before I can reflect on the adaptation process. All I can say right now is that, having always worked in shared spaces, you are hyper-aware of how decisions that are natural in office environments (like whether or not to close my office door) transforms your space and work mentality.

Altogether a very exciting development, and should lead to a much needed new layer to my thinking.

I hope to get back to blogging regularly again once I get settled, though I suspect that it will take some time to really hit my stride with how frequently I will be writing more lengthy, involved pieces. But in the immediate future, please look forward to a recap of the three great events I attended at MIT the last three weeks. First was the Comparative Media Studies 10-year anniversay, where I sat on a panel about media globalization with Aswin Punathambekar, Ana Domb, Orit Kuritsky, and Jing Wang. Then the weekend before last, I moderating a panel on “Running the Tubes” at ROFLcon, which featured a fascinating group of speakers that run the “behind-the-curtain” social and commercial infrastructure of your LULZ, including Jef Sewell (Despair.com, Amplifier), Aaron Peckham (Urban Dictionary), Larry Oji (OverClocked Remix), and Pete Hottelet (Omni Consumer Products). Finally, last weekend, I attended the always fantastic Convergence Culture Consortium retreat, where super smart folks presenting on everything from Swedish indie labels to transmedia lions (the lion is metaphor . . . I think) to how piracy can save media business models.

So once I get my bearings, keep an eye out for that, along with the long-promised thoughts on geolocation and public space.

No related posts.

Much of the buzz around both these things tends to focus, quite rightly, on their potential, and what they mean for how we’ll come to use, consume, and produce media in the future. But more than just pointing us towards the future of media, both these developments are symptomatic of a shift that’s already very much underway.

Moreover, each serves as evidence of the importance and cultural relevance of the other. What greater potential is there for the iPad, after all, than as a transmedia device — as something that allows us to coordinate, integrate, and marshall together different narrative pieces scattered across different formats and platforms? But the inarguable potential for synergy between the iPad and transmedia storytelling triggered a lot of scattered thoughts on the implications for what transmedia will be as it becomes less of an exception and more and more the baseline for our media experiences.

Coming together in Time: Transmedia and Simultaneous Experience

Matt Dawson’s provocatively suggestion that the iPad could be a really robust remote control that would let you manage, annotate, and expand upon your TV viewing in real time. This first bring up the interesting idea of transmedia components that are meant to be experienced simultaneously. Transmedia is premised on the distribution of narrative threads through and across multiple platforms, but the implicit assumption is that the experiences would take place at different times, that the different pieces, while deeply integrated and reciprocal, are nevertheless meant to be experienced individually. What the ipad signals is perhaps a shift from the popular perception of transmedia as expansion (leading to the central-property/peripheral extension dichotomy that transmedia producers and thinkers often push against) towards one of layering. I’ve previously discussed transmedia stories as intertexts — not just a story told across text but somehow created in the gaps between, the elasticity of multiplicity. This shift speaks to that same concept, as a metaphor of layers moves us to think not only of a world created through multiple stories, but also of stories told through multiple lenses that build upon one another, adding depth and nuance to the view.

Coming together in Space: What is “trans” about “transmedia”?

The iPad also brings up another interesting possibility. With the creation of various video, magazine, web, and mobile apps that will be native to the iPad, the notion of “across platforms” becomes increasingly ambiguous. Are we still moving across platforms if we watch a movie and read its fanfiction on the same device? What does transmedia move across, if not platforms? These questions make apparent not only how often we conflate platform with delivery technology, but how we’ve taken for granted that formats were defined by how delivery technology shaped the viewing/reading experience.

With devices like the iPad, which are designed to delivery multiple media formats (of course, we always had these capabilities on our laptops, but there seems to be something different between “capable of” and “made for”) it’s more apparent transmedia’s potential isn’t a question of technology or platform, but of creating stories across aesthetic forms and narrative practices, across different creative industry structures that limit and enable their their products differently. That’s why a comic book and a novelization are different despite being both bound, printed matter — the differences in formal storytelling capabilities, the history of the art forms, as well as the differences between novel publishing and comic book industries and audience expectations all  determine which stories can be told and how.

More interestingly, I think these changes will have dramatic affects on how we organize different types of storytelling into categories. For so long, forms have been defined by their recording technologies — film, records, television, books. The limits and affordances of those have determined different aesthetic and narrative structures. For the time being, they continue to hold the shape of the mold they were created in, even as those molds are starting to change and dissolve. But that’s changing. Even now, we’re seeing the emergence of genres that are defined in part by how audiences encounter them — transmedia, interactive media, mobile, spreadable — by how they move through culture rather than what devices they’re viewed through.

I’m not rewriting the black-box fallacy (i.e., that we will one day consume all media through a single, universal device). Rather, I’m suggesting that devices like the iPad make more apparent than ever that our media consumption isn’t being consolidated, but rather layered. We won’t be consuming all our media through one device — we’ll be consuming multiple streams of media through multiple platform simultaneously, as part of the same experience, with increasing reciprocity and responsiveness across our many mediated encounters.

Possibly related posts:

1. Fan production and transmedia audienceships?
2. Transmedia as intertext and multiplicity: why some types of stories lend themselves to transmedia
3. Transmedia as Archontic texts: Multiplicity, Subjectivity, and Social Change

At the center of this round of facebook privacy controversies is the new “enhanced pages” which allows third-party websites, approved by facebook, to access your public information and your connections — what you like, how you identify yourself, and who your friends are. In fact, Facebook will happily share with external websites of their choosing anything shared under your “everyone” option, which of course, is the default setting.

“Public” doesn’t mean “Property of Facebook”

This is the distinction that gets made again and again and again. “Public” is about sharing, about contributing and giving access to a larger community. Nowhere in the many definitions of “public” does it characterize something that can be taken from the public and redistributed to a select group for private profit.  Facebooks actions aren’t about making information public, they’re about making information theirs.

This is why in these cases, privacy can be a misleading battle-cry. The controversy isn’t just about access to our information and data. It’s also about our ownership of it. Much of the response-rhetoric whenever these privacy issues arise tends to be some variation of “well, if you didn’t want it shared, you shouldn’t have made it public.” In some ways, this is true, and it’s a deeper media literacy issue.

But in another way, this is total bullshit. It’s an excuse that conflates making something public to handing something over as property of Facebook to use and profit from as they like. There’s plenty of things I share with friends, and plenty I’m happy to share with strangers, but at the end of the day these are still my things — my networks, my data, my work and labor, my time — and I should have more control over who gets access to use of what. When I share my information, it still belongs to me in part, and I still have some say over it. What facebook is proposing isn’t sharing — it’s straight-up taking. It’s facebook claiming sole ownership over user data and pimping it out to the highest bidders.

In my white paper on Locating Value in Spreadable Media, I cite instances like this as indicative of a tension between economically-driven exchanges and socially-motivated ones. Facebook is thinking in terms of economic exchanges, which as discrete. It provides a service, users hand over data, and now they have the service and facebook owns the data to do with as it likes. However, facebook’s users believe themselves to be involved in a social exchange, which is ongoing. Social exchanges are like sending Christmas cards — you wouldn’t send 10 cards to someone and consider yourself covered for the next 10 years. The exchange is just a symbol for an ongoing relationship. In this case, that means users continue to contribute value so long as facebook continues to respect the relationship. The social exchange model makes more sense here, especially because the value being provided isn’t discrete. Facebook does have a lot of data now, but the real value in the data (and the attention provided by users) is that it’s ongoing, changing, and developing. So facebook needs to keep the relationship alive.

But how is it different from “spreadable” media

In the report on spreadable media that I co-authored with Prof. Henry Jenkins, Ana Domb, and Dr. Josha Green, we lauded the ability of individuals and communities to wrest control over content and meaning from producers. At the surface, Facebook’s appropriation of user data for their own goals echoes that of, for instance, fans remixing and sharing content to express their social relationships and tastes. But there’s one huge difference: facebook is in a position of structurally determined power in relation to their users. In layman’s terms, it’s simply this: Facebook’s acts are top-down, spreadable media is bottom-up.

As a bottom-up process, spreadable media operates through plenitude — any act of spreading doesn’t undo or prevent other acts of spreading. Spreadable media allows for differing opinions, motivation, and types of value. On the other hand, facebook sharing your data is an act of economic and institutional control — they determine who has access, and how, for everyone. This doesn’t leave room different forms of use and disregarding the diversity of user-motivations and social networks that make the facebook community as rich and popular as it is. In spreadable media, you can always add more content, more layers of meaning, more routes of circulation to reflect your goals. In Facebook’s approximation, you can believe their ideology about what the internet means and is good for, or you can just not participate. This kind of put-up or get out attitude is the antithesis of spreadable media, which is about creating more options, more meanings, more ways for people to shape and share their identities. Facebook is offering only one way — the one that makes them the most money.

Disrespecting Social Worth

Facebooks controversial changes are always opt-out instead of opt-in not because Facebook doesn’t know better. They know full well that it’s more respectful and responsible to make drastic changing involving sharing personal data opt-in. They make it opt-out because facebook hopes you don’t know any better. That is, they’re hoping to exploit anyone who may not have the knowledge or time to keep up on what their changes really mean.

It’s pretty clear from Facebook’s actions that they expect people to fall in line because they’ve become so ubiquitous. And it’s true — a lot of people will overlook the offenses because it’s just such a hassle NOT to use facebook these days. Some of my notifications started getting filtered into my spam folder without my knowledge a couple of weeks ago and I was amazed how many events and correspondences I missed, how many of my friend I unintentionally ignored. But there’ll be a limit. It may not be this, but it’ll be something and sooner or later, facebook need to start recognizing the value that their users are providing. They need to stop thinking of themselves as simply providing a no-cost service, and start considering the fact that they’re in an ongoing social transaction with their users, with implicit social contracts that have to be respected.

What’s more, with every move to unabashedly profit from their users without any consideration or respect, Facebook tips it’s hand — the more they scramble to make money off their users, the more they reveal to their users how valuable they are. And before long, many of us are not going to put up with facebook profiting off that value without valuing and respecting us in return. So, the bottom line: shape up facebook, and stop being douchebags. The party’s almost over.

Possibly related posts:

1. Weekly round-up [01/29/10]: Data Privacy!
2. Tweeting Grief: the politics of public mourning

So, in a way, this is part link-dump, part project-emergence-documentation.

I started thinking about these issues with the recent surge in discussions of brand collaborations with popular geolocation social games, especial with all the chatter in SXSW reports about the rise of location-specific (I know people are using the term geolocation, but I’ve yet to really embrace that tautology) games and social networking tools.

• Daniel Terdiman reported that Foursquare and Gowalla trumped twitter this year in terms of cutting through the noise of the conference backchannels.
• And the prevalence of location check-ins was one of the biggest take-aways from Jay Baer’s SXSW observations.
• Clement Yueng at Social Media Examiner writes about how businesses can leverage geotagging to build their brands.
• Last month a number of Entertainment and Media brands linked up with Foursquare
• And universities are jumping on the wagon, with Marc Parry at the Chronicle of Higher Education discussing the rise of “virtual graffiti” initiatives.

Location check-in networks therefore have two obvious precedents: display advertising and graffiti culture.

• For display advertising and public space, I’ve been digging into City Reading: Written Words and Public Spaces in Antebellum New York by David M. Henkin, which discusses the way branded communications and marketing transformed public space and how we perceive information as a culture.

• One of the (geographic) sites of interest is Sao Paulo, a city famous for its unique graffiti culture and for banning outdoor advertising. Hector Fernando Burga’s briefly outlines [pdf] a number of papers given at the Decentering Urban Theory conference at UC Berkeley focusing on new productions of urban space, including one by Prof. Teresa Caldeira on the “auto-construction” of Sao Paulo, where citizens engage in slow, collaborative, ad-hoc rebuilding of the city. These and other sites like it reveal “another dimension of place-making” that geotagging and location check-ins also seem to fit into.
• Also on the urban theory front, I’m looking into a classic in the field, Kevin Lynch’s Image of the City.
• And going in the other direction, I’m trying to think of how to situate the geolocation social activities between public and private, and starting with The Poetics of Space by Gaston Bachelard, which explores how we encounter the most intimate and domestic spaces.

Possibly related posts:

1. Branding in Bahía: Spreadable media made (literally) material
2. research preview: locating value in spreadable media

• So in honor of the approaching Oscars, the NYT recently released a piece on how shot pacing in films matches our brain rhythms. Interesting observations, but it begs the question: what does this tell us that we didn’t already know? That films written, shot, and edited by human beings have an increasing tendency to suit the pace of how humans think? How is this news to anyone? In the same vein, have some mathematical descriptions of movie composition.

• Moving on: CMS colleague Nick Seaver has a great piece on interactivity of player pianos. He makes great points about mediation and reproduction and other issues that are central to new media concerns, illuminated in a new way. We can only learn so much about new media by looking at it in isolation — it’s by connecting it to the once new technologies that the larger social patterns emerge.
• Oh, and speaking of thought to be obsolete, there may be life for Google Wave yet.
• Clay Shirky entreats us to stop talking about information overload. The problem, he points out, is not too much information or too little attention. Too much information is an old media problem, existing since after the Dark Ages. The issue is that we haven’t mastered the systematic filtering and sorting of this information.
• This Open Net Initiative piece on keyword filtering by Microsoft Bing in ‘Arabian Countries’ reminds us too that solutions for “information overload” in one context can quickly resemble censorship in another.
• And sort of related: insights from a mobile Q&A rising star. Frost & Sullivan has a piece on youth market insights from an analysis of ChaCha. Full disclosure, stuck without a smart phone, if not for ChaCha I may still be lost somewhere in West Texas.
• And what’s with all this bzzzzzzz — AT&T has a new service Buzz.com that some think will actually supplant Google’s offering due to its facebook integration.

And on a last note:

• “You came in with dreams and now you stand with spreadsheets”: Rishad Tobaccowala cuts right to the point at his 4A Transformations talk on incentivizing talent. The three types of wealth — experience, education, and economic — resonated because his emphasis was on wealth as a diversity of these things, not a sheer quantity. I had been spoiled for the first two at MIT — and range of experiences you could have, things you could create was matched only by the immense generosity of the minds around you. In the current economic climate, I’ve yet to see media and advertising industries match that kind of intellectual ambition or reciprocity, though my hope is that speeches like this mean there’s a thaw — not just economically — around the corner.

Possibly related posts:

1. Weekly round-up [10/30/09]: Audience measurement online, globalization, and more spreadable media in your future
2. Weekly round-up [2/19/10]: Old media memes, new media TV audiences, race + tech, and awesome uses of twitter
3. Weekly round-up [02/05/10]: Tech and global development, online video, crowdsourcing and collaboration

Social Suicide's socially savvy marketing

What drew me to this wasn’t just their whimsical naming schemes (though they certainly don’t hurt), but their latest social media promotion for their winter sale. As a follow-up to their Winter 09 “Dictators of Fashion” line (with suits like Kalashnikov’s Rifle and Mussolini’s Turncoat), Social Suicide launched the “Dictator’s Discount”. The premise is fairly simple — the general public will dictate the percentage of the sale markdowns in both the online and brick&mortar store by how much buzz they generate. The more twitter mentions, facebook updates, blog links, and unique site visitors Social Suicide gets, the higher the sale discount. The rate is dynamic, so the discount can go up or down (hence my friend asking me to help drive the discount steeper), with unique sale codes that will give users the current discount rate being released periodically on the retailer’s twitter.

Social Suicide’s campaign demonstrates exactly the kind of recognition of the monetary value of social capital that is needed to navigate an increasingly socially networked consumer-base. While there’s no shortage of brands and marketers expounding on the glories of “dialogue” and “conversation” in digital marketing, but Social Suicide is putting it’s money where it’s buzz is.

Cultural Capital as Digital Currency

Like I’ve gone on ad nauseum here and elsewhere, just because of lot of stuff online comes without a pricetag doesn’t mean it’s free. We may think of consumer-generated buzz as free because it doesn’t cost anything, but like I explain in my recently released white paper, things like data, attention, promotion and other benefits of web chatter around a brand come with social contracts between the brand and its consumers and fans.

Social Suicide proves their recognition of the value of social worth by translating it directly into dollar value — not for themselves, but for their fans. It’s easy for brands to say they are listening, but rarely do we see a company acknowledging the value of what they hear in such concrete terms. Like Trent Reznor putting up the NIN album at no cost in return for fans’ ongoing loyalty, they don’t just declare their appreciation, but prove it by giving back in the exchange.

Social Suicide’s move shows that they understand that cultural capital isn’t just a thing that exists out in the ether, nor their birthright by virtue of being a cool brand with good products and content. By creating a sort of cultural equity participation campaign (the more cultural capital raised, the greater the kick-back on investment), they demonstrate an understanding that cultural capital is coming out of the time and social commitment of individuals. These commitments are a gift that needs to be returned in some form.

Participation Means Sharing (the wealth)

Social Suicide’s campaign reveals common blind spot in thinking about how to merge the value of online communities and the economically-driven exchanges that dictate how businesses run. Too often, when a brand seeks to “participate,” they really only mean “profit from.” Consumers generate social worth and cultural capital for the brand, and the brand seeks to give back take more economic capital on top. That approach though doesn’t match how a gift exchange works. Gift exchanges create a legacy of value such that the original giver feels entitled to some of wealth they’ve contributed.

What this campaign shows us is that if we want the two to come together, sometimes it has to go both ways. Participation means contributing and sharing, not just listening. And sometimes, that means you’re looking at brand social worth that translates into monetary value for the consumer.

Rethinking Retail

I spent a lot of time thinking about how media and advertising industries need to adjust to the shifting dynamics of the new media landscape, but too often forget the retail side of commerce. As Kit over at the Real Time Project points out, the Social Suicide campaign is a great answer to one of the biggest concerns of contemporary retailers — linking their digital presence to their brick&mortar stores in a meaningful, robust way. A number of fashion retailers have gone out of their way to create digital content that mirrors and elaborate upon the brand experience. But more and more, efforts like this one show us that there are tools to link online presence much more tangibly (and functionally) to their physical store. Just like we saw with media outlets, retailer are no longer seeing their websites as simply a digital copy of physical offering. Perhaps even more provocatively, the Real Time Project article suggests that we might, in some industries, see B&M locations become non-purchase showrooms.

Overall, it seems that these considerations signal a shift towards deeper and more direct integration of physical and digital commerce, and between social and economic value.

UPDATE: I’m hearing from Social Suicide’s online/international shoppers (like my aforementioned friend) that the shop hasn’t been very responsive to email/twitter inquiries and has been rather lax at releasing their sales codes online regularly as promised. In short, the promotion has been more useful to in-store shoppers than the online shoppers who’re driving the discount. This is rather unfortunate since they’ve built a promotion that very usefully links their digital presence to their physical one. Gotta remember: Digital isn’t just a way to promote your shop. The road between digital and brick&mortar goes BOTH ways.

UPDATE (THE SEQUEL): Soon after I tweeted regarding Social Suicide’s lag in responding to their online consumers, they replied to me explaining that it was a stock and changing between winter/summer inventory issue. A few minutes later, they tweeted an apology/plee to their online customers to bear with them during the transitional period. Later that same day, they also finally replied to my friend (who had told me about their digital neglect) after nearly a month of radio silence, offering him the suit he wanted on massive discount. So all in all, a great, innovative marketing/communications tactic, a minor maintenance hiccup, but a nice, responsive management of the problem once they were notified of it.

Possibly related posts:

1. Skittles, Spreadability, and the question of social media authorship

It’s not (just) a question of technology

One of the biggest issues brought forth by this takedown (and many other “mistaken” ones likes it, such as Viacom’s “accidental” silencing of racism protest) is that these incidents aren’t just a question of technological oversights. The reveal an industry build on legal and economic structures that refuse to adapt to cultural change. Google’s apology email is full of passive voice — videos are “mistakenly removed” and accounts “mistakenly suspended.” With all the talk of users, flagging systems, it quickly becomes an artful dodging of accountability. It makes it seem like it was a blameless incident, a technological snafu outside anyone’s control.

But it’s important that we don’t mistake “lack of intent” with “lack of culpability.” I don’t really blame Google — their actions are responding to IP policies that equate promoting open source to being a rogue state. As Mike Masnick points out, the problem isn’t that something fell through the cracks of a the tech system in place to identify content violations quickly. The problem is the demands of that kind of speed, the kind of “take down first, ask dodge questions later” attitude that pervades the creative industries.

Technology, and third-parties like Google, are just convenient and blamelessly neutral scapegoats in the real digital divide — the chasm between social use of technologies and industrial control over them.

Takedowns take away more than just content

Another thing that the outcry around the take-down makes us realize is that the video itself is just one part of the cultural artifact. After all, it’s not like we couldn’t still watch a duplicate video on YouTube. But what we lost that was more significant than the video were the comments, the tags, the response links, even the viewcount. The metadata and paratexts that document the significance and development of the cultural phenomenon. The video is just the book cover — the real meat of the story was the record of how people watched it. That was why this particular takedown was so outrageous. What was removed was something infinitely more unique and scarce than some video. What was removed was a rich cultural document that no one should own the IP to.

One man’s culture is another man’s spam

A final interesting aspect is the fact that the takedown wasn’t an IP issue, but a user-flagging issue. Unsurprising, perhaps, because if you’re not in on the joke, a lot of internet memes look pretty much just like spam: incomprehensible and weirdly persistent. What this reveals to us is something that those fighting the high culture/pop culture divide have been reminding us forever: that culture is ultimately wholly subjective and deeply contextual.

Possibly related posts:

1. The Value of “Free” Content: Youtube Silences Music Videos in the UK after Licensing Dispute
2. Convergence, Confluence, Concurrence: the iPad’s implications for transmedia

• Over at Harvard’s Berkman Center, there was a recent talk from Jure Leskovec that tracks quotations-as-memes use in news cycles. While I’m more of a qualitative gal myself, I do have to admit a certain amount of geeky quant envy whenever I hear “mathematical model.”
• C3 2009 white papers are going on official release over at the Convergence Culture Blog. First up is my esteemed colleague Sheila Seles discussing audience models and online video.
• Pat Hanlon, whom I’ve had the fortune of working with at Thinktopia, has an insightful and galvanizing post about smart product design and innovation as a vital part of branding.
• Speaking of design, basic web publishing is almost “traditional media” by now too, isn’t it? BBC breaks down its design overhaul in light of how digital publishing has changed, making it more social, accessible, and global.

• On the media+globalization front, there’s an interesting post by C. Custer that asks if Twitter use in China might not be more dangerous than liberating. I brought up a similar post in a post I wrote for C3 back in early 2008 about how the discourse on Chinese digital censorship has been too tech-focused. Pervasive and deep censorship operates at a much more profound level through social, economic, and political controls — blocking websites is merely a surface symptom.
• Jace Clayton has posted up excerpts from an interview with himself and Kelefah Sanneh from Bidoun Magazine all about noise music. As he puts it, it’s for anyone who’s ever wondered about “what that distortion pedal has to do with American race relations.”
• Race-relations related, Alex Williams at ReadWriteWeb reports that Google, Yahoo!, Apple, and Oracle refused to release the gender and ethnicity breakdowns of their employee base, declaring the information a “trade secret.” Either they’re afraid of bad press due to their white male make-up, or they’re stockpiling minority innovators and don’t want all the boys’ club tech companies to know that minorities and women can be good at innovation too.
• And on the less political, more wonderful side of technological innovation, a simply gorgeous sound visualization project from Jonas Friedemann Heuer.
  

• On the media consumption side, I’ve been marathoning Lost, hoping to catch up before the end of the season, since I’m pretty sure there’s no way to remain unspoiled for the finale. Plus, it’ll make Lost fans less annoying.
• I’ve also gotten hooked on Echobazaar from the folks over at FailBetterGames, a great little indie twitter-integrated social game with wonderfully evocative worldbuilding in a twisted-classic seedy steampunk London underworld, and infuriatingly addictive game-play mechanics. My only complaint is that there’s no way to send direct invites to my twitter followers so that I can recruit more compatriots for my shady dealings.
• Another great twitter-related amusement: New York Magazine book critic Sam Anderson is tweeting the best sentences he reads everyday. Awesome use of twitter as an on-the-fly curation tool.

Possibly related posts:

1. Weekly round-up [02/05/10]: Tech and global development, online video, crowdsourcing and collaboration
2. Weekly round-up [11/06/09]: Post-broadcast TV, piracy from porn to academia, and finally a manual for google wave
3. Weekly round-up [3/05/10]: the science of art, old media interactivity,

affective effects, effective affects

Google’s Parisian Love inspired a lot of amorous reciprocation from people who’ve devoted a significant chunk of their intellectual energies to thinking about advertising and made a dent on twitter, but it didn’t make it into Nielsen’s most liked or most recalled ads. Part of it was the Q3 placement, of course. Almost all of the highest Nielsen-ranked spots ran during the first and last quarters of the game — presumably when more people were tuned in to the action. But nevertheless, the question remains: Google spot was certainly affecting, but was it effective?

“An online film that became an ad”

Google’s ad feels out of place amongst the raucous humor and tone of not only the other big ads, but the superbowl in general. But here I think Google again goes deeper than the surface presentation, beyond what a big sporting event looks like to what it means, it’s place in our culture(s). Major sporting events, particularly those on a national scale, bank heavily on the idea of disparate atomized individuals coming together in shared sentiment, much like the death of a celebrity. They also play strongly to feelings of community, connectivity, nostalgia, and legacy. In that light, Google’s ad seems to match the emotional appeals of the event, if not its tone and presentation.

Its disparity in presentation is also consistent with Google’s brand, which leans heavily on a certain iconoclasm, the myth of a rag-tag team of innovators that consistently proves to the world that big doesn’t mean bad. In this sense, the biggest danger to Google’s brand is its own success. Google new Buzz sought to collect all our current social media tendencies under one google-sponsored ad-driven roof and triggered a privacy controversy and user backlash, they just bought Aardvark, memorably acquired YouTube and some other smaller services a while back, and just got into hot water for shutting down music blogs. The more prominent and pervasive Google’s services get, the more difficult it becomes to fend of the mumblings of big-brotherism, of being just another mega-corporation consolidating its power, however benevolent its origins. That’s why Google’s Superbowl ad had to be “ineffective” in advertising-response terms. Superbowl advertising is a beacon of corporate, profit-driven consumerism and Google’s challenge has always been proving to us that it’s based in different values.

But perhaps most importantly, as Faris Yakob’s great analysis explains, in a lot of ways, the Superbowl spot wasn’t an advertisement for its search product at all. It was a demonstration to potential advertisers, according to Andrew Frank, that it “is not afraid of TV” and can integrate the internet with traditional broadcast media. Parisian Love wasn’t a commercial — it was just another one of Google’s series of online videos. That Parisian Love ran on TV, during the Superbowl, was the advertisement. In other words, Google’s ad didn’t suit its context. The context was the advertisement.

Possibly related posts:

1. Modern Love: what Google’s Superbowl ad teaches us about understanding culture
2. Weekly round-up [01/15/10]: Culture Matters, Globalization and the networked world, and Google v. China

Image by Carolita Johnson, demonstrating the difference between recognizing a trend and understanding its deeper significance

Google made good on all the teasing tweets and ran its first superbowl ad on Sunday night, to the praise of advertising and marketing professionals and all those who fall under Alterian’s Social Engagement Index. I was preoccupied with making sure the make-shift stadium seating in my loft wasn’t in danger of collapsing to catch it during the game, but the next morning I watched it on YouTube. Then I watched it again.

Google’s Parisian Love is everything that people have been saying: remarkable in potency of its message and the simplicity of its delivery, startlingly efficient in conveying a multitude of themes and features, and narratively delightful. But it is also a beautifully concise argument for the need to understand culture — and not just trends and technologies — in advertising.

Trends are surface patterns that can be viewed from a distance. Culture is the all the reasons underneath them, the complex structures and formations on the ocean floor shaped from countless years of symbolic debris and sediment that dictate which way the waves go. Identifying trends is just the first (and crucial) step towards understanding culture.

Humanizing technology, technologizing humanity

The trends/culture distinction is most clearly illustrated when we place Google’s Parisian Love series alongside Bing’s “Cure for Search Overload” campaign, which the Google ad also functions as a response to. Bing’s ads demonstrate their ability to identify habits of digitized world — the tendency towards free-association clicking, those rabbit-hole link excursions that leave us knowing more about walruses than we ever thought possible (or desirable) — by framing it as a problem that its service provides a solution to. Google’s ad shows us not how to salvage our lives from technology, but how technology is a part of it. In contrast to Bing, Google’s ad demonstrates how its search guidance and decision tools were so deeply integrated and intuitive that we barely noticed it was there, letting us put our concerns and desires at the forefront.

The two search engines’ ads reveal opposing angles of approach. Bing’s approach is strangely didactic, and not a little condescending — it presents us a service that can stop us from doing something (finding too much potentially irrelevant information), that can save us from our own feeble tendencies. Google’s approach is conspirational, showing it what it can help make happen instead of what it can stop from happening, implicating itself as complicit in our desires while also tapping into the cultural symbol of what the web has historically has represented: openness, possibility, limitless potential and access. So, while Bing identified a set of behavioral trends and promised to help us find things, Google showed us that it understands why we look.

Cultures of accumulation and classification

Google’s Parisian Love also conjured up for me three famous French writers and cultural critics: Marcel Proust, Georges Perec, and Roland Barthes. Proust transformed searching as an act of desire and recovery, Perec showed us how evocatively life is documented in lists and classifications of the things we accumulate, and Barthes made us recognize that it is the seemingly everyday, taken-for-granted habits and pleasures that reveal the most about our cultural mythologies and our human selves. Google’s ad demonstrates all three principles.

The potent little story at the heart of Parisian Love isn’t particularly remarkable in itself. What is remarkable is the materials of the telling: a love story, yes, but as documented through a search history. It touches upon a long-held cultural conviction that our daily debris, if properly recorded and curated, tells a story fascinating about us. Consider the rise of epistolary novels, Perec’s list of beds he’s slept in, the countless art installations featuring every X-type of object that the artist has consumed over a year. This is a conviction that’s only risen in recent years as we have the means of accumulating and displaying more and more haphazard data about ourselves — we’ve all given thought to what stories our twitter feeds, delicious tags, and facebook profile interests might tell about us accumulated over time.

In that same way, Googles ad reminds us that our searches are not only about finding what we need — they are a document of our desires and lives. The nostalgic overtones aren’t just incidental appeals to sentiment — they do the serious work of assuring us that in an age of so-called information overload, we are still producing artifacts of data that are intimate and revealing. At the forefront is a story about romance, but underneath is a story about our culture’s love affair with the stories the accumulated by-products of our daily lives can tell. Google proposes not only that its search is useful, but meaningful.

The message from google to its users is so simple and clear: we’ve always understood one another.

Possibly related posts:

1. Affect, Effect, and Context: more thoughts on Google’s superbowl ad
2. Weekly round-up [01/15/10]: Culture Matters, Globalization and the networked world, and Google v. China
3. New Media, Old Culture: meeting the Luce Foundation selection board