06 May
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Earth’s Smallest Space Telescopes Launching Monday

Wow that is small! Hope it works!

Smdc-one

Space-com-4df1ec353a

Two tiny satellites billed as the world’s smallest space telescopes will launch into orbit Monday (Feb. 25) on a mission to study the brightest stars in the night sky.

The Bright Target Explorer (BRITE) nanosatellites look like little cubes and will blast off atop an Indian Polar Satellite Launch Vehicle (PSLV) at 7:20 a.m. EST (1220 GMT) on Monday from the Satish Dhawan Space Centre in Sriharikota, India.

While tiny nanosatellites have launched into space before, they have been mainly used to study Earth or test new spaceflight technologies. But the BRITE satellites will be the first spacecraft of their small stature to peer into the cosmos, their builders say.

The diminutive spacecraft are less than 8 inches wide and weigh less than 15.5 pounds.

The diminutive spacecraft are less than 8 inches wide and weigh less than 15.5 pounds. Once in orbit, they are expected to observe the brightest stars (from Earth’s perspective), including those that make up well-known constellations such as Orion, the Hunter.

“BRITE is expected to demonstrate that nanosatellites are now capable of performance that was once thought impossible for such small spacecraft,” said Cordell Grant, manager of satellite systems for the Space Flight Laboratory at the University of Toronto Institute for Aerospace Studies (UTIAS), where the satellites were designed.

One of the BRITE satellites launching Monday was designed and built at the Space Flight Laboratory. The other was designed by the center, but assembled in Austria, university officials said in a statement. They are two of seven satellites set to blast off with India’s rocket launch on Monday.

The nanosatellites can only fit small telescopes, so they won’t be capturing amazing high-resolution images of the cosmos, Grant explained in the statement. But they will be able to observe and record changes in a star’s brightness over time. Such observations could help scientists find spots on the star, an orbiting planet or secondary star, or “starquakes” caused by oscillations within the star itself.

The nanosatellites can monitor their target stars from any orbit — they just need to be above the atmosphere to avoid the twinkling, or scintillating effect, that overwhelms stars’ relatively small changes in brightness, researchers said.

The two BRITE satellites launching Monday are designed to be the first wave of a planned constellation of six space telescopes to study the brightest stars in the night sky, UTIAS officials said. In all, the six-spacecraft constellation will include two Austrian nanosatellites, a pair from Poland and a pair provided by Canada.

By keeping the satellites small, they can be built faster and at a lower cost than their larger counterparts, and be launched as a piggyback payload on rockets carrying larger spacecraft, UTIAS officials said.

“A nanosatellite can take anywhere from six months to a few years to develop and test, but we typically aim for two years or less,” Grant said.

Photos courtesy Defense Media Network

Space.com is a Mashable publishing partner that is the world’s No. 1 source for news of astronomy, skywatching, space exploration, commercial spaceflight and related technologies. This article is reprinted with the publisher’s permission.

Via Mashable: http://www.mashable.com

24 July
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A Must-See Tribute To Pop-Art Hero Roy Lichtenstein

Ohhh…Alright…Roy Lichtenstein, American (1923-1997). Ohhh…Alright…, 1964. Oil and Magna on canvas. 91.4 x 96.5 cm (36 x 38 in). © Estate of Roy Lichtenstein. Private Collection.

Alka Seltzer

Roy Lichtenstein, American (1923-1997). Alka Seltzer, 1966. Graphite and lithographic rubbing crayon pochoir, with scraping, on cream wove paper, fixed. 76.2 x 55.9 cm (30 x 22 in). © Estate of Roy Lichtenstein. Art Institute of Chicago, Margaret Fisher Endowment.

Artist’s Studio No. 1

Roy Lichtenstein, American (1923-1997). Artist’s Studio No. 1 (Look Mickey), 1973. Oil, Magna, sand with aluminum powder and Magna medium on canvas. 243.8 x 325.1 cm (96 x 128 in). © Estate of Roy Lichtenstein. Collection Walker Art Center, Minneapolis. Gift of Judy and Kenneth Dayton and the T.B. Walker Foundation, 1981.

Ball of Twine

Roy Lichtenstein, American (1923-1997). Ball of Twine, 1963. Magna on canvas. 172.7 x 91.4 cm (40 x 36 in). © Estate of Roy Lichtenstein. Christie’s.

Brushstroke with Spatter

Roy Lichtenstein, American (1923-1997). Brushstroke with Spatter, 1966. Oil and Magna on canvas. 121.9 x 152.4 cm (68 x 80 in). © Estate of Roy Lichtenstein. Art Institute of Chicago, Barbara Neff Smith and Solomon Byron Smith Purchase Fund.

Haystack

Roy Lichtenstein, American (1923-1997). Haystack, 1969. Oil on canvas. 45.7 x 61 cm (18 x 24 in). © Estate of Roy Lichtenstein. The Ruben Family.

Haystacks

Roy Lichtenstein, American (1923-1997). Haystacks, 1969. Oil and Magna on canvas. 40.6 x 61 cm (16 x 24 in). © Estate of Roy Lichtenstein. The Ruben Family.

Hot Dog with Mustard

Roy Lichtenstein, American (1923-1997). Hot Dog with Mustard, 1963. Oil on canvas. 45.7 x 121.9 cm (18 x 48 in). © Estate of Roy Lichtenstein. Aaron I. Fleischman.

Keds

Roy Lichtenstein, American (1923-1997). Keds, 1961. Oil on canvas. 123.2 x 88.3 cm (48.5 x 34.75 in). © Estate of Roy Lichtenstein. The Robert B. Mayer Family Collection, Chicago, Illinois, USA.

Landscape in Fog

Roy Lichtenstein, American (1923-1997). Landscape in Fog, 1996. Oil and Magna on canvas. 180.3 x 207.6 cm (71 x 81.75 in). © Estate of Roy Lichtenstein. Private Collection.

Laocoön

Roy Lichtenstein, American (1923-1997). Laocoön, 1988. Oil and Magna on canvas. 304.8 x 259.1 cm (120 x 102 in). © Estate of Roy Lichtenstein. Private Collection.

Look Mickey

Roy Lichtenstein, American (1923-1997). Look Mickey, 1961. Oil on canvas. 121.9 x 175.3 cm (48 x 69 in). © National Gallery of Art. The National Gallery of Art. Dorothy and Roy Lichtenstein, Gift of the artist, in Honor of the 50th Anniversary of the National Gallery.

Masterpiece

Roy Lichtenstein, American (1923-1997). Masterpiece, 1962. Oil on canvas. 137.2 x 137.2 cm (54 x 54 in). © Estate of Roy Lichtenstein. Agnes Gund Collection, New York.

Nude with Street Scene

Roy Lichtenstein, American (1923-1997). Nude with Street Scene, 1995. Oil on Magna on canvas. 121.9 x 171.5 cm (48 x 67 1/2 in). © Estate of Roy Lichtenstein. Collection Simonyi.

Oh, Jeff...I Love You, Too...But…

Roy Lichtenstein, American (1923-1997). Oh, Jeff…I Love You, Too…But…, 1964. Oil and Magna on canvas. 121.9 x 121.9 cm (48 x 48 in). © Estate of Roy Lichtenstein. Collection Simonyi.

Sunrise

Roy Lichtenstein, American (1923-1997). Sunrise, 1965. Oil and Magna on canvas. 91.4 x 172.7 cm (36 x 68 in). © Estate of Roy Lichtenstein. Private Collection.

The Ring (Engagement)

Roy Lichtenstein, American (1923-1997). The Ring (Engagement), 1962. Oil on canvas. 121.9 x 177.8 cm (48 x 70 in). © Estate of Roy Lichtenstein. Stefan T. Edlis Collection.

Untitled

Roy Lichtenstein, American (1923-1997). Untitled, 1959. Oil on canvas. 86.5 x 71.3 cm (34.0625 x 28.0625 in). © Estate of Roy Lichtenstein. Private Collection..

Wall Explosion II

Roy Lichtenstein, American (1923-1997). Wall Explosion II, 1965. Porcelain enamel on steel 170.2 x 188 cm x 10.2 cm (67 x 74 in). © Estate of Roy Lichtenstein. Tate: Purchased 1980. Photo ©Tate, 2011.

Whaam!

Roy Lichtenstein, American (1923-1997). Whaam!, 1963. Magna and oil on canvas. 172.7 x 406.4 cm (68 x 160 in). © Estate of Roy Lichtenstein. Tate: Purchased 1966. Photo ©Tate, 2011.

Via FastCoDesign: http://www.fastcodesign.com/

10 April
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Marketing Crashes Fenway Park’s 100th Birthday Party

This blog is written by a member of our expert blogging community and expresses that expert’s views alone.

Step through the brick arches at Fenway Park and you turn back the clock to an era when men wore fedoras and watched a young, pudgy-faced Babe Ruth hit epic home runs for the Boston Red Sox.

For generations of baseball fans, Fenway has been baseball Mecca. You don’t just watch a baseball game there, you experience it, with sights, sounds and smells unlike any other sporting venue. (If you sit behind home plate you’re close enough to hear the whizzzz of a fastball on its way to the catcher’s mitt.)

Fenway Park turns 100 on April 20, and if you haven’t heard about it yet, you will. Sports Illustrated and USA Today have published special editions. PBS is airing a National Geographic-produced documentary. A Green Monster-green coffee table book just hit the shelves. An official website chronicles Fenway’s history. And that’s just the start.

The Red Sox marketing machine is cranking out a season’s worth of promos, events, and extravaganzas as part of the “Fenway Park 100” campaign. We’re tempted to say it’s a campaign as finely orchestrated as any symphony, but they have that one covered, too: Conductor John Williams and the Boston Pops have recorded “Fanfare to Fenway,” a musical tribute. Heavy on the trumpets.

“Our goal is to differentiate the ballpark from all others in sports. We believe Fenway…is an iconic facility that transcends sports,” Red Sox senior vice president of Marketing and Brand Development Adam Grossman said during a talk to the Ad Club of Boston on March 27.

The Balancing Act

Grossman, a Cleveland native who started as a Red Sox intern 10 years ago, has adopted the immutable Boston stance that Fenway is a sports cathedral. Quite literally–the mission statement for the Fenway Park 100 campaign calls it a “true baseball cathedral.” He also compares it to the world’s finest museums.

“Our goal is that nobody gets used to Fenway, because it’s not a common facility,” Grossman said.

But, when it comes to packaging, selling, and–let’s be frank here–profiting from nostalgia and history, how much is too much? How do the Red Sox avoid crossing into foul territory as they simultaneously celebrate and glorify their iconic 1912 ballpark (and invite their fans and sponsors to take part) and leverage it to the hilt as a once-a-century marketing opportunity?

Is it possible to over-romanticize the most classic ballpark in America? We’re pretty sure the answer is yes.

A bigger question for marketers everywhere: Is it possible for authentic and desirable customer experiences to peacefully coexist with a highly profitable, marketing-driven machine? Or does all the effort at pointing out the specialness risk hollowing out the sincerity, leaving behind a Disney World-like shell of an experience that looks great, but loses the soul that made it special?

The marketer in me says this is all great for the Red Sox. Let’s all celebrate the 100th year of a landmark that carries meaning and memories across generations. The team is erecting 100 brass plaques around the stadium highlighting bits of history, a nice touch.

Let’s thank the owners, who’ve kept their promise to preserve Fenway from the wrecking ball, investing nearly $300 million in repairs over the past decade for expanded seating, new ballpark features, and creature comforts. And let’s remember the team’s involvement in local charities and the community. Not to mention the two World Series the Sox have won in the past decade.

Burnishing the Fenway Brand

There’s a business angle to all of this, of course. Burnishing the Fenway Park brand can only boost the long-term value of the franchise. Based on the recent sale of the Los Angeles Dodgers for $2 billion, you’ve got to believe the sky’s the limit for the Red Sox.

Because baseball is faced with the long-term challenge of attracting young fans due to its slow pace and other factors, making the ballpark the star may, in years to come, be an ace in the hole. It’s a respectable alternative to the diversions at other ballparks, such as swimming pools in the bleachers and hot dog races between innings.

The fan in me can’t help but acknowledge today’s Fenway isn’t what it used to be (and I don’t mean the old leaky roof, the bad food, or the gruff ushers who used to shoo everyone out of the place quickly after games) and it leaves me with mixed feelings.

It costs a small fortune today to take your family to a game, if you can get your hands on tickets. That shouldn’t be surprising; that’s the nature of big league sports now. Fenway commands a premium. It has one of the smallest seating capacities in the major leagues, ticket prices have skyrocketed, games have been selling out for years, and exclusive clubs and seating sections have separated Everyman from the 1 percent, lending to the air of exclusivity and, yes, spurring more demand for tickets.

The Fenway “experience” that came by default with the price of admission now feels like an embedded surcharge on the high price of tickets. And as far as recollecting that happy Fenway feeling so you can tell stories to future generations? The pressure’s off. Official photographers are there to take your picture and sell you a permanent visual keepsake.

Seeking authentic inspiration

At the Ad Club meeting, Grossman admitted that keeping Fenway accessible, so Everyman can enjoy it, is one of the things that keeps him and other execs up at night.

It’s hard to find any great inspiration for customer engagement on the official Fenway Park 100 website. The site is a mishmash of historical information, photos, videos (albeit expertly produced), and event schedules, but the overall experience lacks cohesion and a sane navigation scheme.

It also swings and misses at the biggest opportunity of all to connect Fenway Park 100 to what it’s all about: fan memories, personal stories, and nostalgia. User-contributed photos, videos, and testimonials from fans young and old should take center stage and drive the effort’s digital content strategy. Old Kodachrome snapshots from the ’50s and home movies of family outings to the ballpark, or stories of meeting Dom DiMaggio and Johnny Pesky out in the street after a game are what I’d be after. Memories handed down through the generations, from grandfathers to fathers to grandchildren, available nowhere else.

These rich personal histories carry 10 times the weight of a pile of old bricks. One can only hope this type of stuff surfaces. As for now, a handful of simple fan submissions are buried deep on the Fenway Park 100 site. My advice to the Red Sox: Don’t blow this chance. Make it less about “you” and more about “the fans.”

But like it or not, the Red Sox’s brilliant owners have maximized every chance to turn Fenway Park into a money machine, with new restaurants and luxury clubs, guided tours, and pricey “Monster Seats” sold each year to fans lucky enough to win a lottery for the right to purchase them. At the same time, they’ve opened up the venue for charity events, and the team involves retired players in Red Sox events in dignified ways. It is what it is: a well-loved public space in the hands of private owners.

As a fan it’s hard not to feel that in its service to nostalgia, the preservation and celebration of Fenway really just makes it another platform for marketing and promotions from corporate sponsorship packages to discarded seats for your man cave.

At Fenway, fans become players in the Fenway Park game-day pageant, just like the guy walking on stilts outside the park, the peanut-throwing vendors, and the legions who belt out “Sweet Caroline” in unison late in the game without really knowing why they’re doing it.

The chance of serendipity creeping into your personal experiences on a visit there is likely to be overshadowed by a guided, planned experience tied to a profit center: sitting in the Budweiser Right Field Roof Deck or the Coca-Cola Corner Seats. In the economics of today’s Fenway, “customer service,” like better food selections and bigger T-shirt kiosks, trumps old-school customer experience.

Maybe then this is the lesson that Fenway Park 100 will teach us: The owners bought a beloved ballpark that just happened to come with a baseball team.

Image: Flickr user Mike Burton, Stewart Dawson

Via Fast Company: http://www.fastcompany.com

17 March
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The Importance of Brand in an Era of Digital Darwinism

Part of an unpublished appendix for The End of Business as Usual

Think of your favorite brand, and the first thing to come to mind is likely a logo, such as the Coca-Cola scripting, a tag-line, such as Nike’s “Just do it,” or a jingle – remember the Oscar Meyer Wiener song? These may be the aspects of a brand you remember, but they are no longer the most important aspects of branding today. Identity, persona, essence and promise, are the new kings and queens of the branding kingdom, thanks to technology and the deeper connections it opens up between brands and consumers.

Markets, consumer behavior and how businesses connect with customers are all directly impacted by technology. Looking at the rapid erosion of Blockbuster’s business model, it’s clear to see the impact that technology can have on consumer behavior. During Blockbuster’s initial bankruptcy filing, CNBC’s The Faber Report summarized it this way, “At the end of the day, this is one of those bankruptcies that’s not really about a financial situation as much as it’s about seminal changes in how people ultimately watch video.”

The increasingly important role of technology, combined with global economic unrest, means a company’s brand is more important today than it has ever been. Consumers, in search of certainty, rely heavily on a brand’s symbolism and significance. We don’t have to look much further than Netflix for a recent example of what happens when executives misread the impact of technology and consumer demand and in turn, make decisions that have negative effects on the business and the brand. In this case Reed Hastings and company raised prices, which sent customers in an uproar. Feeling the effects of negative sentiment from a full-blown PR crisis and a declining stock price, Netflix opted to divide the company into two entities, Qwikster would handle DVDs and Netflix would focus on digital and streaming. The company caved to consumer and investor pressure however and folded the two entities back under Netflix, killing off Qwikster as quickly as it introduced it. Netflix customers weren’t ready for such a bold move toward a new direction. But, any form of market research that studied conversations in social networks or quite simply, a customer engagement program would have revealed the state of consumer needs. Netflix now must focus on rebuilding its brand to earn and re-earn trust before it can take another aggressive move into the future.

Brands that fail to instill this level of confidence in consumers run the risk of falling to digital Darwinism. The brands that survive this era of economic disruption, will be the ones that are best able to evolve because they recognize the need and opportunity to do so, before their competitors .

Survival of the Fitting

Digital Darwinism is the evolution of consumer behavior when society and technology evolve faster than some companies’ ability to adapt.

The point of natural selection is that not every business will make it. As Edward Lawler and Christopher Worley note in their book Built to Change, “An analysis of Fortune 1000 corporations shows that between 1973 and 1983, 35% of companies in the top 20 were new.” Their work showed that the number of new companies rose to 45 percent between 1983 and 1993. That number increased to 60 percent between 1993 and 2003. And, as they so appropriately asked, “Any bets [as] to where it will be between 2003 and 2013?”

To further their point, a recent ad produced by Babson College cited a rather humbling statistic; “Over 40% of the companies that were at the top of the Fortune 500 in 2000 were no longer there in 2010.”

We’ve witnessed the demise of seemingly invincible brands in the U.S., such as Circuit City, Borders Books, Wherehouse, Tower Records, Pontiac, Saturn, and Palm among others. Meanwhile, grim predictions show that the pattern has no end in sight. In June, 24/7 Wall St. published its annual list of “Ten Brands That Will Disappear in 2012.” The publication predicts the demise of some of the world’s most recognizable brands, including Sony Pictures, American Apparel and Nokia.

What separates brands that falls to digital evolution from those that excel is the ability to recognize the need for change and the vision to blaze a path toward renewed relevance among a new generation of consumers.

Branding is More Important Than Ever before

In 1984, Apple stunned the world with its now iconic “1984” commercial. It firmly established Apple’s brand and ultimately set the stage for the company’s significance in the emerging personal computers market. The commercial attained legendary status, but Apple, like every brand, would still need to relentlessly compete for attention and relevance.

A year later, Apple attempted to match its previous success with “Lemmings,” a commercial that dramatized the lemming-like behavior of the PC-based workforce. The ad, while arguably brilliant, was widely considered a flop, since following the image of businessmen following one another over a cliff confused customers. Over time, Apple’s brand slowly degraded, losing touch with its core audience and missing an opportunity to connect with the growing base of consumers seeking personal computers.

When Steve Jobs returned to Apple in 1997, he was on a mission to not only turn the company he co-founded around, but also rebrand the company to connect with consumers. In a recently surfaced internal video, Jobs focused on the importance of brand as he introduced the employees to its iconic advertising campaign, “Think Different.”

“For me, marketing is about values,” said Jobs,”This is a very noisy world and we’re not going to get a chance to get people to remember much about us. So, we have to be very clear what we want them to know about us.”

The company then looked inward in an attempt to answer the questions: Who is Apple; What does it stand for and where does the brand fit in the world.

“What we’re about isn’t making boxes for people to get their jobs done,” said Jobs during the company meeting,” Apple’s core value is that we believe people with passion can change the world…for the better. Those people, crazy enough to think that they can change the world are the ones that actually do.…Here’s to the crazy ones.”

The “Think Different” campaign would run from 1997 to 2002 and effectively rebrand Apple for years to come. But that was just one example of how the company would use branding to compete for attention and relevance over the years.

Brand Empathy: Always Improve Experiences

In 2011, Millward Brown Optimor released its annual BrandZ survey that ranked and valued the world’s top brands.

Apple surged to the number one spot, soaring 84 percent relative to its 2010 ranking. The company boasts a brand value estimated at $153 billion. Google came in second, however its brand value fell by 2 percent to $111 billion. IBM came in third, with a 17-percent increase in brand value year over year to tie Google at $111 billion. McDonald’s ranked fourth, growing 23 percent and earning a brand value of $81 billion.

Any other company would likely be thrilled to be in fourth place, but not McDonald’s. The company is undergoing its most extensive store-by-store makeover in the chain’s 56-year history. Gone are the famous yellow and red interior colors. The fiberglass tables and steel chairs have also been removed. Instead, McDonald’s is adapting to a new era, creating an experience marked by muted colors, wooden tables and faux leather chairs. And, that’s just the beginning. McDonald’s is pouring $1 billion into redesigning the consumer experience. The goal is to provide create an elegant and upscale presence similar to that of Starbucks, Chipotle, and Panera Bread.

As Jim Carras, senior vice president of domestic restaurant development for McDonald’s told USA Today, “McDonald’s has to change with the times and we have to do so faster than we ever have before.”

Meanwhile, don’t expect Apple to slow down despite its newly-minted, first-place position. Apple will continue to innovate, even as the company mourns the loss of its chief visionary. Expect Apple to continue to inspire meaningful experiences, and establish a sense of unparalleled belonging. This is the charge of any brand that wants to stay at the top of the brand value list. In the face of digital Darwinism, reinvention, constant relevance, and perpetual value become the pillars for an adaptive business.

Everything begins with embracing a culture of innovation and adaptation — a culture that recognizes the impact of disruptive technology and how consumer preference and affinity is evolving. Social and mobile networks, tablets, smart phones, syndicated commerce, augmented reality, and gamification represent some of the game changers that businesses must either embrace or deeply study to determine bottom line impact. If a organizations cannot recognize opportunities to further compete for attention and relevance, it cannot, by default, create meaningful connections, a desirable brand or drive shareable experiences. The brand, as a result, will lost preference in the face of consumer choice, which may one day lead to its succumbing to digital Darwinism.

Perhaps Jobs said it best: “This is a very noisy world, so, we have to be very clear what we want them to know about us.”

I would just add…”and never stop.”

#AdaptorDie

Image credit: Shutterstock

Via Brian Solis: http://www.briansolis.com

02 March
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Electrical Grid At Risk From Terrorists

Could America’s electrical grid be targeted by terrorists or hostile foreign states? Anything’s possible. Is a catastrophic electrical grid attack likely? The House of Representatives held a hearing this morning on “smart grid” attacks–and it appears that modernization of electrical utilities nationwide has left huge security loopholes that hackers can exploit.

The hearing, held by the Oversight & Investigations Subcommittee of the House Energy & Commerce Committee, featured testimony by officials from the Government Accountability Office (GAO), and the Congressional Research Service (CRS). National Security Agency head Gen. Keith Alexander has previously told the White House about his fears that Anonymous could attack America’s electric grids and cause blackouts.

Rep. Henry Waxman (D–CA) expressed concerns about “unexpected terror attacks or hacking attempts” against America’s energy infrastructure. Another subcommittee member, Rep. Diana DeGette (D–CO) noted that smart grid technology–which connects electrical grid infrastructure to the Internet for cost-savings, ease of use, and added services for consumers–is also uniquely at risk from damage by malicious hackers.

Our Representatives are right about the risk… though, to Gen. Alexander’s detriment, it’s not from Anonymous. Gregory C. Wilshusen of the GAO gave sobering written testimony. While the conversion to a smart grid has modernized America’s electrical infrastructure, neither the government nor utility firms have been acting to close urgent security gaps. No monitoring is taking place of electrical utility providers to guarantee that even minimal cybersecurity standards are being put into place. No trade group or coordinating organization has created metrics to measure cybersecurity for energy suppliers. Information-sharing between utility providers is still the exception to the rule. Most worryingly of all, new smart grids still do not include basic event logging and forensic capabilities.

Anonymous spokespersons have explicitly stated that the hacktivist collective is not interested in smart grid attacks. In a post on the quasi-official AnonOps Communications blog, Anonymous responded, saying “Ridiculous! Why should Anonymous shut off power grid? Makes no sense! They just want to make you feel afraid.”

However, the threat to the electrical grid likely is not from Anonymous–it instead lies with foreign states interested in damaging the USA’s economy. In 2009, it was revealed that Chinese and Russian cyberintruders routinely break into American electrical companies. The bulk of the break-ins were discovered by American intelligence officials, not the victimized utility companies.

For more stories like this, follow @fastcompany on Twitter. Email Neal Ungerleider, the author of this article, here or find him on Twitter and Google+.

Image: Flickr user Lydiashiningbrightly

Via Fast Company: http://www.fastcompany.com

10 February
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The Best Of The Best: The IxDA Selects The Best Interaction Design Of 2012

A dashboard that encourages eco-friendly driving, a tiny music sequencer, and a cell phone geared toward old folks count among the winners of the Interaction Design Association’s (IxDA) first annual Interaction Awards.

The awards tip a hat to the best interaction design of 2012–to the work of designers who “create meaningful relationships between people and the products and services that they use,” as the press materials say. The jury, led by V.P. of Creative at Frog and Co.Design expert blogger Robert Fabricant, selected 27 projects from an international pool of 300. Winning projects included mobile apps, web programs, car displays, and electronics, and spanned clients both big (Ford, Pepsi) and small (a science museum in Brazil).

 

The grand-prize winner was a tiny music player for the Sifteo Cubes.

Interaction design often involves using technology in novel ways to solve old problems. That’s exemplified neatly by the winner of the Best Concept category. Vitamins’s Out of the Box is a cell phone embedded in a large hardback book that doubles as an instruction manual. It’s conceived as an intuitive way for the elderly–and really, anyone tech-shy–to set up a new phone.

Many of this year’s winners went beyond just polishing the user-product experience to modify how consumers actually behave. Take ReadyForZero, a free program that empowers people to check their spending–and take charge of their personal finances–via simple-to-navigate, online tracking tools:

Or Smart Design’s dashboard for Ford’s 2010 hybrid sedans:

The SmartGauge with EcoGuide promotes fuel-efficient driving by using digital leaves to reveal how quickly your lead foot empties the gas tank (without being so distracting, you veer straight into a tree). The message: Good IxD shapes how people interact with individual products. But great interaction design can shape how people interact with the world.

The full list of winners:

  • Appie, IceMobile, Amsterdam, The Netherlands (Best in Category, Optimizing)
  • B-Cycle, Crispin, Porter + Bogusky, Boulder, USA (Optimizing)
  • FoodHub: a digital community where local food people, ISITE Design, Portland, USA (Connecting)
  • Ford SmartGauge, Smart Design, San Francisco, USA (Best in Category, Disrupting)
  • Google Art Project, Possible Worldwide, New York, USA (Expressing)
  • HBO GO Mobile Applications, HUGE, New York, USA (Engaging)
  • I want ToBe… Course, ToBe Worldwide, Amsterdam, The Netherlands. (Empowering)
  • Interaction Cubes, Fundação Oswaldo Cruz/Museu da Vida, Rio de Janeiro, Brazil (Best in Category, Engaging)
  • LoopLoop, Stimulant/Sifteo, San Francisco, USA (Best in Category, Expressing; Best in Show)
  • Out of Box Experience – Accu-Chek Aviva, Frontend.com, Dublin, Ireland (Optimizing)
  • Out of the Box, Vitamins, London, England (Best Concept)
  • Pas a Pas, CIID/Ishac Bertran, Copenhagen, Denmark (Expressing, Best Student)
  • Peel, Peel, Mountain View, USA (Disrupting)
  • Pepsi Refresh Project, HUGE, New York, USA (Best in Category, Connecting)
  • Plug-In-Play, Rockwell Group, New York, USA (Connecting)
  • ReadyForZero, ReadyForZero, San Francisco, USA (Optimizing)
  • Spotify Box, Umea Institute of Design, Umea, Sweden (Disrupting)
  • Steps, Art Center College of Design, Los Angeles, USA (Connecting)
  • SWYP: See What You Print, Artefact, Seattle, USA (Disrupting) (Pictured up top)
  • Teaching Channel, Method, Inc., San Francisco, USA (Empowering)
  • The Film Room, R/GA, New York, USA (Expressing)
  • The Waste Land, Touch Press LLP, London, England (Disrupting)
  • University of Oregon Ford Alumni Center, Second Story Interactive Studios, Portland, USA (Engaging)
  • We Remember/ Explore 9/11, Local Projects LLC, New York, USA (Engaging)
  • Windows Phone 7.5 (Mango), Microsoft, Seattle, USA (Connecting)
  • Xero, Xero, Wellington, New Zealand (Optimizing)

Via Fast Co Design: http://www.fastcodesign.com

30 January
0Comments

Brand-Jacking: Social disaster or the highest form of flattery?

Guest post by Ekaterina Walter, a social media strategist at Intel. She was recently elected to serve on the Board of Directors of Word of Mouth Marketing Association (WOMMA). Follow her on Twitter

With the growth of social media and all the two-way channels of communication open to organizations, brand identity is potentially stronger but more at-risk than ever. Losing control of your brand’s ‘voice’ can be hugely damaging. And companies who have been brand-jacked, that is, had their brand hijacked, often move quickly to shut down the problem. But brand-jacking doesn’t have to be a negative thing. Companies that have learned lessons from the feedback it has given them can grow from the experience. Let’s look at the good, the bad and the ugly of brand-jacking.

Cultural awareness

Writers who long for their characters to take on a life of their own would give their right arm to see their creations appearing on Twitter with their own profiles. Lord Voldemort, Darth Vader, Frodo Baggins and Edward Cullen all tweet regularly. Some accounts are more flattering to the original creation than others, and at some point brand managers have to decide how far they are comfortable in letting these unauthorized versions take the joke. AMC famously blocked the unofficial (but character-faithful) Twitter accounts of the Mad Men characters, only to backtrack when fans complained. AMC may have realized too late that social media character-jacking can be a sincere form of flattery and the ultimate proof that your fictional creation has made the transition to cultural relevance.

Identity jacking

Twitter-jacking isn’t limited to fictional characters. When your name is also your brand, this can potentially be very damaging. Celebrities and politicians have had their social media accounts hacked, and there can be multiple fake accounts for high-profile individuals at any one time. While Barack Obama, Sarah Palin, Britney Spears and Miley Cyrus have all been victims of malicious hacking, some fake accounts are more amusing than malevolent. Many are so obviously fake as to not cause offense. Some are created for a satirical or surreal purpose.

Bad PR

The creation of malicious fake Twitter accounts can be equally detrimental to companies and organizations. There have been many examples of Twitter accounts being hijacked in protest to a company’s unpopular policy or handling of an event. Oil companies Exxon Mobil and BP have both been victims of Twitter impersonation, and following BP’s handling of the 2010 Deepwater Horizon oil spill disaster, the satirical @BPGlobalPR has attracted over 160,000 followers.

While this can be seen as a brand disaster, a company wishing to engage in some positive PR could use the feedback such channels offer to gauge the public’s perception and respond accordingly. Contrast the endless examples of companies who delete negative blog and Facebook posts with the policy of the @virginmedia team. The company makes a point of responding to every customer online mention whether it is positive or not. In one case, a woman tweeted that her Virgin Media connection wasn’t working and her two year-old daughter was upset at having to miss her favorite TV show, Peppa Pig. Not only did Virgin send an engineer immediately, he was carrying a Peppa Pig toy for the little girl. Think what this type of response can do for your brand perception, loyalty and preference!

Fake Amazon reviews and tags

Following the popularity of the Amazon ‘The Mountain Three Wolf Moon Short Sleeve Tee‘ prank, protesters have begun to use Amazon’s open review and tagging model to highlight unpopular products or issues. The pepper spray used in the UC Davis Occupy incident has been given over 360 tongue-in-cheek reviews on its Amazon page, as well as satirical product images and tags such as ‘tools of fascism’, ‘oppression’ and ‘police state.’ Note, the product is currently listed as unavailable. Similar cynical additions have crept into otherwise serious product pages, particularly books by controversial public figures or products by companies with disputed ethical practices.

Aspirational branding

One problem facing aspirational, luxury brands is when their product is adopted by an undesirable demographic, which can lead to the alienation of their core customers. This occurs most commonly with name-checking by rappers or in popular culture although it is rarely a serious concern.

A more serious predicament is when the product has such an identifiable design that a mainstream take-over can have a disastrous effect. This happened in the 1990s in Britain to Burberry when its iconic tartan pattern became popularized by soccer players, then adopted by working-class fans who wore cheap imitations to such an extent that its customer base abandoned it in droves.


Image: goodhumormarketing.com

Knowing where to draw the line

Brand managers are always going to want to deal with a negative image but sometimes an over-reaction can lead to more bad publicity than simply doing nothing. The recent attempts by Stella Artois to move away from their ‘wife beater’ stereotype. For those who don’t know, the beer’s high percentage of alcohol was allegedly linked with violence and anti-social behavior in Europe. When the company attempted to make changes to its Wikipedia page to remove the ‘wife beater’ reference, it backfired when the deletion was traced back to its own lobbying group. Given Wikipedia’s ethos of user-generated material, this led to a backlash that was quickly picked up in the press. The references were restored on Wikipedia, but the negative publicity had already reached a far wider audience than the original Wikipedia article.

The good side of brand-jacking

But image hijacking can work the other way. Corona was originally marketed in the USA as a Mexican beer for Mexican people. Then, it was adopted by surfers in the 1970s who identified with it as a ‘beach beer’. They helped to popularize Corona among the wider population and by the late 1990s, it had overtaken Heineken as the number one imported beer.

Customer evangelism

It can be difficult for companies to let go of their tightly-controlled image and allow fans to steer the direction of a brand. But the enthusiasm of fans can be instrumental in popularizing products or media. Coca-Cola’s fan-created Facebook page was the second most popular page on Facebook in 2009. Company representatives asked to partner with them rather than demanding to take it down, realizing the power of fan-driven social media. Many brands choose to create an official page alongside unofficial ones knowing that heavy handed attempts to block fan pages can lead to a damaging backlash. Although, there is always the problem that a site’s popularity can be potentially damaging if it publishes unfavorable news or views about the company to thousands of followers.

Conclusion

The rise of social media has given customers unprecedented access to brands. This can be a double-edged sword: companies are able to communicate with customers in more ways than ever, but brand managers need to be aware that communication is a two-way process. Customer expectations have risen accordingly and they are willing to act against companies who don’t meet their expectations. Managing communications successfully, however, can be enormously valuable to a company that recognizes the importance of its customers’ voice.

Registered Image: Shutterstock

Via Brian Solis: http://www.briansolis.com

17 January
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Gibson Guitar And IBM: The Art, And Science, Of Doing Well By Doing Good

At first glance, Nashville-based Gibson Guitar and Armonk-based IBM are about a million miles apart in almost every way imaginable. Privately held Gibson makes musical instruments, many of them by hand, much the same way they did 100 years ago. Publically held IBM continues to reinvent itself, delivering service and technology that wasn’t imaginable a century ago.

Nonetheless, both of these brands are leaders in their respective arenas–Gibson the artist, if you will, and IBM the scientist. More profoundly, both companies share a common commitment to their communities as exemplified by Gibson’s GuitarTown and IBM’s The Great Mind Challenge. A closer look at these two programs will reveal the art and science of doing well by doing good.

You’ve Got to Start Somewhere (So Just Start)
When Nina Miller, now President of the Gibson Foundation, first approached the CEO of Gibson (Henry Juszkiewicz) in late 2003 about the idea of a public arts project featuring 10-foot guitars crafted by local artists, she was in unchartered waters. “I went and got permission from the mayor’s office and then I kind of figured it out from there,” recalls Miller. Six months and a lot of hard work later, 50 giant guitars adorned Nashville’s sidewalks and over $400,000 had been raised for local charities by auctioning off the guitars.

Also conceived in 2003, the Great Mind Challenge started in India as IBM looked to educate the next generation of IT workers. Since then, it has become a “global academic initiative” in which classrooms become laboratories for solving actual business challenges and students engage with outside thought leaders. Interestingly, this program is just now launching in the U.S. at San Jose State University. SJSU Professor Larry Gee, who is running the program, elaborates, “Students work on real business problems in real time to learn and apply social business tools and processes.”

You Can’t Do Good All By Yourself
GuitarTown is a complex program that involves artists, musicians, city governments, and numerous sponsors. Artists create the guitars, the musicians lend their celebrity by signing the sculptures, cities provide the public art space, and sponsors defray the costs. “We did want it to be a community effort,” Miller says. Because each participant had something to gain from being involved in the program, all were eager to get on board.

Similarly, The Great Mind Challenge brings together a broad cross-section of talent. “Students receive education, tuition and mentoring from social business thought leaders, authors, top executives in the social business arena and, of course, IBM social business experts,” says Michael Riegel, IBM’s VP of Academics and Startups. And while the students are learning, corporations get fresh thinking about their challenges and universities gain access to new technology they might not otherwise afford.

Good for the Brand Is Good, Too
While GuitarTown generates goodwill by creating public art and donating auction proceeds to a broad range of nonprofits, the core of this program is a celebration of guitars and the musicians who play them. The art itself, after all, is inspired by the iconic Les Paul and Chet Atkins model guitars. Additionally, the musicians/celebrities who sign these larger-than-life sculptures are essentially endorsing the Gibson brand, albeit for socially conscious purposes. Ultimately, the good that comes out of GuitarTown leads to positive associations with the Gibson brand.

The connection between IBM’s most recent program with San Jose State and IBM’s push around “social business” is obvious. But that doesn’t make it less “good,” especially to the students enrolled in the program. “When you are given access to the latest materials and platform to create a social business, then this is collaboration at its highest–this is where academia and business intersect,” explained SJSU’s Gee. This is a win-win scenario, in which what’s good for the brand is also good for the community.

Doing Good Is a Journey, Not a Destination
After a successful debut in Nashville, GuitarTown has been rolled out in successive years to Austin, London, Orlando, Miami, and LA’s Sunset Strip, raising over $2 million to date. Gibson just announced that Waukesha, Wisc., the birthplace of Les Paul, will be the next stop. Resisting the temptation to try something new, Gibson has stuck with the program, evolving along the way. “Each city has handled it a little differently, yet each delivered great publicity for Gibson and several charitable causes in each city,” Miller said.

Although IBM just introduced The Great Mind Challenge in the U.S., the program has grown steadily on a global basis. Riegel reports that this unique initiative “has attracted over 100,000 students and hasn’t only focused on social business skills–IBM is also mentoring students in key areas of technology and engineering, including analytics, programming and software development.” Companies that are looking to do well by doing good should take note that such programs require a long-term commitment.

These two exceptionally “good” programs have many other commonalities. First, both are from brands that are well respected in their fields, which, Miller says, “opens a lot of doors.” Both look a lot like marketing as service, providing demonstrable value (versus traditional advertising messaging) that enables a deeper and more meaningful relationship with a broad target audience. Finally, there is a lot more to each of these than I could squeeze into 900 words–so be sure to see my interviews with Gibson’s Nina Miller, SJSU’s Larry Gee and IBM’s Michael Riegel on TheDrewBlog.com.

Images: Flickr users Isamel Munoz, and Thelonious Gonzo

Via Fast Company: http://www.fastcompany.com

04 January
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Our Responsibility as Media Channels

Jacqueline Carly

Going into 2012, I’m thinking that we are very responsible to consider what we publish and curate as media channels, should attention, platform-building, and better community relationships be our goal. In thinking about all your various uses of social networks, if you are working with the mindset that they are all tied together as a larger media property for yourself, it becomes important to think about what you’re putting through those channels. Attention is a currency, and if we spend too much of other people’s attention on frivolous posts and shares, we risk losing that attention.

This is a Fork in the Road Situation

As with all matters, you can choose not to view your efforts in blogging and social media as anything more than self expression and personal communication. That’s perfectly fine. If that’s your goal, then this post isn’t for you. If you want to think about what your media making can do for your professional pursuits, then read a bit further.

Our Responsibility as Media Channels

You are creating information every time you post something on your blog, on YouTube, on Facebook, on Twitter, on FourSquare, and everywhere else. You might not think of it that way, but you are. You’re also sending a singal: “Here’s something new. Here I am poking at your attention.” You are also creating or missing the creation of an opportunity, such as whether to take a further action, or whether to elicit a response, etc. You are also contributing to, or detracting from the interests of a community, even if that community is fluid or overlapping. You are also blessed with the opportunity to entertain, educate, and maybe even compel someone. What if you look at this as your responsibility? What if you looked at all we just outlined with an eye towards making something bigger than just noise?

  • I have created information. What was my purpose in sharing it?
  • I have sent a signal. What do I want that signal to be?
  • I have or haven’t created an opportunity. What is it, or why not?
  • I am contributing to or detracting from my community. Which is it?
  • I am entertaining, educating, or compelling with my information. Which is it?

Look at your last three Facebook posts, your last five tweets, your last few entries into Google+ and Foursquare. How would you answer the above questions?

You Are a Magazine and a TV Station

I’ve already written about this in the past. We are a world of fledgling TV stations. That means we need to think about our programming. We have to think about our audience. We have to think about what we’re hoping to achieve. Up until now, MANY of us look at our creations on the social web as temporary things that fly by and not a body of work. We think of them as quick messages and blips and not some collection of materials. Like I said, there’s a fork in the road. You can keep doing that for sure. But I think the extended business benefits of using the social web go away rather soon for those people who use their channels too loosely.

I’ll say that again: the quality and value of your efforts on the social web will dry up this year (2012), as more and more saturation take us to the point where we can’t even bother to read tweets any longer.

Preparing for the New Media World

First, typing “new media” makes me laugh, because we’ve been talking about new media since the late 90s, and I’ve been writing about it since maybe 2005 or so. By “new,” in this case, I just mean our new approach to using it in a more concerted way. The ‘gee whiz’ has worn off, and now, if you’re looking to build professional value from this whole jumble of the social web, it’s important to start thinking like a TV station and a magazine and start building out content that takes advantage of that.

What’s first? Your mission as it applies to your community. And let’s use the term “community” loosely, because maybe you haven’t yet formed a community large enough to reach your goals. But let’s grow into that. Your mission, of course, is to serve that community. Whatever way you answer that question, phrase it that way. Your mission isn’t to grow rich by making amazing webinars that sell your crap. Your mission is to create useful information that enhances the lives and efforts of the community you are fortunate to serve. No matter WHAT your role and no matter WHAT industry you’re in, that’s the mission.

If you’re Christopher Lynn and the team at the Colonnade Hotel in Boston, your mission is to educate your guests and prospective guests on the benefits of staying there, and on the city you serve: Boston. If you’re Chris Zoller at Polar USA, your mission is to educate your fledgling and professional athletes on the world of fitness and health that your products so excellently serve. If you’re Mike Elgan from Elgan Media, your mission is to entertain your readership and make us think (Mike’s already a media company).

Your Responsibility as Consumers of Media

Oh, and we have a new responsibility as consumers of media, too. We can’t just read things, hit the +1, and move on. We can’t just absorb posts, nod a little, then move to the next bite. We can’t buy the latest and greatest business books and get through a handful of chapters, and rush to the next thing. This year, your role and responsibility around the consumption of media is twofold:

  1. Don’t just consume, absorb. Take it allllll in.
  2. Share. And don’t just push the stumble, the retweet, etc, but give some value to the share by giving your points, adding your two cents, blogging a piece around it, etc. If you had time to read it, take the time to share it well.

It’s A Choice

You have choices in all of this. You can choose to sink beneath the waves and just enjoy the chitty-chatty web. There’s nothing wrong with that at all. But if your goal is to use these tools to improve your business, today is Day 1. Take up your responsibility. Work on it today. Don’t post all over the place today. Instead, observe a day of silence while you rethink matters.

Oh, and you can still have fun and be funny. Just make sure that’s also part of your channel’s intents. It sure is for mine.

What say you? Are you in?

Chris Brogan is an eleven year veteran of social media using both web and mobile technologies to build digital relationships for businesses, organizations, and individuals.

23 September
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The Sad State of AT&T’s Quest to Acquire T-Mobile

The Social Analyst is a column by Mashable Editor-at-Large Ben Parr, where he digs into social media trends and how they are affecting companies in the space.

It’s safe to say that AT&T CEO Randall Stephenson has had a pretty awful couple of weeks.

When AT&T announced its blockbuster acquisition of T-Mobile, it seemed as if a fundamental shift in the wireless market was inevitable. Even with opposition from Sprint, many assumed AT&T’s strategic planning and lobbying dollars would win it approval for the $39 billion deal.

All of AT&T’s plans are out the window now, though.

Late last month, in a surprisingly swift move, the U.S. Department of Justice moved to block the deal. The DoJ filed a civil antitrust lawsuit backed by the FCC, drastically reducing the chances that the wireless giant could complete the merger.

AT&T and Deutsche Telekom (parent company of T-Mobile USA) quickly moved to downplay the decision, claiming that they were “confident that this merger is in the best interest of consumers and our country, and the facts will prevail in court.”

Since then, two more parties have gotten involved on each side of the debate. On one side, 15 Democratic members of the House of Representatives sent a letter to President Obama urging his administration to resolve its concerns about the deal and “approve the proposed merger between AT&T and T-Mobile USA.”

On the other side, seven states this week joined the Department of Justice lawsuit. California, Illinois, Ohio, New York, Massachusetts, Pennsylvania and Washington are now parties to the case. Their entry doesn’t bode well for AT&T.


The Possibilities


At this point, there are four potential outcomes for this case:

1. DoJ wins its case and blocks the AT&T merger.

2. AT&T wins its case and the merger moves forward.

3. AT&T withdraws its acquisition before a decision is rendered.

4. AT&T and the DoJ settle the case, and the merger moves forward with conditions.

Of the four, #2 is the most unlikely. The DoJ doesn’t like picking antitrust fights it cannot win, and AT&T would definitely have to find creative ways to convince a judge that a T-Mobile acquisition wouldn’t hurt competition. Outcome #1 is also unlikely — we believe that AT&T would withdraw its acquisition before suffering an embarrassing defeat in court.

That leaves either a settlement or a withdrawal of its acquisition. It’s clear at this point that AT&T is hoping to find some way to settle with the DoJ to get the deal done. “We have been and remain interested in a solution that addresses the DOJ’s issues with the T-Mobile merger,” AT&T said in a statement when the news broke of the seven states joining the DoJ’s case.

In the end, this could all be posturing by the DoJ to get concessions out of AT&T before approving the deal. More likely though, this is the DoJ putting its foot down on a deal that many (including me) believe to be bad for consumers.

AT&T’s arguments that the deal will not hurt competition sounds like convoluted drivel from desperate spin doctors. One of the company’s big arguments — that the merger would bring 4G LTE coverage to rural areas faster — was quickly destroyed after a leaked letter revealed AT&T could make the same 4G LTE upgrades for $3.8 billion, a fraction of the cost of T-Mobile.

The bottom line is this: The merger is anti-competitive no matter how you slice it, and there was no way the DoJ could let this deal pass.

It’s not the outcome Randall Stephenson was hoping for. AT&T is going to experience a lot more pain before the outcome of this case is finally decided.

Via Mashable: http://www.mashable.com

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An online marketing and design agency in Portland Oregon