Upload
david-feenstra
View
960
Download
2
Tags:
Embed Size (px)
DESCRIPTION
Why it is important that people talk about what you make and how you can trigger these conversations.
Citation preview
SHAPING PHENOMENA
April 1, 2011
How to maximize internaliza=on & externaliza=on
2 / 58 SHAPING PHENOMENA
A phenomenon is any observable occurrence (from Greek: phainómenon “that which appears”).
3 / 58 SHAPING PHENOMENA
General mo=ve
In our age of informa=on, rhetoric has become redundant and can even get downright offensive.
We need to move from messaging to meaning.
4 / 58 SHAPING PHENOMENA
We are not passive receivers of an independent reality.
To be able to make sense of a complex world,
we form mental construc=ons as representa=ons of reality.
Individually and in groups…
5 / 58 SHAPING PHENOMENA
PHENOMENAL REALITY
INDIVIDUAL REALITY SOCIAL REALITY
Social construc2on Percep2on
Internaliza2on
Externaliza2on
-‐ Ref: Giep Franzen & Marieke van den Berg -‐
6 / 58 SHAPING PHENOMENA
Social construc2on Percep2on
Internaliza*on
Externaliza2on INDIVIDUAL REALITY SOCIAL REALITY
PHENOMENAL REALITY
7 / 58 SHAPING PHENOMENA
Our view of the world is a social construc=on.
We adopt customs and beliefs from our social environment.
Through internaliza=on this becomes an individual reality.
Internaliza=on is the process of acceptance of a set of norms established by people or groups influen=al to the individual.
8 / 58 SHAPING PHENOMENA
Social construc2on Percep2on
Internaliza2on
Externaliza*on INDIVIDUAL REALITY SOCIAL REALITY
PHENOMENAL REALITY
9 / 58 SHAPING PHENOMENA
The processes of percep=on rou=nely alter what we see.
We constantly expose our individual reality.
Through externaliza=on we match it with our social environment.
Externaliza=on is an unconscious defense mechanism where an individual projects his own internal characteris=cs
onto the outside world, par=cularly onto other people.
10 / 58 SHAPING PHENOMENA
Why are these processes so important?
11 / 58 SHAPING PHENOMENA
Internaliza=on creates trust
Degree of trust in different forms of adver=sing -‐ The Nielsen Company -‐
12 / 58 SHAPING PHENOMENA
Externaliza=on creates reach
13 / 58 SHAPING PHENOMENA
How to maximize internaliza=on & externaliza=on?
14 / 58 SHAPING PHENOMENA
Social construc2on Percep2on
Internaliza*on
Externaliza2on INDIVIDUAL REALITY SOCIAL REALITY
PHENOMENAL REALITY
15 / 58 SHAPING PHENOMENA
i1. CREATION
The act of making, inven=ng or producing.
16 / 58 SHAPING PHENOMENA
Create something never seen before. Embrace new technologies.
Create newness by mashing up culture.
17 / 58 SHAPING PHENOMENA
A culture of mul=tasking, on-‐the-‐go consump=on and 24/7 connec=vity, requires designs for con=nuous development and change.
18 / 58 SHAPING PHENOMENA
Don’t talk about it, do it
Help customers drive efficiently
Stop selling your product for a day
Fund sustainability ideas
19 / 58 SHAPING PHENOMENA
Stop communica=ng products, start making communica=on products.
-‐ Gareth Kay -‐
20 / 58 SHAPING PHENOMENA
Conclusion Maximize internaliza=on by crea=ng new tangible projects and products.
21 / 58 SHAPING PHENOMENA
i2. SIGNIFICATION
The act or process of giving meaning by using signs.
22 / 58 SHAPING PHENOMENA
A sign is an observable unit of meaning that refers to an absent object.
23 / 58 SHAPING PHENOMENA
Rela%on between sign & absent object
Iconic Rela=on based on resemblance Photos, typography, pictograms
Indexical Rela=on based on experience Indica=ons, names, symptoms
Symbolic Rela=on based on agreement Words, badges, logos
24 / 58 SHAPING PHENOMENA
A sign acquires meaning in 3 stages:
Firstness is how the image itself is perceived (affec=on). Meaning can s=ll develop in any direc=on.
Secondness is no longer about affec=on, but understanding of the context of the image. Meanings are not yet fixed.
In Thirdness the meanings of signs are no longer emerging.
-‐ Charles Sanders Peirce -‐
25 / 58 SHAPING PHENOMENA
Firstness
Secondness
Thirdness
26 / 58 SHAPING PHENOMENA
Conclusion Maximize internaliza=on by using signs,
but allow people to assign their own meaning.
27 / 58 SHAPING PHENOMENA
i3. NARRATION
The telling of a story or of happenings.
28 / 58 SHAPING PHENOMENA
Narra=ve organizes not just memory, but the whole of human experience. Narra=ve is an instrument of mind that constructs our no=on of reality.
-‐ Jerome Bruner -‐
29 / 58 SHAPING PHENOMENA
Narra%ve structures
Linear Story wrioen in the same =me order as it took place.
Mul%-‐narra%ve Two or more stories run alongside each other; either mul=ple people telling the same story or mul=ple different stories that alternate.
Reversed Story moves back in =me or heavily consists of ambiguous flashbacks and/or flash
forwards.
Fragmented Story is all over the place and the audience has to figure out what happened and in what
order.
Metafic%on Story within a story; a type of fic=on that self-‐consciously addresses the devices of fic=on,
exposing the fic=onal illusion.
Rhizome Same story told mul=ple =mes with different twists and endings.
Game Audience is part of the story and has direct influence on it; the story unfolds as they go
along.
30 / 58 SHAPING PHENOMENA
Marke=ng typically follows the Hollywood structure,
aiming at comprehension.
While it should adopt other structures to become more interes=ng.
Nobody comes out of a movie, saying “That was a really good movie. I really enjoyed it.
It was really clear”.
-‐ Russell Davies -‐
31 / 58 SHAPING PHENOMENA
Conclusion Maximize internaliza=on by adop=ng
non-‐linear narra=ve structures.
32 / 58 SHAPING PHENOMENA
i4. DIFFERENTIATION
The act of dis=nguishing by giving specific difference.
33 / 58 SHAPING PHENOMENA
-‐ Jean Baudrillard -‐
Different aspects or quan==es of knowledge, possessions or culture can define our status and
rela=ve grouping.
34 / 58 SHAPING PHENOMENA
-‐ Katz & Lazarsfeld, 1955 -‐
Two Step Flow model
35 / 58 SHAPING PHENOMENA
People tend to have different roles within different social environments.
In a media-‐fragmented world influencer roles become increasingly important.
Meanwhile it takes more effort to reach them.
36 / 58 SHAPING PHENOMENA
Conclusion Maximize internaliza=on by dis=nguishing
between and adap=ng to different social roles.
37 / 58 SHAPING PHENOMENA
Social construc2on Percep2on
Internaliza2on
Externaliza*on INDIVIDUAL REALITY SOCIAL REALITY
PHENOMENAL REALITY
CREATION SIGNIFICATION NARRATION
DIFFERENTIATION
38 / 58 SHAPING PHENOMENA
e5. SENSATION
A percep=on associated with s=mula=on of a sense organ.
39 / 58 SHAPING PHENOMENA
Through the senses we experience reality and create memories.
-‐ Kevin Roberts -‐
40 / 58 SHAPING PHENOMENA
41 / 58 SHAPING PHENOMENA
The screen has replaced the scene. The virtual can be seen as a new dimension of
hyperreality; a perfect copy of reality.
-‐ Jean Baudrillard -‐
42 / 58 SHAPING PHENOMENA
Richness
Mobility
Max. 1” Max. 15” Max. 5” Max. 120”
On-‐the-‐go
All day
On the couch
Evenings weekends
In the office
Weekdays 9 to 5
On the couch
Evenings weekends
Max. 5”
In store
Business hours
Interac=ve Interac=ve Interac=ve Linear Interac=ve
Touch Touch Keyboard Remote control Touch
Call, SMS, Apps, LBS, NFC, music
Apps, sites, magazines, video, books
Websites, documents, video, music
Shows, series, movies
Shopping info
43 / 58 SHAPING PHENOMENA
Conclusion Maximize externaliza=on by designing for
op=mal sensory s=mula=on.
44 / 58 SHAPING PHENOMENA
e6. PARTICIPATION
The act of sharing in the ac=vi=es of a group.
45 / 58 SHAPING PHENOMENA
Tell me, and I forget it, Show me, and I remember,
Let me do it, and I understand.
-‐ Confucius -‐
46 / 58 SHAPING PHENOMENA
People need mo=va=on to get involved.
47 / 58 SHAPING PHENOMENA
Entertainment
Self-‐expression
Experience
Informa=on
Convenience
Economic value
Altruism
Assembly
Connec=on
Compe==on
Reference
Collabora=on
Emo%onal
Ra%onal
We Me
Mo=va=on Spectrum
Note: Model developed by David Feenstra, 2010
48 / 58 SHAPING PHENOMENA
Conclusion Maximize externaliza=on by triggering emo=onal and/or ra=onal mo=va=ons.
49 / 58 SHAPING PHENOMENA
e7. INTERPRETATION
A personal mental representa=on of the meaning of an observa=on.
50 / 58 SHAPING PHENOMENA
Ambiguity allows for mul=ple interpreta=ons.
51 / 58 SHAPING PHENOMENA
52 / 58 SHAPING PHENOMENA
Aesthe=c judgment is realized through spontaneous synchroniza=on of imagina=on and mental capacity.
When there’s harmony we judge the phenomenon as being beau=ful.
When there’s disharmony we judge the phenomenon as being sublime.
-‐ Immanuel Kant -‐
53 / 58 SHAPING PHENOMENA
-‐ Self-‐portrait by Rembrandt van Rijn -‐ -‐ Self-‐portrait by Francis Bacon -‐
54 / 58 SHAPING PHENOMENA
Eide=c features are the features that cannot be changed without affec=ng the true essence of a phenomenon.
Eide=c reduc=on is a form of imagina=ve varia=on in which features such as form, size and characteris=cs are changed in the imagina=on
to find the eide=c features of a phenomenon.
-‐ Edmund Husserl -‐
55 / 58 SHAPING PHENOMENA
Eide=c features of the Common brand are: a product/service with a sustainable nature,
a concept selected by the Common community, and the brand name.
56 / 58 SHAPING PHENOMENA
Conclusion Maximize externaliza=on by nurturing different individual interpreta=ons, while staying true to
the essence of the phenomenon.
57 / 58 SHAPING PHENOMENA
Social construc2on Percep2on
Internaliza2on
Externaliza2on
SENSATION PARTICIPATION INTERPRETATION
INDIVIDUAL REALITY SOCIAL REALITY
CREATION SIGNIFICATION NARRATION
DIFFERENTIATION
PHENOMENAL REALITY
58 / 58 SHAPING PHENOMENA
How to maximize internaliza=on & externaliza=on
1. CREATION – Create new tangible projects and products. 2. SIGNIFICATION – Use signs, but let people assign their own meaning.
3. NARRATION – Adopt non-‐linear narra=ve structures.
4. DIFFERENTIATION – Dis=nguish between different social roles.
5. SENSATION – Design for op=mal sensory s=mula=on.
6. PARTICIPATION – Trigger emo=onal and/or ra=onal mo=va=ons.
7. INTERPRETATION – Encourage different individual interpreta=ons.
CASES
1. CREATION – original outstanding crea=ve expressions 2. SIGNIFICATION – use of ambiguous signs throughout the story
3. NARRATION – narra=ve con=nuously shirs in meaning
4. DIFFERENTIATION – not relevant
5. SENSATION – disturbing visuals and sounds with enormous impact
6. PARTICIPATION – not possible
7. INTERPRETATION – designed to constantly throw the viewer off
DAVID LYNCH
1. CREATION – signature street art full of mischief and mystery
2. SIGNIFICATION – representa=ons of popular culture
3. NARRATION – ever-‐changing narra=ves to trigger specula=on
4. DIFFERENTIATION – not relevant
5. SENSATION – object and context designed to create shock effect
6. PARTICIPATION – not possible
7. INTERPRETATION – no consensus on iden=ty, mo=ve & meaning
BANKSY
MANIFESTO
OBEY Giant is an experiment in phenomenology. Phenomenology aoempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observa=on. The first aim is to reawaken a sense of wonder about one’s environment.
1. CREATION – image stays the same, context is ever-‐changing
2. SIGNIFICATION – sign & context re-‐awaken a sense of wonder
3. NARRATION – narra=ve emerges throughout the experiment
4. DIFFERENTIATION – project ini=ally aimed at influencers
5. SENSATION – discomfor=ng visual expression
6. PARTICIPATION – community is encouraged & enabled to join
7. INTERPRETATION – open experiment without fixed meaning
SHEPARD FAIREY
Arer turning the design of the boole into a popular icon,
Absolut transported this concept to the virtual world…
…and quickly realized it would not be sufficient. Absolut needed to adapt to a changing world.
So they decided to design ever-‐changing narra=ves under the eide=c theme In An Absolut World.
2 expressions…
1. CREATION – installa=ons, projects, products and pieces of art 2. SIGNIFICATION – the Absolut boole turned into an icon
3. NARRATION – the brand as a crossroads of different narra=ves
4. DIFFERENTIATION – collabora=ons with high profile influencers
5. SENSATION – s=mula=on of sound, sight and taste
6. PARTICIPATION – In An Absolut World consumers are co-‐creators
7. INTERPRETATION – no fixed meaning (in some cases)
ABSOLUT
David Feenstra
Strategic Planner
hop://denieuwejuniorstrateeg.web-‐log.nl
THANKS!