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Giuseppe Mauriello: Hopflow is web and iOS social content discovery app which seeks to connect users with a stream of content based on their personal interests. It is similar to other services like Prismatic and Trapit.
From reviewed article by The Next Web:
"Hopflow lets users Discover and share content through following specific topics rather than individual sources, and based on these interests, a personalized flow of stories from around the Web is reeled in.
You’ll need to sign up with your Twitter or Facebook credentials.
Hopflow scanned my Twitter history and, quite accurately, told me all the subjects I am indeed interested in.
You can, of course, manually select and deselect options as you see fit, and once you click ‘Done’, you’ll have a long stream of news stories based around your topics of interest. It’s like Twitter, except you follow topics rather than accounts, and this comparison is given further credence with the ‘Rehop’ feature which lets you share your news with others.
“The social Web is full of content platforms that force people to manually follow and filter through sources and information,” says Erez Pilosof, CEO and Founder of Hopflow. ” In this contextual age, people want tools that are simple and provide targeted information. We believe that discovering and sharing stories about the things that interest you shouldn’t be tedious and time consuming but rather fun and easy. Hopflow eliminates unwanted noise and allows users to sit back and enjoy a beautiful image-based ‘flow’ of relevant content outside of their current social networks.”
Read full article here:
Try out it: http://hopflow.com
Via Giuseppe Mauriello, JoseAlvarezCornett, Beth Kanter
From classic movies to the Mississippi River to a meta map of the world's transit systems.
This map, designed by David Honnorat, twists together 20 lines of classic cinema. A line of "universally acclaimed cinema" cuts through the center of the system, via the likes of The Godfather II, Star Wars, and Citizen Kane, as other genres from romance to gangster to animation spin off in various directions. A transit-film critic might point out that there isn't much rhyme or reason to the routes — they don't proceed chronologically, for instance — but the use of major films as hub stations is both a nice touch and a starting point for debate....
Will storytelling take social TV’s center stage in 2013?
The easiest way to understand social TV in 2012 is as a technology and marketing vehicle. Digital marketing and digital product teams at media companies spent 2012 building apps, connecting to APIs and starting to understand metrics involving use of social by our audiences.
On the product side, as an industry, we tackled questions like “how do we let people vote via Twitter?” and “do we need ACR solutions or should we not encourage on-demand consumption?” Perhaps most related to the bottom-line, we started figuring out that TV Everywhere is a major demand that needs to be supported.
On the digital marketing side, Twitter remained the de facto horizontal second screen experience. No “killer app” for social TV came close. We figured out the role of GetGlue, Viggle, IntoNow and others, while waiting for Facebook to make a bolder move in TV (we’re still waiting!) More broadly, we saw Pinterest, Instragram and Viddy become extremely important. Finally, we were excited to see Tumblr launch an ad product and work on discovery, justifying increased resources dedicated to Tumblr engagement.
Regarding the above, 2013 will see us evaluate the impact of Zeebox’s major US partnerships (that include heavy on-air promotion, unlike any other player in the field). We’ll continue to anxiously await Facebook’s TV strategy, while keeping tabs on the new Viggle-GetGlue merger. The biggest highlight will be TV Everywhere.
But there’s something even bigger that 2013 has in store; a new understanding that has the potential to overshadow other trends. It may take until the second or even third quarter, but eventually industry executives will start to think of social TV as much more than a technology or a marketing/distribution platform....
The Metallica deal is a significant win for Spotify, not just because the popular heavy metal band has long been a stubborn hold-out from subscription streaming services, but because of the PR coup it represents for the company. Since launching in the U.S. last summer, Spotify and similar services have faced criticism from some artists who bemoan its low royalty payments and fear that making their music available there could further cannibalize album sales.
In response, Spotify has argued that its payouts aren't as paltry as some of the early checks make them seem and that, at any rate, the service is still new and needs to build up its subscriber base to bring in more revenue. Today, the company announced that it has paid out $500 million to rights holders (mostly record labels). It now hase 20 million total users around the world, about 5 million of whom pay for the service....
Leaders in the field of transmedia storytelling converged at the National Association of Broadcasters Show to discuss its potential for engaging audiences...
'...Jenkins next introduced Gale Anne Hurd, asking her to speak on any struggles with the transmedia expecations for The Walking Dead franchise. Jenkins noted that the zombie series was based on “a comic book that’s well known by comic readers, maybe not so well known by viewers of AMC, and you had to work to keep both satisfied.” Gale responded,
Genre fans are already very familiar with transmedia, because most of the properties they respond to have existed in another medium . . . look at Lord of the Rings, [and] some of the films I’ve done, including The Punisher, which became a THQ video game which started as a comic book.
Hurd discussed how transmedia can go in the other direction, mentioning how The Terminator and Aliens both ended up spawning comic books and games. Hurd notes, however, that fans of these works can be “the most demanding, because they feel an enormous connection to the material which has pre-existed, and the first thing you have to respond to is fear.” Fans, with their deep connections to the original material, are often afraid the adaptation won’t remain true to the original when they learn of new media extensions. Part of the solution to this is to involve the creators to make sure they’re happy with the direction the material is being taken. In the case of The Walking Dead, the creator, Robert Kirkman, came on board as Executive Producer and writer. Getting this information out to the fans was important to alleviate their fear, to give them confidence the adaptation would remain true. The other piece was deciding when to air the adaptation to get the most eyeballs on it, especially from the genre fans. AMC airs FearFest in the weeks leading up to Halloween, and the Walking Dead team believed this would be the best venue to air The Walking Dead pilot in order to reach AMC viewers who were already fans of the genre. The next decision was where to start marketing the project....'
Nielsen is the source of all sorts of thought-provoking data about how we use technology, and its latest Social Media report for 2012--jammed with hundreds upon hundreds of statistics on how we use the social web--is no different....
...Nielsen's data proves how enormously influential this market could be: 41% of U.S. tablet owners and 38% of smartphone owners use their device daily while watching TV. Those are not statistics associated with a temporary fad--they're stats reporting a serious habit among hundreds of millions of consumers.
4% of these dual-screen tablet users were using social media while watching TV, presumably either chatting about the show or distracting themselves during less interesting bits on the big screen. 35% were checking data about the show they were watching, and just 26% checked out product information for something they'd seen advertised on TV. That's a stat that will be viewed in interest in ad agencies up and down the land. Smartphone users did all the same acts, but in lower percentages--proving the tablet has become king of second screens....
The notebook that Pulitzer-prize winning author Jennifer Egan used to compose her short story Black Box had eight small squares on each page.
In May, the New Yorker fiction department's Twitter account published the story during 10 one-hour nightly installments of tweets. Instead of using the platform to discuss a television program, a speech, or a news event occurring elsewhere, users tuned into something occurring on the platform itself. Twitter became not a second screen, but a first screen.
The story Egan wrote developed differently on Twitter than it would have if written with another medium in mind.
“This is not a new idea, of course,” Egan wrote about her desire to compose for Twitter, “but it’s a rich one--because of the intimacy of reaching people through their phones, and because of the odd poetry that can happen in a hundred and forty characters.”...
Jonathan Jones: Exhibiting Pac-Man and Tetris alongside Picasso and Van Gogh will mean game over for any real understanding of art...
There needs to be a word for the overly serious and reverent praise of digital games by individuals or institutions who are almost certainly too old, too intellectual and too dignified to really be playing at this stuff. Gamecrashing? Gamebollocks? Spiellustfaken?
I first encountered this trope of the inappropriate elder's interest in the newest games a few years ago at a philosophy conference in Oxford University (I was an interloper in those hallowed groves). An aesthetician – a philosopher who specialises in aesthetics – gave a talk on his research into games. He defended them as serious works of art. The art of games, he argued, if I understood him right, lies in their interactive dimension and liberation of shared authorship. But he never answered the question: what was a professor doing playing all these games?
Now the Museum of Modern Art in New York is up to the same manouevre. MoMA has announced that it is to collect and exhibit games from Pong to Minecraft. So, the same museum that owns such great works of art as Ma Jolie by Picasso, Starry Night by Vincent van Gogh and Vir Heroicus Sublimis by Barnett Newman is also to own SimCity, Portal and Dwarf Fortress.
MoMA claims these games belong in its collection because they are art. Really? Is that so?..
I only stared my MRes in October, yet the term is already over. The term is short (8 weeks in total), the lectures are intense but thoroughly enjoyable....
Joel E. Urbany, Peter R. Dickson and William L. Wilkie (1989), Buyer Uncertainty and Information Search, Journal of Consumer Research, Vol. 16, No. 2 (Sep., 1989), pp. 208-215
Robin Good: If you are considering to start doing something serious with your video publishing strategy, you may want to give a good read to this exhaustive article by Phil Nottingham on SEOMoz.
The article outlines how you can avoid wasting time with video marketing tactics and plan an effective video strategy that is highly integrated with your final business goal.
Insightful. Instructive. 7/10
Full article: http://www.seomoz.org/blog/building-a-video-seo-strategy
Via Robin Good
We are pleased to announce the release of a new report from Bellyfeel: For Successful TV Production Companies Who Want Multiplatform Content to be Profitable.
The free report is available to download.
The report is based on a recent survey undertaken to scope UK TV production companies’ understanding and attitudes to Multiplatform, Transmedia and Extra Content. The report offers a simple and intelligent insight into how to make profitable engaging multiplatform content using what production companies already have in front of them in terms of resources and story IP.
- Examines the current UK TV market and the problems that production companies experience creating additional content for their programmes outside the remit of a standard broadcast commission.
The American Conservative
'...The numbers tell the story. Each September, Harvard’s 6,600 undergraduates begin their classes at the Ivy-covered walls of its traditional Cambridge campus owing annual tuition of around $37,000 for the privilege, up from just $13,000 in 1990. Thus, over the last two decades, total tuition income (in current dollars) has increased from about $150 million to almost $250 million, with a substantial fraction of this list-price amount being discounted in the form of the university’s own financial aid to the families of its less wealthy students.
Meanwhile, during most of these years, Harvard’s own endowment has annually grown by five or ten or even twenty times that figure, rendering net tuition from those thousands of students a mere financial bagatelle, having almost no impact on the university’s cash-flow or balance-sheet position. If all the students disappeared tomorrow—or were forced to pay double their current tuition—the impact would be negligible compared to the crucial fluctuations in the mortgage-derivatives market or the international cost-of-funds index.
A very similar conclusion may be drawn by examining the expense side of the university’s financial statement. Harvard’s Division of Arts and Sciences—the central core of academic activity—contains approximately 450 full professors, whose annual salaries tend to average the highest at any university in America. Each year, these hundreds of great scholars and teachers receive aggregate total pay of around $85 million. But in fiscal 2004, just the five top managers of the Harvard endowment fund shared total compensation of $78 million, an amount which was also roughly 100 times the salary of Harvard’s own president. These figures clearly demonstrate the relative importance accorded to the financial and academic sides of Harvard’s activities....
Arts leaders clashed with culture secretary Maria Miller even before George Osborne announced DCMS cuts of £12m in 2013-14 and £22m in 2014-15 in his autumn statement – here 100 people who work in or with the culture sector tell the Guardian why they...
Guest post written by Robert Haskitt Robert Haskitt is chief marketing officer of Extreme Reach, which offers a video ad campaign management platform. Robert Haskitt TV still makes up the vast majority of advertising media budgets, by far.
Here are ten to get you started:
Multi-Screen Audience: Online video advertising has more in common with TV than with other online ad formats, like banner ads, text ads, search or rich media. The similarities start with the audience’ experience. New cross-media reporting solutions that track and measure TV and Web together provide new insights into multi-screen audience trends, cross-media reach and potential gains in campaign effectiveness by adding online video to your TV campaigns.
Cross-Media Analytics: What if your TV advertising could benefit from your online advertising metrics? By measuring them both together, it becomes possible to understand things you haven’t been able to measure before. You can even use the advantages of the Web to see how TV is measuring up.
- Evaluate cross-media reach among specific demographics and in specific markets
A first-of-its-kind interactive tablet series to inspire authentic travel through fascinating stories and collaborative filmmaking.
The Mission & The Movement
We want to change how travel content is both created and viewed. For so long, travel content has been about hosts in fabricated situations or high-end resorts. Instead, we want to put the power of the story into the hands of those who live the story every day: the locals - the people who live, breathe, and understand their country and culture.
We want to bring authenticity back into travel, through thought-provoking and inspiring short documentaries and community-created videos where locals tell their own story. We also want to merge the worlds of travel and tech by immersing our audience in our storytelling through the tablet's groundbreaking interactive features....