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Archive for April, 2010

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The nice juicy feature in April’s edition of Research Magazine! Entitled The Sweet Smell of Success is now online on their site. The piece is a case study about our work with Axe/Lynx on Twist, the fragrance that changes. Written by Face Managing Director Job Muscroft the article explains the inner workings of the Twist project and the importance of involving consumers in the marketing process.

Unilever’s Lynx (or Axe if you’re outside the UK) is a global deodorant brand. The challenge it faces in product development and communications is to innovate constantly to keep its young consumers interested and engaged. The Lynx brand and insight team are always looking at ways of staying closer to their young consumers, in order to stay relevant.

A key strategy is to launch new variants of the product. Lynx has come up with some great products recently including the hugely popular Dark Temptation, promoted by ads featuring a man made of chocolate. For the launch of the 2010 variant it was going to be important to build on this and reinforce Lynx’s ‘quality fragrance’ credentials once more. Face was commissioned to develop the new variant and its fragrance using co-creation, in an effort to generate engaging product concepts and communications based on strong, well-articulated consumer insights.

The brief
The brief was challenging in its simplicity for a deodorant brand: How can Lynx talk about freshness in a new and engaging way?

Read on at Research-Live.com

Yesterday Philip headed down to the Cello Conference to present the results of a very unique and interesting project. Sharing the stage with co-author Claire Wood (Leith), the duo presented their findings from an extremely innovative project with mental wellbeing charity SeeMe.

The presentation entitled Measuring Mental Wellbeing revolves around young peoples attitudes to mental health both from the perspective of those who have experienced effects of mental health conditions (both first and second hand) and those who have not.

What effect do lifestyle and the attitudes of those around us have on mental wellbeing and how can we best understand this?

See Me (a government funded organisation tackling the stigma attached to mental health conditions in Scotland) wanted to determine current attitudes amongst children and young people. A collaborative approach with Face and Leith helped identify sensitive attitudinal data for which the results which were frightening, emotional and revealing in equal measure. These insights have informed a comprehensive communications and media strategy for See Me Scotland.

In Chaotics (Caslione and Kotler, 2009), the authors explain how the butterfly effect has accelerated: “a butterflies wings flapping in South America now have global reverberations in a matter of seconds.”

Thanks to the Internet, information travels a lot faster than it used to. The speed and format of our communication has lead to a new generation of online ramblers, constant status updaters and amateur experts. The fluid and instantaneous way we interact online has been easily adopted by internet users everywhere, but has it made things better?

Hyper-fast communication doesn’t necessarily go hand-in-hand with reliable information – The case of Twitter and it’s reaction to the Swine Flu crisis shows how the real time media can create unjustified panic effects. On the other hand, the reactivity of real time media helped to save lives in the Haiti earthquake aftermath.

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But does real time really produce quality content production? I was actually thinking earlier about how people have this erratic way of managing their internet footprint with fast-paced, superficial use of the social web. People are willing to express their opinions and share information online but a lot of what they are producing is… well… not relevant or interesting, in fact it would be fascinating to find out how many status updates have never been read.

All the web junk that gets produced everyday online leaves us with a difficult balance that we have to get right here at Face. How can we nurture our users online creativity and secure the production of high quality content in our online communities?

It’s not easy but here are a few ways you can guide people into producing the quality of content you’re looking for:

1. As seen previously, the interface must be straightforward (and avoid bugs) so people are not put off participating and do not waste time: both these elements will have detrimental effects on your users creativity.

2. The type of content & the type of feedback you are asking your users for should match: for instance, each type of content has a specific lifespan, i.e. a tweet has a very short lifespan (re-tweet in the second or it’s too late) while a movie in the imdb.com has a pretty long lifespan (it can be reviewed for a very long period of time)

3. Users should be able to communicate with each other. The interactions between individuals is essential for production of interesting content, but also essential to avoid mass confusion: As explained in this paper Internet & Face-to-Face Communication: Not Functional Alternatives about mass customization and co-design. User’s support, feedback and guidance is essential to avoid this crippling confusion syndrome that may happen within a creativity community offering a wide choice of different options/actions.

4. You must leave space for creativity. This is probably a great lesson learnt from the success of Twitter: let your users make their own rules on your site and they will adopt it. As Wired magazine put it in their article How Will Twitter Grow Up.

“Essentially, Twitter left a ball and a stick in a field and lurked on the sidelines as its users invented baseball.”


In this excellent blog Complexity. The New World Between Chance and Choice Esko Kilpi gives an interesting overview of the Chaos Theory and compares the dynamics of the elements with users behaviour. He highlights two major rules:

1. Novelty emerges in an unpredictable way
2. What happens is by interaction – not by chance or by choice

To enhance users’ creativity, the interface & tasks must provide enough flexibility for novelty: users should be able to make trial-and-error experiments. The members of the community should be able to try, experiment and create prototypes – Like Blizzard allows WoW players to test their add-ons in real time.

The conclusion is that you can’t really control what the users will do with your tasks and your online community. You can give them the best place to express themselves, help them to find their way through it, and maybe predict on a short term what results will come out. But, no matter how hard you try; you can’t guess what’s going to happen in the long term!

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This morning we took part in the latest Digital Salon and Surgery at Farringdon’s Free Word Centre to talk about digital innovation for arts brands and organizations, discussing how they are innovating to meet contemporary digital challenges.

It was a very interesting session with a packed panel of six speakers discussing the topic from various angles and presenting some great case studies like the upcoming Chromaroma Oyster Card game (below) and the recent RSC Twitter production “Such Tweet Sorrow” supported by the 4iP fund or ‘NT Live’, a new initiative from the National Theatre which enables live performances to be broadcast onto cinema screens across the UK and worldwide, as well as the NMC Music Map and the cutting-edge ‘PureDyne’ project, an Open Source Linux operating system and multimedia toolbox maintained by the Goto10 Collective.

Eleanor Wilson from NMC Recording showing the audience the NMC Music Map

We talked about our open innovation approach and adaptive brand planning model, how Arts organizations could benefit from real-time research, crowd-sourcing and  co-creation and what this all means from a broader cultural perspective. I guess one of the most fascinating implications of taking this approach to the arts space is that it makes the progressive switch from creation to emergence models quite blatant. Understanding the radical change in the role of experts/curators and artists into the cultural ecosystem and understanding what open processes mean in terms of cultural innovation (leading/reacting, educating the audience/learning from the audience, creating new markets/feeding into existing ones) are key questions for the Arts but are totally relevant for the FMCG brands and the technology innovation ecosystem too. So I guess a Creation vs Emergence post is on its way!

For now, thanks again to Arts Council England, IT4Arts, Open Mute and Digital Salon for having us today, it was fun!

Chromaroma Visualisations from Mudlark on Vimeo.

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Over the coming months we are going to be taking an indepth look at the world of research communities and what lies behind them. Every week we’ll be touching on a new subject, topics will range from management to task conception, online creativity to relationships. Ultimately we are hoping to produce an in-depth, robust and infomative guide to online research commnunities; Face’s very own Community Management 101.

With online communities becoming increasingly popular in research circles and brands continuing to transfer their qualitative work online, the role of research communities, community managers and research teams is evolving.

As community functionality grows and new tools become available it’s very easy for clients and research teams to get carried away and throw everything at communities using all tools to the max, just because they can.

In this series of blogs we are going to explore the best routes for community managers and research teams to effectively use online community tools and create an interesting environment in which users can complete research tasks without pressure, tedium or stress.

And it is this I am going to start with, the environment; the website; the research tool; and whether you can actually, credibly, call it a community.

Are Research Communities Really Communities?

Research communities have always come under criticism for using the term ‘community’. Some people see them as forced gatherings using a research tool, rather than true natural communities and are therefore undeserving of the name. Some of the arguments against research ‘communities’ include:

• They are not organic
• People are usually incentivized to participate
• It is not a part of users natural internet journey
• They have start and end dates
• The community disappears when the project ends

To a certain extent I can understand these criticisms as, from an outside point of view, research communities must seem like a load of panel girls and boys being put on a website and told to complete tasks for a certain period of time.

However, I am a believer that at the core of every community there has to be a common goal, interest and/or belief, something that inherently binds the people within together. It is for this reason that I believe that research ‘communities’ can actually exist, rather than just being a couple of words shoved together to make a cool sounding buzzphrase.

It’s a fine line between research community and a website where research takes place. There are a couple of things you must do at the start of a project to ensure you start user engagement and interaction early.

Creating Your Community

If you bring together a group of people for a research project they automatically have unspoken commonalities before the activity begins. Usually in research projects people are recruited as they share similar demographics, opinions or personality traits. These instant similarities are one of the two main things you need to rely on to begin the transition from research project to research community.

The other reliance is you, the community manager, it’s your job to take the lead and encourage community behaviour. Initially by stating the commonalities between users and encouraging them to interact through tasks based around similarities.

It is these early tasks, and their wording, that will ultimately determine whether you are the facilitator of an online tool or the manager of an online community.

The wording and crafting of tasks is the most important thing when running a community as it not only ascertains your research outputs but also determines how your users will engage and for how long. Being able to create research tasks that are fun and exciting is a vital skill when running a community and it is this skill that I will begin to explore in my next post:

Writing Tasks for Research Communities – Part 2: What is a Task?

Coming Soon!