Mobile improves effectiveness of cross-media advertising

Mobile improves effectiveness of cross-media advertising: ThinkMobile panel

By Dan Butcher

March 19, 2009

Mobile improves effectiveness of advertising: Thin

Nokia looks to engage

NEW YORK - Adding mobile to the marketing mix improves the effectiveness of cross-media ad campaigns, according to a panel at MediaBistro's ThinkMobile Conference & Expo in New York.

Companies such as Yahoo, Microsoft, AOL, Google and Nokia have all entered the mobile advertising arena aggressively. Panelists discussed how they are embracing mobile advertising, compared mobile tactics to online methods and talked about their approach to mobile.

"While mobile still isn't a line item in media budgets, the reach is there," said Michael Bayle, senior director of mobile adverting sales for Yahoo, Sunnyvale, CA. "Across the mobile industry impressions are in the billions and mobile page views continue to grow.

"You know you're crossing a chasm when you have to issue a press release detailing how much you're spending -- recently Land Rover and Jaguar committed $2 million to mobile, and that was a press-worthy event," he said. "Mobile is still nascent, but once you've got a rhythm behind it, it's transferrable across all the players and all media."

Mr. Bayle said brands are extracting mobile ad budgets from one of two places: from print and out-of-home above-the-line spend and below-the-line spend, especially digital ad budgets, which are transferrable to mobile.

Mobile improves effectiveness of advertising: Thin

Yahoo serious about mobile

While the mobile ecosystem is complicated, mobile does have differentiating characteristics, including targeting capabilities and unique metrics.

Many of the Internet giants have placed an intense focus on mobile, because that where consumers are.
Microsoft has a dedicated mobile team in charge of mobile display and search advertising,

"Today there is no reach issue in mobile, there's plenty of inventory, so there's absolutely no problem, but mobile advertising spend is still small compared to overall advertising market," said Marc Henri Magdelenat, director of mobile ad sales and marketing for Microsoft Advertising, Redmond, WA. "It's very interesting, though, to look at the growing mobile inventory and growing number of mobile page views.

"Mobile is exploding due to the the iPhone, due to the right price to browse on the mobile Web, the right devices coming out and faster networks providing faster browsing speed," he said. "We have the reach -- 1 billion page impressions per month."

Mobile improves effectiveness of advertising: Thin

Google search results on an iPhone

Microsoft ran a campaign ran last summer for the launch of the Warner Bros. Pictures' movie Get Smart, which combined different channels such as online, mobile and gaming, with advertising in all of them.

The campaign included banners on the Web and mobile and access to specific content on the Web and mobile such as viewing the trailer.

Comparing the efficiency of online on its own to the online-plus-mobile campaign, Microsoft reported numbers that show the impact of adding mobile to the mix.

Viewing intent of the movie grew by 49 percent among people exposed the mobile components of the campaign, while brand favorability grew 46 percent, demonstrating that mobile helped to increase Web numbers.

Mobile represented 15 percent of Warner Brothers' global ad buy with Microsoft.

AOL's Platform-A discussed mobile campaigns for Ford, featuring video in expandable mobile banners, and for Virgin Mobile, featuring cross-media campaigns with Web and mobile components to promote its Sugar Mama program and various Virgin music festivals.

"The huge potential is there and we can see the coming magnitude of mobile's impact on the advertising world," said Phil Miano, national director of mobile advertising sales for AOL'S Platform-A, New York. "We selling digital advertising and extending it to mobile."

Google said that its mobile division is second only to search in terms of staffing, and its mobile advertising team leverages all assets on Google, including Maps, search, YouTube and the Android operating system.

"Mobile is an extremely large part of Google's business going forward, and it's a highly staffed strategic initiative," said Robert Victor, product manager of emerging technology for Google's DoubleClick, Mountain View, CA. "Display advertising on mobile is very important, as is mobile search advertising."

Google sees the mobile industry as much further along than it was even a year ago.

What is the big difference between now and a year ago?

"We see a lot of value in the high-end mobile devices merging the technology of the Web with the unique capabilities of mobile, and we can extend our Web technology to mobile," Mr. Victor said.

NBC approached Google's DoubleClick before the Beijing Olympics wanting to figure out how it could easily sell and deliver metrics to advertisers on the Web and mobile.

The company sold spots across all different media channels in Beijing, and saw a pretty impressive revenue lift, according to Google.

"Content is even more valuable in mobile than it is online, and it's important to assemble Web, mobile and video technologies," Mr. Victor said. "When it comes to cross-media buys, you need more tools than just mobile."

Many panelists stressed the fact that brands should combine mobile with all the other channels, including TV, online/digital and print, to take a global, cross-media approach.

Nokia -- an $80-plus billion company -- is unique among the companies represented in the panel because it focuses almost exclusively on the mobile channel.

In addition to its line of handsets, the company focuses on five areas of mobile: media, messaging, games, music and location-based services.

Its advertising services include targeting by location and demographics.

"We do see a tipping point in mobile, as we have many customers that spend on an annual basis in the millions, with a very high percentage of repeat purchases," said Tom Henriksson, head of Nokia Interactive Advertising, Espoo, Finland. "It shows that the business is growing a lot."

Nokia stressed that mobile includes display, search, messaging, pre-installed browser bookmarks on the 500 million Nokia phones sold annually and advertising embedded into applications.

Nokia said that about 15 percent of its campaigns are cross-media, where either a consumer starts on mobile and ends up on other media or starts on other media and ends up on mobile and maybe somewhere else after that.

Nokia ran a campaign for the Audi R8 where consumers could text in to get the sound of an engine revving on their mobile phone. Nokia placed mobile calls-to-action on billboards and magazine ads, and the advertiser deemed the campaign a success.

Nokia is also customizing mobile devices with brands such as Unilever.

The two companies partnered on a pink phone targeting the female demographic in Brazil. The phone was branded with Unilever's teenage-focused shampoo. The handset was preloaded with digital content that relates to the broader Unilever campaign.

"Mobile will play a huge role in advertising, because already today more people carry around a mobile phone than any other digital device, and in emerging countries it's the only digital device they have," Mr. Henriksson said.

"When you get the user experience correct you can create a very personal two-way dialogue with consumers," he said. "Mobile can provide three-to-four times higher engagement between consumers and brands."

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Musée d'Orsay Revives Art Nouveau in a Major Exhibition in Paris | Art Knowledge News

Clovis Trouille - Le Palais des Merveilles, Hommage au Modern'Style, 1907-1927-1960. La Celle-les-Bordes, collection particulière © Photo Claude Caroly © Adagp, Paris 2009.

PARIS.- Rejected and scorned in the decades following its brief flowering, Art Nouveau was spectacularly rehabilitated in the 1960s. This re-evaluation offers a particularly interesting interlude in the history of style in that many different areas were affected at the same time by this phenomenon: the history of art, the art market, contemporary creative work, particularly design and graphics. The exhibition aims to show how this rediscovery moved in various directions, and how it fitted into the spirit of the time. The great exhibitions in New York in 1959 (Art Nouveau. Art and Design at the Turn of the Century, The Museum of Modern Art) and in Paris in 1960 (Les Sources du XXe siècle. Les arts en Europe de 1884 à 1914, Musée national d’art moderne), that accorded Art Nouveau a place comparable with the other great artistic movements of the time – Impressionism, Symbolism, Fauvism and Cubism – were the first manifestations of this official recognition.

However, their interpretations of forms were often reductive and limited to a simplistic contrast between straight line/ curved line. Moreover, they did not establish any relationship between the biomorphic, abstract forms of Guimard, Gaudí, Van de Velde, Bugatti, Pankok, Riemerschmid and Eckmann and the preoccupation of organic design that appeared at the end of the 1930, demonstrated by leading figures like Alvar Aalto, Charles Eames, Tapio Wirkkala and Carlo Mollino. Similarly, the Surrealists’ early enthusiasm for Art Nouveau is ignored by historians of architecture, more concerned with modern Rationalism.

Section I – Tributes by the Surrealists
In December 1933, an article by Salvador Dalí appeared in The Minotaur: “On the Terrifying and Edible Beauty of Modern Style Architecture”, illustrated with photographs by Man Ray and Brassaï, and with André Breton’s “The Automatic Message”, establishing a link between “medianimique” messages and the Modern style. This approach was essentially led by the architecture of Guimard, most notably the Metro entrances, and that of Gaudi.

Moreover, Dali was very enthusiastic about the paintings of Clovis Trouille who also featured the Metro prominently in his wild paintings. Visitors enter this part of the exhibition through a replica of the canopied metro entrance of the Montparnasse- Bienvenüe Metro station.

Section II – Organic design
In 1941, the Museum of Modern Art in New York exhibited the results of the Organic Design in Home Furnishings competition, the term “organic” referring to the fluidity of forms and the adaptation of form to man’s needs, two criteria already set out by the Art Nouveau movement. In the years that followed, designers, particularly those in the 1960s, would reveal a desire, similar to that of the Art Nouveau creators, to give their furnishings and objects an uninterrupted, linear rhythm, and to bring back into the home environment abstract shapes inspired by various kinds of living things.

 

Anonyme 'Snail' Salon by Carlo Bugatti, International Exhibition of Modern Decorative Arts in Turin After 1902 Albumen print glued on card./ Musée d'Orsay Gift of M. Jean-Marie Desbordes, © ADAGP, Paris - Musée d'Orsay

New materials – polyester, fibreglass, polyurethane, jersey and stretch fabrics, enabled creators at the time to produce forms with a perfect fluidity and rhythmic continuity that the Art Nouveau creators had not been able to achieve for want of technical means. From this point of view, it is more a question here of affinity than filiation. There is no intention to establish artificially a possible connection back to any particular Art Nouveau model, but to use a comparison of creative works from the Art Nouveau period and from the 1950s and 70s to bring out their shared interests in form, plasticity and environment.

Section III – Psychedelic Art
Antoni Gaudi - Mirror Mural RMN ( Musee d'Orsay ) Rene-Gabriel OjedaIn 1966, the first psychedelic posters were seen in San Francisco, having first appeared in connection with the rock and pop concerts organised by Bill Graham. They present striking affinities with the graphic works of Art Nouveau, whose aesthetic attributes were enhanced through LSD. The recurring themes of hair and of the peacock, the androgynous figure or, at the other extreme, highly sexual figures, the fusion of text and image, distending and distorting typographical characters, alternating passion and tenderness within the same composition, are all features common to the creative work of both eras.

Section IV – C'est à la mode !
Very quickly, Art Nouveau became fashionable. The way this trend of the time was expressed is illustrated through a variety of elements. In 1966, the highly successful exhibition of Aubrey Beardsley’s work at the Victoria and Albert Museum in London provoked a craze for this artist whose creative works involved a wide range of media. From the early 1960s, film sets contributed to the rehabilitation of Art Nouveau, whether in films set in 1900 – for example Landru (1962), Judex (1963), La Ronde (1964), Hibernatus (1969) – or films in a contemporary setting – Les Barbouzes (1964), La Métamorphose des Cloportes (1965), What’s New Pussy Cat? (1965), Cannabis (1969), etc. In 1967 a production of Georges Feydeau’s A Flea in Her Ear was presented at the Théâtre Marigny, with a set that was entirely Art Nouveau.

In 1968, Pierre Koralnik filmed Oscar Wilde’s Salomé for television amongst Gaudi’s architecture in Barcelona. This section of the exhibition is rounded off with documents relating to the place of Art Nouveau in daily life. Women’s magazines (Elle, Vogue, etc), men’s magazines (Playboy, Nouvel Adam, etc) and magazines aimed at teenagers (Salut les copains, Mademoiselle Âge tendre, etc) provide many examples of this major return of Art Nouveau into everyday life: textile and wallpaper patterns were brought back; fashion boutiques (Biba in London, Ram-Dam in Paris, etc) were designed in this style; the turn-of-the-century chignon reappeared, along with noodle-style accessories, and long, flowing dresses, etc.

Section V - Nature
The last room is devoted to the return of naturalist elements in interior design, beginning in the early 1970s. The display is based around techniques in metalworking and the mirrors that Yves Saint Laurent commissioned from Claude Lalanne. Visit : www.musee-orsay.fr/  The exhibition is onview through 4 February, 2010.

 

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Musée d'Orsay: Art Nouveau Revival 1900 . 1933 . 1966 . 1974

Tributes from the Surrealists


Before Art Nouveau returned to favour, it had received occasional, limited recognition from the Surrealist group. In 1933, Salvador Dalí published an article in the Minotaure journal entitled "On the Terrifying and Edible Beauty of Art Nouveau Architecture”, illustrated with photographs by Man Ray and Brassaï, devoted respectively to the work of Antoni Gaudí and Hector Guimard. The way they were viewed was coloured by the somewhat unorthodox captions, written by Dalí himself who, several years earlier, with his painting The Enigma of Desire – My Mother, My Mother, My Mother, had paid tribute to the telluric world of the Catalan architect.

At the same time, Dalí discovered the work of Clovis Trouille (who used to introduce himself as a "survivor of 1900"), delighting in his lack of self-censorship and his recurrent references to Art Nouveau. Whilst Trouille was still referring back to the Palace of Marvels, in 1960, Dalí continued into the 1970s to compare "the ignominious design of Le Corbusier" with the ornamentation of Guimard, which he considered to be "the most libidinous of all".

It was also in the 1930s that the Finnish designer Alvar Aalto created his sinuous, free flowing, expressive shapes, reminiscent of the most abstract creations of Art Nouveau. This master of organic design opened the way for many creators, including Isamu Noguchi with his famous Table basse "IN 50" in 1944.

Organic design


The masters of Art Nouveau continued to favour a close study of living organisms. Some of these masters produced representations of flora and fauna, stylised to varying degrees. Others went down the route towards abstraction: Carlo Bugatti's "Snail" chair prefigures Günter Beltzig's "Floris" chair and even the famous Panton Chair, created in 1959 by the Danish designer Verner Panton which has since become a great classic of contemporary interior design. As for Carlo Mollino's creative works in the 1950s, they recall the frames of Gaudí's furniture. Later on, the term 'organic' tended to indicate any object whose characteristics were adapted to the demands of the body and mind of modern man. Organic design stood in opposition to the excesses of an icy functionalism that favoured static, rectilinear structures. The new materials – plastic, fibreglass, polyurethane foam, polyamide jersey - promoted a simplified idiom, based on fluidity and rhythmic freedom. The shapes of Verner Panton (Phantasy Landscape), and Olivier Mourgue (Cellule Cafétéria) invite the user to curl up and let the imagination run free.

 

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HD DVD vs. Blu-ray Disc: A History - PC World

The high-definition movie disc battle between HD DVD and Blu-ray Disc can be traced all the way back to 2000, when companies began experimenting with using new blue lasers in optical disc systems.

Because the wavelength of blue light is shorter than that of the red lasers used in DVD, less physical space is needed to record each bit of data and so more information can be crammed onto a DVD-sized disc. This extra space was needed to store the new high-definition video and TV services that were starting to be commercialized around that time.

But what started in 2000 as technical research became a battle between the world's largest electronics companies and movie studios, with the consumer caught in the middle.

Here's a look at the major milestones from the first research:

2000

October 5 -- Sony and Pioneer unveil DVR Blue at Japan's Ceatec show. The format would go on to form the basis for first-generation Blu-ray Disc BD-RE.

November 1 -- Sony announces the development of Ultra Density Optical (UDO), a blue-laser optical disc format proposed to replace magneto-optical discs.

2002

February 19 -- Led by Sony, nine of the world's largest electronics companies unveil plans for Blu-ray Disc.

August 29 -- Toshiba and NEC propose to the DVD Forum the next-generation optical disc format that will become HD DVD.

October 1 -- Prototypes of both formats are unveiled at Japan's Ceatec exhibition. Sony, Panasonic, Sharp, Pioneer and JVC showed prototype Blu-ray Disc recorders while Toshiba showed a prototype under the name Advanced Optical Disc (AOD).

2003

February 13 -- Licensing of Blu-ray Disc begins. Player makers pay US$20,000 to license Blu-ray while the content-protection system license carries a $120,000 annual fee and additional charge of $0.10 per player. Media makers pay $8,000 annually and $0.02 per disc for the copy protection system.

April 7 -- Sony announces its Blu-ray Disc-based Professional Disc format for data archiving applications.

April 10 -- Sony puts on sale in Japan the world's first Blu-ray Disc recorder, the BDZ-S77. It's based on a 23G-byte cartridge version of the BD-RE disc and costs ¥450,000 (US$3,815 at the time). The machine and a later model from Panasonic lack support for prerecorded movies that will launch later and prove an expensive early step into next-generation video.

May 28 -- Mitsubishi Electric joins the Blu-ray Disc group.

2004

January 7 -- Toshiba unveils its first prototype HD DVD player at CES. The player includes backwards compatibility with DVD.

January 12 - Hewlett-Packard and Dell put their support behind Blu-ray Disc.

June 10 -- The first commercial version of HD DVD-ROM is approved by the DVD Forum.

September 21 -- Sony announces the PlayStation 3 will use Blu-ray Disc.

November 29 -- Paramount Pictures, Universal Pictures, Warner Bros. Pictures, HBO and New Line Cinema announce support for HD DVD.

December 9 -- Disney announces support for Blu-ray Disc.

2005

January 7 -- Backers of both formats promise players and movies in North America by the end of the year -- something that never materialized.

March 24 -- Talk and hope of a common format as Ryoji Chubachi, then Sony's president-elect, says: "Listening to the voice of the consumers, having two rival formats is disappointing and we haven't totally given up on the possibility of integration or compromise."

April 21 -- Sony and Toshiba begin discussions on the possibility of a single format. The talks ultimately go nowhere.

August 18 -- Lions Gate Home Entertainment and Universal Music Group decide to back Blu-ray Disc.

September 27 -- Microsoft Corp. and Intel Corp. put their weight behind HD DVD.

October 3 -- Paramount Home Entertainment says it will offer movies on both HD DVD and Blu-ray Disc.

December 16 -- Hewlett-Packard decides to drop exclusive support for Blu-ray Disc and back both formats.

2006

January 4 -- Bill Gates announces at CES that Microsoft will offer an add-on HD DVD drive for the Xbox 360 console.

March 10 -- Blu-ray Disc-supporter LG Electronics surprises the industry with news that it's developing an HD DVD drive.

March 31 -- Toshiba launches the world's first HD DVD player, the HD-XA1. It cost ¥110,000 (US$936 at the time) in Japan.

November 11 -- Sony's PlayStation 3, which packs a Blu-ray Disc drive, goes on sale in Japan.

December 29 -- Hackers report success in breaking through part of the AACS copy protection that's on both HD DVD and Blu-ray Disc.

2007

January 7 -- Seeking to end the battle, LG Electronics unveils a dual-format player, while Warner Bros. shows a prototype disc that holds both an HD DVD and Blu-ray Disc layer so is compatible with players for both formats.

April 17 -- Sales of HD DVD players in North America hit 100,000 since launch.

August 1 -- Microsoft cuts the price of its HD DVD player for the Xbox 360 from US$199 to US$179 and starts offering five free movies.

August 20 -- Paramount and Dreamworks Animation both drop Blu-ray Disc in favor of HD DVD.

September 13 -- Sony says it will use Blu-ray Disc in all high-def video recorders in Japan.

November -- The price of Toshiba HD DVD players drops to US$100 with rebates as the holiday shopping season begins.

November 11 -- Sony begins selling a lower cost version of the PlayStation 3.

2008

January 4 -- Warner Bros. drops its bombshell: it will stop issuing HD DVD movies in the coming months and rely exclusively on Blu-ray Disc. In response the HD DVD Promotion Group cancels its CES news conference.

January 6 -- Akio Ozaka, head of Toshiba America Consumer Products, says at CES: "We remain firm in the belief that HD DVD is the format best suited to the wants and needs of consumers." In response Sony CEO Howard Stringer, with a grin on his face, says "All of us at Sony are feeling blue today."

January 14 -- Toshiba cuts the price of HD DVD players with the HD-A3 seeing a retail price of US$150.

February 11 -- NetFlix and BestBuy say they will phase out HD DVD.

February 15 -- Wal-Mart, the world's largest retailer, says it will phase out HD DVD by June.

February 16 -- Japanese public broadcaster NHK reports Toshiba has halted production of HD DVD players. Several additional local media reports confirm and The Nikkei business daily says Toshiba has decided to stop developing the format any further.

 

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Research Brief: Where The Ads Are

Friday, October 9, 2009


Where The Ads Are

The Nielsen Company reports that time  spent on social network and blogging sites accounted for 17% of all time  spent on the Internet in August 2009, nearly triple the percentage of time spent  on the sector a year ago.

Year-over-year, estimated online advertising spend on the top social network  and blogging sites increased 119% to approximately $108 million in August 2009. The share of estimated spend  on these sites has also grown, increasing from a 7% share of total  online ad spend in August 2008 to a 15% share in August 2009.

Jon Gibs, Vice President, media and agency insights, Nielsen's online division, said "... While video and text content remain central to the Web experience... the desire  of online consumers to connect, communicate and share is increasingly driving  the medium's growth."

While several industries decreased their overall online ad spend year-over-year  in August, spending on the top social network sites increased across the board.  The Entertainment Industry led in growing its online ad dollars, increasing ad  spending on the top social network sites by 812% in August.

Year-over-Year% Change in Online Advertising Spend by Industry (U.S., August 2009)

 

Estimated $ on Top Social Network Sites

YOY% Growth

Industry

Aug-08

Aug-09

On Social  Networks

 On All  Sites

Entertainment

$1,097,700

$10,012,800

812%

40%

Travel

$473,700

$2,198,200

364%

-11%

Business to Business

$683,400

$1,941,700

184%

-8%

Automotive

$1,110,200

$3,085,800

178%

 -26%

Health

$1,131,500

$2,754,900

143%

8%

Web Media

$11,231,800

$26,855,700

139%

30%

Software

$526,400

$1,202,500

128%

-29%

Financial Services

 $3,233,900

$6,415,900

98%

-10%

Public Services

$6,836,500

$13,203,100

93%

13%

Telecommunications

$12,449,500

 $23,550,300

89%

-1%

Consumer Goods

$1,913,400

$3,349,200

75%

8%

Hardware & Electronics

$654,000

$1,022,900

56%

-47%

Retail Goods & Services

$8,101,400

$12,556,800

55%

-12%

Source: Nielsen AdRelevance

Gibs continues, "... the considerable increases we've seen in ad spending over the past  year suggest that... advertisers want to connect with core fan bases such as movie  studios, (and) are allocating more and more dollars to online communities like Facebook  and MySpace... "

In August 2009, Facebook was the No. 1 social networking  site advertised on by 10 of the 13 industries when ranked by display ad impressions,  while Myspace.com led in the other three industries:  

Top US Social Networking Sites For Advertising By Industry (Ranked by Display Ad Impressions for August 2009)

Industry

Social Networking Site

Automotive

Facebook

Business to Business

Facebook

Consumer Goods

Facebook

Entertainment

MySpace

Financial Services

MySpace

Hardware & Electronics

MySpace

Health

Facebook

Public Services

Facebook

Retail Goods & Services

Facebook

Software

Facebook

Telecommunications

Facebook

Travel

Facebook

Web Media

Facebook

Source: Nielsen AdRelevance


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Si hoc legere scis numium eruditionis habes ... but welcome anyway to my pseudo subversive realm.

This is what I consider my visual blog and where I post daily dosages of inspirational web sites and information I want to remember. "A picture is worth a thousand words" - so they say, pictures also help me remember easily.

I guess that would ring true for everyone! :)