Today @SalfordUni, the Business School hosts a symposium on Digital Innovation, focusing on health applications. Here's my @prezi
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On 10th Feb, I will be the MC for an event run by the @UKTI in Paris looking tagged #FutureCity2015. In relation to this, I was asked also to make a film that would open the event, focusing discussion around new opportunities and foregrounding a number of technological changes to cities that are imminent.
Here it is:
The event is principally for business and will look like this.
09:30 Welcome by His Excellency Sir Peter Ricketts
British Ambassador to France
09:40 Current opportunities in France
Caroline Maurand, French Ministry of Ecology, Sustainable Development and Energy
10:05 Focus on the Grand Paris Project
Serge Dupont, Société du Grand Paris
10:20 Current opportunities in the UK
Dan Byles MP
10:45 Focus on London Regeneration Projects
Sue Vincent, Urban Design London
11:00 Coffee Break and Networking
11:30 Inspiring Case Studies in the UK:
Introduction to the Greenwich Automated Transport Environment (GATEway) project
Pierre Lefèvre, Greenwich GATEway project
Value from the Work of Many Hands
David Roberts, Igloo Regeneration
Paris-London – communicating vessels?
Michel Mossessian, Mossessian & Partners
12:15 Inspiring Case Studies in France:
French Placemaking British style – a collaborative hands-on approach
Kathryn Anderson, Barton Willmore
Grand Lyon
Gilles Vesco , Grand Lyon
The FFR Grand Stade – An urban catalyst
François Clément, Populous UK
13:00 Networking Lunch
14:00 Pre-arranged 20 minutes one to one B2B meetings between
French and British companies until 17:00
Today, I am giving a talk at the #BETT2015 Show in London and also participating in a panel on social media in education. It's a huge event and I've never been before, so it will be fun to discover what it's all about. It's still early days for the Internet of Things in education, so there's a lot to talk about and I'll post slides here at the end of the day, summarising my talk and some of the discussions.
Tomorrow, I am compèring the Digital Utopias conference, an event curated by @ANDfestival and produced by @GoogleUK @ACE_NAtional @Hull2017 @theSpaceArts and @BritishCouncil It's an extraordinary programme. Here's the brief:
Digital Utopias is a one-day conference which will inspire and incite debate about how new technologies are enabling creativity across the arts. The conference aims to capture topical and diverse approaches to curation, archiving, collecting and creating from a range of art forms, from the visual arts to theatre.
The event will provide an opportunity to discuss new tools and emergent practice, whilst delegates will connect with international arts organisations and specialists in the field to unpick the creative and critical challenges facing organisations today.
and here's the programme:
Morning Sessions
Sessions in the main theatre will be compèred by Prof Andy Miah.
10:00-10:20
Welcome from Sir Peter Bazalgette, Chair, Arts Council England and James Davis, Programme Manager, Director, Google Cultural Institute
Main Theatre
10:30-12:00
Debate: After the future
Main theatre
After the future examines how art is changing in the digital age and how new behaviours and systems are emerging in the creation, exhibition, interpretation and dissemination of art. Through sharing recent and historical examples, the panel will examine the challenges of classifying a growing and chaotic field. Asking questions such as; What are the practical challenges and values, which should inform the future? And how can our media art history inform the sector?
Chair: Sarah Cook, Morgan Quaintance, Ruth Mackenzie (The Space) and Jon Thomson (Thomson and Craighead)
Or choose from the following sessions:
10:30-12:00
Clinic: What to do with your data?
Rehearsal space
Puzzled by Open data, big data and meta data? You are not alone! Led by CEO Gavin Starks and Art Associate Julie Freeman, this Open Data Institute session demonstrates what art organisations can do with their data and the small steps you can make right away.
Led by CEO of ODI Gavin Starks and Julie Freeman.
10:30-11:30
Showcase: Presentation and talk by James Davis, Programme Manager at the Google Cultural Institute
Studio theatre
Google Creative Lab UK will talk about their chrome web experiments, games and prototypes.
12:00-13:00
Lunch lower and upper foyer
Afternoon Sessions
13:00-14:30
Debate: Disruptive Innovation
Main theatre
This panel will unpick alternative models of “innovation” through examining production models and their cultural value. Interdisciplinary artistic practice can create new platforms, resources and art forms, but what are the benefits to artistic practice and how can cultural appropriation be avoided?
Led by Tatiana Bazzichelli (Curator and writer) Memo Akten (Artist), Lynn Scarff (Programme Director of The Science Gallery) and Jose Luis de Vicente (curator and researcher).
Or choose from the following sessions:
13:00-13:45
Showcase: Designing Performance (Performance & Interactivity)
Studio theatre
From sensory performances to projection mapping technologies, we invite The Royal Shakespeare Company’s Sarah Ellis, artists Marshmallow Laser Feast and theatre company Extant to discuss how performance is being enhanced by new technologies and the challenges of live performance in the flesh and online.
13:00-14:30
Clinic: Archiving & preserving in the Digital age
Rehearsal space
How do we ensure long-term access to digital information through collecting, archiving and preservation? This session gives hands on tips for museums, curators and collectors on both moving image and social media archiving.
Led by Dragan Espenchied, Rhizome and Luke Collins from Lux, Scotland.
14:00-14:45
Showcase: Copy and Paste (Literature & Publishing)
Studio theatre
Changes in technology have played pivotal roles in literature (from Gutenberg to GoogleDocs) and we invite showcases from writers, publishers and software developers who are looking at everything from generative writing, books as code and alternative distribution models.
Led by Jim Hinks, Comma Press and Joanna Ellis from the Writing Platform.
Afternoon break – 15 mins
Choose from:
14:45-16:15
Debate: Activate the Public Space
Main theatre
The public space is augmented with information, networks, forces, bodies, buildings and technology. How do we define the public space? How do we create work for a time where the distinction between being offline and online is harder distinguish. We hear from a range of organisations, who have opened up new social spaces, data and communities through gaming, networked objects and growing DIY communities.
Led by Ruth Catlow (Furtherfield) Prof Jennifer Gabrys (artist), MolMol (Yes Yes No) and Iain Simons (GameCity).
15:00-15:45
Showcase: Curating Networks
Studio theatre
Curating Networks showcases projects that rethink ideas of authenticity, ownership and authorship in relation to archives, collections and traditional formats and gallery spaces.
Led by Katrina Sluis (Photographers Gallery), and Irini Papadimitriou (V&A) and Hullcraft (Joel Mills and Hannah Rice) University of Hull.
16:15
Closing remarks
Main theatre
16:45-17:30
Showcase: Crafting Code (Art and Science)
Studio theatre
Crafting Code explores the role of new materials in art production and how data can be materialised, examining the interchangeable role of artists, engineers and makers. We invite presentations on the ‘algorithmic’ opportunities this expanding field is developing, from design, digital sculpture and science to 3D modelling & wearable technology.
Speakers include Karen Gaskill (Crafts Council), Gretchen Andrew and Matthew Plummer-Fernandez.
16:45-18:00 Clinic: R&D as serious play
Rehearsal space
This session will bring together representatives from a selection of recent R&D projects to discuss how to design and manage a process that is playful and serious at the same time. Facilitated by a representative from the Digital R&D Fund, each representative will share their experience, before moving into a panel discussion and workshopping ideas with the audience. Creative technology projects are not just about delivering an end product - managing a R&D process which is creative, useful and rewarding for all parties is where the magic happens.
17:00-18:00 Networking Drinks
Foyer
18:00-18:30
Performance: The Measures Taken
Main theatre
The day will finish with an immersive digital art work. ‘The Measures Taken’ is a collaboration between Marshmallow Laser Feast and Alexander Whitley Dance Company. Both a dialogue, and a duet between human movement and the digital world, this performance promises to be visually striking and kinetically charged.
- See more at: http://www.artscouncil.org.uk/jobs-and-conferences/conferences/digital-utopias/programme/#sthash.ymmObLsu.dpuf
Credit: Karl Andre Photography
GoogleGlassGoodbye
Today, I received an email from Google Glass, telling me that it's over! Here's what they had to say:
and I am also posting the 'memories' file they sent us - 'Volume 001 as they put it (how many volumes are expected?!). I will write a piece about this over the next few days, but what I find most fascinating is the sense in which this may be seen as a failure by critics. Certainly, we expect anything new to stick around for a while - even though we change our iPhones every couple of years hmm. Ok, well, maybe Google Glass for 2 years isn't so bad - but it's only been 6 months or so in the UK. That's a bit too brief.
It will still work of course, just no further development. But, so what? Does that matter? IT does enough as it is is and I can't imagine needing much support. Although, my first Glass did break due to overheating and the reflective foil of the projector bubbling up and rendering it unusable. The did send another one though, quickly. hmm, I don't know how to feel. Abandoned? Let down? Disappointed. Or, the owner of what will become a cult object - the first wearable camera, kind of.
Truth be told, I have had nothing but fun with this device, and the people who have tried it out have loved it. Here's the video I made from the IAAF World Junior Championships last year. This was typical.
So, I think I will stick with Glass for a while, but then RideOn just contacted me about these. Next..
This week, I've launched the 'International Drones for Research Network', an initiative that emerges from my thoughts around Project Daedalus, but also from the many conversations I have had with colleagues over the year about the utilization of drones for a whole range of research projects. Personally, I am curious to learn about new projects and want to share experiences and knowledge about how drones are developing and how they might be used. The network starts of as an email group, we will see where it goes from there.
This week, the New York Times published an article written by Ian Urbina, titled 'The Secret Life of Passwords'. I have been talking with Ian about this article for a few months now and a lot of research on his part has gone into this extensive, fascinating investigation. I am quoted in the piece a couple of times, but I thought it might be worthwhile publishing my entire responses to Ian, as a supplement. So, here they are, pulled out of emails, slightly edited for clarity.
Dear Ian, what a very interesting line of inquiry.
You are right, this is not something I have focused on specifically in my published work, but I have given some thought to this in the course of my research. In particular, I have two comments to make, one around the prevalence of data mining for passwords and the other related to the future of verification. Here are some thoughts which may or may not be useful. Feel free to quote anything or seek clarification, if useful/interesting.
I agree that passwords are a very interesting gateway to personal life stories and what we has been meaningful in our lives. I think we could quite reasonably say that the passwords we choose relate very closely to the things that matter in our lives. They are our secret autobiographies.
Unfortunately, mattering is a problem vis a vis security. This is because what matters to us, increasingly, is also embedded within our extended digital lives. Consider an anniversary, the date of which could be tagged in Facebook. Previously, someone might have used an anniversary as their password - perhaps their mother's birthday - but these dates are much more public now and so these meaningful passwords are much less desirable. In fact, if you look at the most secure systems, randomized, temporal, unique codes are the preference. The best passwords, it would seem, are those which are devoid of any meaning and impossible to guess.
Furthermore, it has become preferable for these passwords to be valid only within a fixed temporal period. The platforms which host our content ask us to change them regularly, sometimes every time we login, as is the case for things like online banking. In this sense, the concept of passwords as being closely tied to what we care about is disappearing, as the number of places where we need to verify who we are expands. Instead, verifying ourselves is becoming a matter of series of having a unique string of zeros and ones - almost like our DNA - as more and more of our semantic selves is shared online. It seems that the more public we become, the more vulnerable we are.
So, in terms of the future, I think it is very interesting to reflect on present systems of verification, beyond passwords. For example, the Captcha verification system utilizes a kind of primitive Turing test to verify we are human, by requiring us to demonstrate we can understand letters, words and place them alongside each other. Yet, even here, one can envisage improvements that, for instance, take into account our character on a computer - how fast we type on the keys, the pressure we exert on them. This kind system would get closer to something like a unique digital signature.
Did you see that Google just acquired SlickLogin - which verifies id using sound waves? That's a nice example of how I think passwords will become a thing of the past - in your terms - part of our digital memoirs. I think one crucial element of this debate is the fact that passwords have, for a long time, been chosen on the basis of what we are able to remember, so they do, as you suggest, access aspects of our personal psychology in a very intimate way. What we choose is closely tied to our memories of the things that mattered most to us.
This is changing also as verification becomes a matter of biometric measurement. Already, the iPhone 5 uses a fingerprint verification and we have been aware of retina verification as a way of authenticating ourselves for some time now. So, the erosion of memory as a means of verifying who we are is, i think, inevitable. After all, it is a matter of reliability and our memories are more fallible than our biology.
In terms of academic research on this, in my studies, I have come across a great deal that talks about personality and choice over passwords. For instance, some research discusses how, what we choose as our passwords, reflects what sort of people we are. We might choose meaningful people in our lives to whom we have emotional bonds, or we might choose things of which we are fans, for instance, a football player's name. In some cases, these choices may be relatively subconscious, they say something important about ourselves, even if we don't consciously identify them as such. What appears salient to us in terms of memory may just reveal itself to us, without much in-depth thought or consideration.
In my view, we have also to take into account two life courses when thinking about this. The first life course relates to our actual age; where we are and what we've gone through. If you are 13 and starting a facebook account, you are less likely to choose a meaningful anniversary than a favourite popband or sibling birthday perhaps. If you are older, your range of memories from which you can choose will be far greater. The second life course is our journey through technology.
If you have had to renew your work email password every 12 weeks for the last 10 years, you may well have exhausted your most memorable moments, but there again, what an interesting thing it would be to examine all of those passwords over the years and build a picture of somebody's life. I think it would be a wonderful window to their world and their lives.
We also have to take on board how universal passwords are being generated now by logging in with large social media applications, like Twitter or facebook. This again changes how we project our sense of history and identity - in this case we tie those memories increasingly to the lives we have lived within these social media platforms.
I hope some of this may be useful, but happy to dialogue a bit more, if that's useful.
best wishes,
Andy
Some additional quote sent subsequently:
"If passwords do become a thing of the past, there is something that we will lose as a result. Our daily encounters with personal memories, which have no place to be recalled elsewhere in our lives will cease to be present."
"Passwords are a window to what matters to us in a most personal sense. They are not like anniversaries or like significant public landmarks in our lives like weddings or children being born. Instead, they are the things that may matter only to us. And so it is a loss of intimacy with our past that we sacrifice by ceasing to remember."
"While their demise will not change the fact that these things will still happen to us, we may stop thinking about these moments in the same way."
"In some small sense, we will lose part of our selves and, as a result, we will need to renegotiate our personal histories in the process."
My talk from the City Events programme in Paris this week. There was a lot of talk on alternative sports events, perhaps cities are tired of multi-sport mega events, which they don't own and can't fully exploit or get behind. Plus a little film I made of the BMX demo.
Ok, there are grants, and there are grants. This one is pretty, pretty, pretty, damn cool. We've called it Project Daedalus, after the creative father of Icarus, artist, crafter, mindful of technology's limits. Project Daedalus is an experiment into digital enabled flying technology. Myself, along with the truly amazing Abandon Normal Devices and Marshmallow Laser Feast won funds from the Digital R&D in the Arts programme, funded by Nesta, AHRC, and Arts Council England. Here's the one pager. And here's something MLF made with drones a couple of years ago. Mindblowing..
This month, I was asked by All Media Scotland to collate my top 10 digital platforms. this is part of a series of top 10s they have done with media practitioners. I chose to focus on the things I have discovered in the last year or so, which are taking my practice in new directions. Here's my list on their website.
This week, I was in Plymouth giving a public lecture on social media and sport. The lecture spanned wearable technology such as Google Glass to virtual reality simulations.
Some old guys consider their relevance when confronted with the next generation
Actually, it's not compulsory to love either, but if you work in HE and want to keep an eye on some of the latest innovations in social media + creative technology, then join this new Social Media News Jiscmail group I just set up. I've created it in the hope that it could become a vehicle for me to learn about new platforms, but also share info about new apps that are out there, which can be used. I'll collate any list of apps periodically and locate them on a webpage somewhere, so that the knowledge is open and out there. In the mean time, if you'd like to keep one ear to the ground on social media and its use within higher education or research generally, then join the group. Its value will me made by its members, but I'll send through post from time to time about cool new stuff.
This year, I've joined the AHRC Peer Review College and for the first time, it is publishing a column by members within its newsletter. Mine was the first to be published and here it is...
To Tweet, or Not to Tweet?
By Professor Andy Miah Creative Futures Institute University of the West of Scotland
For AHRC Peer Review College
In December, the LSE held an event about the future of academic impact. One chunk of the discussion was dedicated to social media and it made me wonder what A&H researchers should be doing today, to prepare for tomorrow. While a lot of the conversation was about how social media can promote the reach of research impact, I also want to claim that it is fast becoming a primary vehicle of research development.
I receive more invitations to speak and collaborate via Facebook & LinkedIn today than I do by email. I find more resources through Pinterest and Google Scholar than I do via my library. I meet more people with whom I share common research interests through Twitter than I ever did at academic conferences. I co-author and edit university documents in Google Drive saving hours of time spent sharing versions of drafts, sometimes working in real time on one document with over 10 people. I am also one of those people who has switched from Endnote to Mendeley, preferring the convenience of a multi-platform software, which I can install onto my home machines as well, without having to go through university IT. By the way, did you see the BBC article recently about bringing your own device to work? ‘It may be coming to a university near you, as more people want personalized, not institutionalized devices.
What about journals or conferences, I hear you ask? Are these not still primary vehicles of research development? Certainly, they remain important, but the point is that they are each increasingly being delivered by social media as well. Furthermore, I can digest a lot more because of these platforms. I no longer visit journal websites or receive email alerts about new editions. Instead, the RSS feed of the journal goes straight into my social media environments, as soon as it is published.
So what is next? The first thing to figure out is that there is no single way of doing this well. We each have to figure out how to use social media in a way that enriches our working life, but also provides some added value. That said, there are some smart principles worth adopting. Setting up an ongoing ‘future media’ working group will help you keep abreast of what’s hot and what’s not. Understanding where your peer community and audience operate is also crucial. However, perhaps the most important thing is just getting more people using it. Experience shows that social media is one of those things that requires practice to really understand why it matters.
This doesn’t mean that all academics need to tweet or use Facebook, but it does mean understanding that publishers, research, and our peer community now occupy social media in the way that we 1990s digital newbies occupied email. As the dull uniformity of email dies a slow death, there’s now the possibility of getting more done by figuring out social media and it is the variety, creativity and spontaneity of these environments that makes them appealing.
If this all sounds like too much trouble, then stop using email for a month or two and you’ll get a feeling of what life will be like very soon for the average academic who chooses to opt out of social media. If you’re ‘too busy to blog’, then you’re not doing it right.
A couple of weeks ago, the Scotland on Sunday published a 4-page profile piece about my work. It was written by the awesome Anna Burnside, with whom I've been in dialogue about my research for a few years. It's a really lovely article and a real privilege to have given so much space to explain what I do. It's certainly the most in depth and personal examination of my background, motives and interests. Here's the link to the full piece. The portait was taken by an amazing photographer called Ian MacNicol, who turns out to be (we think) the only Scotland based photographer accredited at the London 2012 Olympic Games. Small world!
In the last couple of days, @kk and @Dutchphoto have tweeted links to Olympic activism plans for Vancouver 2010. Responses from their peers have varied, but there seems to be three primary modes of reading the performative act of tweeting. It’s either tweeted treated as advocacy ie. I’ve heard about something and, since I support it, I’m going to share it. Alternatively, it can be seen as a news service to something others may not find easily ie. I’ve heard about something you might not learn about through your own media sources, so I’m going to send it to you all as I think you should be aware of it, regardless of your position. A third option may be the vanity tweet ie. I’ve heard about something and if I share it with you, you’ll think higher of me.
Now, I’m not saying that all tweets are like this. Of course, some tweets are to friends and function rather like instant messaging as a chat device. However, I wonder if all re-tweets might be characterized by these three categories. The challenge, of course, is that readers cannot know for sure which act is being undertaken. So, when we tweet, perhaps twitter need to permit users to categorize the tweet as one of the three (or more).
Discuss.
Today, the headlines about Google in China prompt me to post something about Ai Weiwei out of respect for his troubles. He has been all over the BBC today, talking about being censored online in China. In Beijing during 2008, I attended an event with Ai Weiwei and Norman Foster, which was about the new Beijing airport terminal Foster had built in time for the Games. Back then, Ai Weiwei had recently withdrawn from his role in the Opening ceremony of the Beijing Games out of concerns about human rights infringements taking place in China. He was accompanied by Steven Spielberg, who was confronted with protests over China's relationship with Darfur, led by Mia Farrow.
Ai Weiwei is an artist activist, who has been in the limelight for China digital censorship issues for years. The Guardian has a nice editorial on his life.
So, to my thoughts on Google in China. As @CharlieBeckett put it on BBC today 'Google isn't a charity'. If China don't enable Google to generate revenue, then it's not a political act that it withdraws, but a financial decision.
Of course, what makes this newsworthy is not really the financial aspects of the story though, but the realization that global culture has not yet arrived. It has taken the foremost digital organization to prove this, but regardless of how you feel about the limitations of the Great Chinese Firewall, we may do well just to sit and reflect on that for a moment.
Finally, here's a shot of Ai Weiwei taking pictures during the panel debate in Beijing reminds me of his playfulness.
and for poetic value, a shot of the photo book created for the airport terminal. It's called 'Becoming' and consists of Ai Weiwei's photography of the new terminal.
New book chapter published here on 'The Body, Health and Illness' with Emma Rich. Edited by Daniele Albertazzi and Paul Cobley [kml_flashembed publishmethod="static" fversion="8.0.0" movie="http://www.andymiah.net/wp-content/uploads/2009/12/MiahRich2009Media.swf" width="600" height="860" targetclass="flashmovie"]
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Abstract:
This chapter discusses media representations of health and illness and offers a description of the ways in which media habitually represent the body. Issues such as disability, eating disorders, body image, genetic engineering, sexually transmitted diseases, mental disorder, cosmetic surgery, drug cultures, abortion, fertility treatment, euthanasia, gerontology, and so forth, are within the general remit of this chapter. However, it focuses on three main issues as exemplary: ‘beginning of life’, eating disorder, disability and ‘end of life’ issues. These examples, it will be shown, urge consideration of the kind of ethical principles which might inform media representations.
http://www.pearson.ch/HigherEducation/Longman/1471/9781405840361/The-Media-An-Introduction.aspx
London 2012 Creative & Digital IndustriesManchester, 2009.06.19
Paul Newman Media City
5 BBC depts., 1600 jobs BBC Five Live BBC Childrens BBC Sport
Local radio, comedy, some news and current affairs
Peter Salmon, BBC North - chief commissioner of Media City
Anne Thompson NWDA, Sector Leader Sport
Scale of Olympics ME: numbers of media are inaccurate. These are the IOC and Organizing Committee accredited figures 13k broadcast, 7k print. But in Beijing, you had another 11000 media present and many more without accreditation from the official broadcasters.
CompeteFor - main mechanism to receive contract opportunities - must be registered and published
Claire Stocks (Editor, Olympics, Sport Interactive) & Tim Plyming, Chief Executive, Digital Olympics BBC Sport
Beijing 2008
Digital Olympics
4.5million visitors to website each day 2million of them looking at clips
2004 – Athens 2.5million live streams
2008 - Beijing 38-40 million live streams
Digital Olympics - bring all parts of technical development to crecendo in 2012 last 3 Olympics have been described as a digital games, but nobody has really delivered this yet
we have a unique timing clash – switch off of analogue
Digital Britain provision of 2mbps broadband in every homoe by 2012 raise awareness of digital content
30% of population happy wth analogue signal
audience expectation - extended choice, immediacy, interactivity
Beijing Tv – 74% Online – 31% Radio – 15% Mobile – 2%
aspiration for 70% online reach
nbc Beijing 2008 - first time they developed rich video services - Beijing was biggest event in us history - But rich digital services were complimentary
Sold out advertising target within a week of Games
Hours BBC put in can at last games Sydney – 300hrs Athens – 1250hrs, 4000 HD Beijing, 2750hrs, 4000 HD London – 5000hrs, 5000 HD
How connect audiences across all platforms to this HD content?
3 phases towards 2012 1. build up: news stories 2. 2011: countdown phase – cultural Olympics, torch relay, music festivals 3. 2012: programme of events leading to games time. ME: but what about Games time as a distinct phase? How can you integrate non-sporting dimensions? How involved with non sport depts. Of bbc be with other content
Pulling all content together ME: but people don't want a distinct platform, they want you to allow them to pull it into something else, like Facebook
Legacy from Olympics – an integrated platform for post Games events
IPTV - 2012 first IPTV Olympics
Mobile - in Beijing, followed live text commentary
ME: what about street reporters?
Unless got a high end unlimited device, you’re not really using mobile for video
Audio might be the main story for mobile, not video
Radio (DAB)
Live Sites - interactive services, interact with mobile, Bluetooth download zones
ME: are there plans to deliver navigation and orientation content to mobiles, rather than produce print material?
Alex Balfour
25% of world online by 2012 (+44%) 17 countries will have > 60% broadband penetration by 2012, uk 58% to 74%
people having conversations online Mobile trends: - mobile penetration 100% in Western Europe
early adoption 13.5% vs innovators 2.5%
8 yr cycle to get to 60% penetration
simple new media model 1. new media products and services (help efficiency or cost effective) (eg. ticketing, education programme) 2.
put out on YouTube, Flickr
ME: if you are in the 2.5% of innovators, what platforms are you looking at for use in 2012? Is Twitter a clear commitment for instance? Are there others that you think people here should be working with, developing the applications, etc.
If not on Facebook, then we’re invisible.
ME: Can we engage people in Olympic park using digital? Eg. harnessing the Sponsors venues, which are the most prominent – or around pin trading, the other major games time cultural experience.
ME: how are you working with Olympic park infrastructure to make it more interesting?
Cultural Olympiad – artists taking the lead
ME: What are you not yet into, but which you have plans to be involved with?
Opportunities around venues, dressing buildings etc
Bring together digital content.
ME: you talk about dressing venues, have you found that you can talk to the individual sponsors who will be in the venue to build digital into their programmes?
My2012 - technology platform and sponsor already - channelled through social networks
Inspire Mark programme
Sponsors have expressed interest in digital
ME: Is digital the first way in history that sponsorship will enter Olympic venues?
To contact me: 200 word email
Debbi Lander
SKV Equivalent Advertising Cost
Q and A
www.londonolympics2012.com - how can we get support?
Brand protection - have been looked at and we’ve approved or raised questions