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I was lucky to be invited to a seminar principally for academics about ephemeral media, at University of Nottingham. I’d never heard the term ‘ephemeral media’ before, which in this context was used to describe short-form, fleeting media often overlooked by academia – but which plays a key role in understanding how media is evolving particularly through immersion with social media. This event looked particularly at new forms of online video.

Rather than being full of (my worst fear) incomprehensible academic musings, the event was actually full of useful theoretical ideas and examples of how e-drama and media content is evolving, where it came from, and what it all means.  Here’s a taster of my highlights from two days worth of very informed and interesting papers from the workshops entitled: “Internet Attractions: online video and user-generated ephemera“

Barbara Klinger – fan re-enactment

Barbara Klinger (Indiana University) showed many examples of fan re-enactment in relation to fan fiction and film including ‘movieocke’, originating from the ‘Den of Cin’ bar in New York where people get together to re-enact favourite scenes from movies, a ‘re-play’ of movie culture.  This has been professionalised by some, e.g. Charles Ross – One Man Star Wars, where Ross, a professional actor, plays all characters and hums the music and FX in a show which is part parody, part homage, part spectacle.

Chris Strombolis and friends re-enacted the whole of “Raiders of the Lost Ark” over many years, originally bootlegging early screenings in the days before home video.  The film later gained many cult screenings.  Fan re-enactments often have comic and parodying effects through its low-tech bricolage.

Re-enactments often use their original locations e.g. The Blob at Phoenixville, an annual re-enactment as patrons flee the Colonial cinema in the 1950s horror flick, or Lebowskifest , a homage to a recent classic film celebrating the culture of the drop-out and misfit hero.  These couldn’t help to me bringing to mind Stewart Lee’s fantastic parody of Del Boy falling thorugh the bar in Only Fools and Horses translated into a folk fayre legend.  The re-enactment movement is led by men; female re-eanctment is usually associated with female led films (we can also see these trends in role play and gaming more widely).

Klinger views ephemeral media as fragments, fleeting, not treated seriously as academia but it de and re-contextualises media and is fundamental to an understanding of intertextuality which allows works to survive and develop outside of conventional releases.

Hugh Hancock, Strange Company – Machinima

The inimicable Hugh Hancock, one of the world’s leading machinima makers (indeed he even coined the name), who I enjoyed working with recently on the “Education for Leisure” machinima production, delivered his usual high-energy romp through machinima past, present and future.

Whilst the internet is primarily driven in innovation by porn, machinima is another innovation of pushing existing technology forward in new and unexpected ways.  Machinima began with Quake c.1999, the first game to incorporate a sandbox for, with difficulty, playing and editing scenes. It is defined as computer generated animation using existing virtual platforms e.g. console games or virtual worlds.

Theoretically using machinima it is possible to create film works with one person, or certainly a  small production team, which increases the artistic independence of the director. Academic theorist Michael Nietsche recognized two types of machinima:
‘Inside-out’ – fan movies made by gamers, often about the game
‘Outside-In’ – filmmakers use machinima as a new tool for animated drama

Machinima has since fragmented into many different sub-genres specific to different games e.g. Sims 1999 site – all use different editors, voice actors and production studios.  Rufus Cubed’s World of Warcraft inside-out games attract 10M viewers.  These are huge communities with economic power – but they quickly dissipate as the game ages.

In 2006 machinima got noticed by the industry: there was a rush from games producers to hire the best machinima makers.  Many went inside and produced segments for games but didn’t go back to making machinima.  Often their work can only be seen by playing hours of the game up to different levels of game, becoming ephemeral due to the limited audiences who can see it and replay ability reducing viewing access.

Machinima makers face a glass ceiling: they can’t break into traditional media due to big games makers e.g. EA denying permission to produce series and DVDs or negotiate royalty splits, e.g. 2006’s Male Restroom Etiquette by Phil Rice which never made it through to a series despite a commission offered. The big crux: machinima has yet to have a big court case determining rights and usage. Could machinima be covered under ‘fair use’ copyright?  Machinima is not ‘copying’ but photographing characters. But makers need to challenge and negotiation more with the industry. Hugh survives as a machinma maker because he doesn’t have an allergy to talking to lawyers.

Machinima, as a form of immediate animation, can, like other types of social media, be used as a force for community and political change. Stealth Legislation was made within 48 hours to show the effects of EU immiment internet legislation.

Microsoft’s Project Natal is a new Xbox motion capture suite under £500 which could revolutionise machinima, particiularly if it becomes linked to Second Life, plus a £100 facial recognition software could mean avatars represent people in real-time triggered by real-life actions.  This could have big effects for both social and business e.g. virtual conferencing, and also benefit indie film-makers by rapidly creating sophisticated graphics e.g. animated characters mapped onto real people’s movements. Machinima and performance capture are on a colition course to mesh into one media.

Tracy Harwood (De Montfort University)’s  machinima study discussed definitions of co-creation (participation) and co-production (collaboration on the project), describing the medium as about socialism and the social, concerned with collaboration and sharing within the community.

Daniel Ashton (Bath Spa University) believes machinima is in a transition form from amateur to professional, or “cresting the Horizon” (Hugh Hancock, 2007).  Limitations are often to do with the framing of its creators;  Lowood believes players should express their work as content developers rather than players, where hacking mixes technological mastery with subversion.

Quality machinima worth viewing:

‘The Stolen Child’ – a Second Life created film by Lainy Voom (aka Trace Henderson)
Bloodspell – Hugh Hancock’s fantasty machinima feature film
‘The Journey’ – Appears as a 2D animation through post-production effects
Red v Blue “Going Global” – commission of the original and most famous machinima serial for Machinma Europe festival as a  critique of European film genres

Rebekah Willett – camera phone, production and identity

A study of camera phone production – why people do it and what they film, which is an interesting but little studied area. Camera videos are ephemeral in the nature of what’s recorded – yet little is deleted from servers – but its symbolic value is more important than its legibility.  Statistically:

1/3 make personal documentary – e.g. family, friends
¼ make non-personal e.g. weather, landscape
¼ make public performance e.g. recording gigs

Sam Coley – online practices of david bowie fans

Coley, a radio documentary producer, discussed interactivity and fan culture from a producer’s perspective. He produced a documentary about the 25^th anniversary of Bowie’s 1983 concert, New Zealand’s biggest ever gig, which you can listen to here.  It includes a charming original recording of a short song Bowie wrote for his Maori hosts.

Fans communities are reshaping documentary production, offering feedback mechanisms to benefit the producer in pre-production but also give a life to the documentary extending far beyond broadcast. YouTube Insight is a fine-grained analytics tool which allows producers to analyse how users are interacting with the video or audio content and who the audience is.  Audio clip shows, taking advantage of the screen for radio on platforms like digital TV and YouTube, is a new way of re-imaging what radio looks like and placing audio within a multimedia context.

Jon Dovey (University of West of England) – Archeologies, Economies and Ecologies

We’re in the grip of a second dotcom boom: plenty of hype and money thrown at unknown entities. But what is the value of user-generated content: Democratic?  Economic?  Political?

Echoing my own views that social media et al is nothing new: the 1970s Bay Area ‘radical computing’ movement predicted the power of information over land. Today Jimmy Wales (Wikipedia), Fake and Butterfield (Flickr) and Matt Mulanwey (WordPress) all emphasise the  importance of allowing users to create without technical skills, so creating and accessing media becomes something normal than eventually everyone can do.

The utopia of access for all through the internet is perhaps a Victorian, elitist world view: globally only 17.4% of people can access the web (70% in the developed world). Barabasi looks at the topology of the web, like an aerial view of the rainforest we only see the tops of trees, or a snapshot of all the billions of pieces of information available. Relationships are critical to navigate this forest: comunity management is the starting point of online marketing.

Henry Jenkins believes fan fiction developed into YouTube, though the platform will lose $470M in 2009 – parallel with loss-leading web 1.0 (1999-2001) hype and speculation which leads to the hollow speculative incomes for developer-entrepreneurs.  KateModern, a new form of interactive drama content, only attracted 25M views, 150K per webisode, and that resulted from involuntary pop-ups on users profiles. Bebo sold for £850M and immediately its user-base declined.

Bauwens, a web1.0 entrepreneur who went on to establish the Peer-To-Peer Foundation,proposed three types of P2P networks:

1) Capitalist- e.g. crowd-sourcing around a commercial product
2) Sharing economy – expression, e.g. YouTube
3) Peer production proper – collaboration to create social artifacts, though business may profit (e.g. advertising)

William Merrin – Understanding Me-dia

In the first reformation, the printing press liberating text from purely spreading the word of god.  Today is the second reformation, liberating producers from established publishers and markets. This presents challenges: volume, dispersal, ephemerality (devices, meaning) and access (e.g. network owner control) and needs a new form of analysis – a ‘Media Studies 2.0′: traditional media studies focus on broadcast era, we now need to look at post-broadcast ecologies as a new entity, not just as a continuation of fan culture.

Elizabeth Evans: Kate Modern

Kate Modern, the social media online soap,  is actually anti-ephermal content – 14hrs of content, continually available as a permanent, virtual object. Participation from engagement in the content is only truly possible within a few days of broadcast before the story moves on.

Various interactive exhibition structures were use like marathons (12 films distributed in 12 hours), quizzes (like ‘where is Kate?’) and live events – a live filming which took place on Carnaby St 10am, encouraging audience to participate which leads to deeper engagement and more viral activity.  This was a great analysis, and extends the article I wrote about Kate Modern while it was original broadcast.

Rik Lander – www.u-soap.com

Lander, as a producer of seminal e-drama, offered an interesting practitioner and historic perspective on the form. There are various funding methods for e-drama:

DIY parody
Showreels – to gain professional work
Corporations
Sponsored
Un-funded pure creativity

And many forms of e-drama:

Tv on the web
Linear webby
Interactive
Participatory

It requires many different questions of production like, who is holding the camera? Not a concern of TV but its imperative to internet drama

Lander’s first production was Magic Tree (2001) using text and web (HTML/Flash) as the options available for bandwidth. Viewers were sent a box with chocolate twigs and a magical growing tree, mixing the personal with the consumable. Video is now the currency of e-drama, although potentially e-drama becomes an extension of film and TV rather than a mixed media production.

Lander went on to produce Wannabes for BBC, a teen drama which works on creating friendship ratings and giving advice from characters using video within an interactive database.

Together Alone is a pilot project using actors, crowd-sourced from a talent show format, all over world directly virtually by Skype and montaged together in edit, which gives an endearing inconsistency as settings differ and objects interface from one ’set’ to another.

For e-drama, production viability for acquiring funders is 250,000 viewers, though Bebo et al will claim to sponsors that 20M or more will view it.  Only a fraction of users are likely to be participatory but  they are critical for the development of the production. The web is platform for something ground-breaking and innovative, but not necessarily for producing the highest quality or longevity in film works.

Claire Wardle (Cardiff University)– UGC at the BBC

As part of an AHRC extensive study into user generated content across several BBC departments, Wardle’s study look at its use in news (download the report here).  Its a small minority who submit UGC who are not representative of the whole audience. 90% of contents is thought to originate from 1% of users.

There are many barriers to participation: technological, impetus (why do it?), perception of those who contribute – plus the digital divide. UGC works best with specific calls to action –  say what news gatherers want to know about rather than just asking people to have their say (as this parody website testifies, the results of user’s views can be absurd to the extreme). UGC has the benefits of networked journalism: audiences knows more on subject as ‘lay experts’.

72% of people have never contributed material to a news organisation, though interestingly the most popular contributory media is newspapers (17%), radio (9%), tv (7%) and finally websites (4%).

Moderation of UGC is still valuable: Sky i-News allowed people to upload whatever news they want, assuming the community would extract false news but after eroneous news of Steve Jobs’s death caused shares to drop they realised the need for curating/policing.

Conclusions

Overall this was a fascinating and insightful event, thanks to Paul Grainge from University of Nottingham for organising it and letting me observe it. What was key to me was that online media is far from ephemeral – prolific and difficult to decipher with new rules of symbolism and engagement which defies the usual structures of broadcasting and intrepretation typical of academic media studies.

I’d be really pleased if you have a look at this film that I’ve been involved in producing since February this year, a machinima interpretation of Carol Ann Duffy (the recently appointed Poet Laureate)’s controversial poem “Education for Leisure”.

Education for Leisure from The White Room on Vimeo.

With a group of six TV and film-makers from the Northwest, it was part of the DMEX programme I’m working on, training media freelancers with digital skills through work placements, seminars and collaboration. We produced this short film using Moviestorm, a very new free software tool which was launched in the last year or so. The Moviestorm blog explains a bit about the process and team.

My role was effectively as a project manager, acting as the ‘boring glue’ to let everyone else be creative.  The twist with this project: it was a ‘virtual collaboration’ – we only met twice in person, all other production meetings were held using weekly Skype text meetings, and all shared resources and tasks were assigned and monitored using Huddle - two free resources I would heartily recommend for eryone from a voluntary group to an international project team.  Huddle particularly may lack the features of a most sophisticated bespoke system but actually it’s simplicity means it’s so much easier to use.

Our group was made up of writers, producers, editors and researchers – primarily use to working in the hectic environment of TV production offices, and some were self-confessed technophobes.  We split up tasks between more traditional roles (like script writers, editing, or sourcing and recording actors) and two brave Directors who learnt out to use Moviestorm to create film-like scenes.

The beauty of Moviestorm is, unlike typical machinima using existing console games, it’s designed to be copyright free for users to create their own actions using the simplicity of computer game tools and it’s leagues easier to learn than learning animation from scratch.  It’s also sophisticated in enabling directors to effectively ‘draw’ expressions on characters with fairly subtle nuances (even using ‘angry’ ‘happy’ sliding faders!), again, not typical of computer game machinima.   The downside: it was actually a far steeper learning curve than we may have thought with lots of annoying technical glitches (not to mention being epically processor and file-size hungry), but perhaps future releases of the software will be more feature rich and versatile – it’s early days.  There were plenty of limitations too, as Moviestorm to date doesn’t have so many costumes or sets – so we had to be creative in the sets, script and change a few things on the way.  Having to infer a goldfish was being flushed down a toilet (without a toilet, bathroom or goldfish on set) was a slight challenge!  But then again, aren’t all budget films intrinsically creative through such limitations?

I’m pleased with the final film, not least because I know how much hard work has gone on behind the scenes from the team – Harvey, Karen, Lee, Frances, Pawan and Jim.  The team, unlike many machinima makers, come from a traditional film-making background and I think have given the short a more cinematic feel than many other examples of this emerging genre.  And dialogue from real local actors – plus a composed sound-track from my old time musical collaborator Dave Fox – gives it a really distinctive edge.

For me what made it especially rewarding was how readily everyone took to using digital tools for production, communication, and even making decisions – and how, a lot of the time, it made the whole process easier and more democratic (we didn’t have a budget and everyone was doing it in their own time). And it’s always great to work with such creative people who can do such magical things with a limited amount of time and cash!

Please let me know what you think of the film.  We’re holding a premiere on the big screen event on July 2nd at Cornerhouse Cinema in Manchester to preview the film and talk a bit about the programme and how it was made.  Email me (susi@digitalconsultant.co.uk) if you would like an invite.

The next DMEX Labs project is called “The Mill” and will be a ’social media soap opera’. A similar team will create a drama distributed through social networks about the lives of a group of young creative types in Salford’s Islington Mill. I’m currently putting together the project team and formulating the brier with exec producer Carlton Reeve.  Very excited to get it moving, which I think will be a really cutting-edge production in its own right.  I’ll blog some bits about it as we go along. The production will be launched  in early September.

Saturday was Nottingham’s first MediaCamp (and certainly the first media-related Unconference I’ve known in the city), and I only feel like I’ve just recovered!

This post attempts to pool together everyone’s impressions and online experiences I can gather into a Collective Memory, taking the model suggested by Chris Unitt from Birmingham who attended to talk about the phenomenal success (and jealously, in the case of The Spectator’s Melanie Phillips) of Created in Birmingham.

It’s a work in progress – if you want to add more thoughts or links please do so on the MediaCampNottingham wiki collective memory page or in the comments below and I’ll update this post in a few weeks.

What was MediaCampNottingham?

A semi-structured unconference that lets disparate people from the business and community come together to talk about using media for commercial or social gain.  Spanning the themes of Technology, Media, and Culture – we saw in total about 40 people attend throughout the day from a happy mix of backgrounds – a city councillor, a lecturers, theatre practitioners, an Arts Council rep mixed with video bloggers, web developers, brand consultants and a whole range of geek – and non-geek – from the city’s diggerati, plus a few out-of-town guest blogging celebs like Jo Geary from The Times and legendary citizen journalistic Documentally.  Georgian micro-complex Lace Market House provided a lovely atmosphere for the, ususally, productive exchanges and a good atmosphere that wasn’t too ‘tech-brow’, where people could share a lively debate.

Anyone could sign up for a session – some were carefully structured presentation of research (like my session on online music for independent music entrepreneurs based on 6 months of academic research.  Presentation here, though doesn’t make too much sense with the text!), others more a spontaneous round table coffee and a chat.

Digital Britain Unconference

We were also lucky enough to time our event with the Digital Britain Unconference week, where a whole load of citizen groups from around the UK got together to (largely) challenge and re-shape Lord Carter’s Interim Report.  I ran this epic 3 hour session, which ranged from absurd and lively debate (like @documentally’s vision of no longer needing the BBC for Wimbledon as in the future we will install micro-cameras in the tennis balls to direct your own coverage), to some serious gauntlet laying in terms of what we could do to make Nottingham a better city for digital connectivity, and the digital industries.

Interestingly, Nottingham raised many of the same issues as West Midlands Unconference – namely the report should be addressing needs of smaller business and the community, not just corporates, and we need a more ambitious target for both up and download speed connectivity nationally for Britain to stay competitiive.

Here’s a PDF of the response submitted: digital britain unconference mediacamp nottingham
And you can view it online on the Digital Britain Unconference wiki.

Your responses to MediaCampNottingham:

The Twitter Stream for the day was of course lively, from both attendees and virtual onlookers, my favs: @NeilRostance is euphoric, and @Gillogs fears the ‘Geeklter’

Plenty of video responses – here Caron wraps up the day with everyone’s verbal ‘Tweet’ summarising the day, then Drew Davies’ Fear of Projection in complete – a fatanstic one man theatre piece where a junior lecturer realises his projector is talking back to him, before all manner of strangeness ensues…definitely CHECK.THIS. OUT.  @documentally and @philcampbell meet the lady of the church for lunch.

Blogs write-ups:

Camilla from Green Light Copywriting writes about Applied Creativity – finding some inspiration surrounded by a strange and interesting collection of techno fanatics.

Jed from Rock Star PR blogs mid-morning on the day (but doh! we need to re-do that Kubla Khan-esque video interview!)

Final thoughts

The day got me seriously thinking again about the power of collaborative innovation to get things moving – particularly in these times with cash shrinking everywhere.  We were able to get everyone here and do the event on the basis of goodwill, and keep it free.  And, thanks to the debate stemming form Chris Unitt’s session on Created in Birmingham, I’ve now found other collaborators to revive an old idea of setting up some kind of blog based network for creative Nottingham – more on this in a month or so.

Do we need cash to change things in Nottingham?  It helps, but not necessarily.  Do we need to connect more?  Definitely yes, but a face-to-face is better than a social networked way sometimes. Structure and purpose are good.  The challenge for me, particularly post Digital Britain, will be seeing how our ideas can filter up to the relevant big businesses and public bodies and get them to listen and talk with us, not TO us, a little more.

Thanks to:

Nick from Lace Market House for the free loan of the beautiful bulding, great serviced office (with exciting co-work space plans afoot I eagerly look forward to hearing more about), Excell Solutions for providing sponsorship for creche and other stuff,  Caron from PCM Creative for setting it in motion, and pretty much organising everything!  BIG thanks! Lucy, Ged, Babu, Edward and anyone else I’m forgetting on the steering group and volunteers on the day. THAAANKs.

What have I missed?

Add your blogs/links/thought in comments or MediaCampNottingham wiki collective memory page- I will update this post in a few weeks.

What next?

Who’s game for MediaCamp 10 or possibly late 2009?  What should we do differently?  How can we get more people (and more diverse people) along (to speak and attend?)   How can we raise some sponsorship cash (if we need it?)
Questions/answers in comments please!

MediaCampNottingham logo

I’m very excited to announce that we’re at an advance stage in planning of Media Camp Nottingham, the first (as far as I know) ‘unconference’ for media and those wanting to know more about going web 2.0 that’s been held in Nottingham.  The brainchild of the wonderful Caron from PCM Creative, a veteran of the MediaCamp scene, she’s managed to secure us the rather atmospheric use of Lace Market House for nowt, and even a few sponsors to boot to allow us to do the whole thing for free.

If you want to come all you have to do is add your name and email to the sign up list here, or just turn up on the day.  An interesting collection of folks signed up so far – from students to marketing pros to IT folks to theatre people coming from all around the Midlands and other parts of UK.  There are still a few more speaker sessions left, to speak (or just offer to lead a discussion) all you do is decide on a time slot and add your details here.   There’s some interesting topics already listed like Adam Sargent and John Sargant (no relation!) on applications of social media for political activitism, Jennifer Jones on making Leicester un-rubbish (a worthy task!) and I’ll be talking about Music, Free Like Water? the findings of my research studying into online independent music.

If you can’t make it to Nottingham (shame on you!) video blogging gurus Christian Payne (aka Documentally) and Phil Campbell will be on hand to video the whole shebang and live stream it all to the web, linked from here.  And of course we’ll all be encouraging the attendees and watchers to Twitter it, the Twitter account is mc_notts and the hash-tag for Twittering is #MCN1.

I’m really excited about Media Camp Nottingham as it does seem to be the cumulation of a number of related and interesting digital activities kicking off in Nottingham that I’ve blogged about before happening as a result, not from a stack load of public money, but of the altruism and commitment of a number of enthusiastic individuals, most notably:

Martin Wright and the Web 2.0 Surgery – which has helped a number of startup and businesses learn more about web 2.0 through free advice with experts, which will be back in June (we’re also in desperate need of a new venue – if you know somewhere in town quite central with good free wifi that can offer an informal and quiet  environment for talking late afternoon/early evening please drop me a line).

Adam Bird from Essendex’s Nott Tuesday, which will have its fourth meeting on May 12th with a competition between Nottingham’s most promising tech start-ups, judged by none other than the legendary Mike Butcher from TechCrunch.

You can find out more about the pertinent details of what an unconference is, the key themes and where/when on the Media Camp Nottingham wiki website here.  See you there!

This week I took part in two events which proves what I’ve posted previously that Nottingham is starting to come to the table as a serious centre for all things digital.

Web 2.0 Surgery

Wednesday 25th March was the inaugural Web 2.0 surgery, which just by coincidence was the same date as the one in Birmingham which  has been running for a year or so, although the organisers are unaware of their co-existance – great ideas happening in syncronicity.

Eight experts including myself gathered in the Cape Bar, and around a dozen people seeking expertise.  Despite the slightly intermitant wifi, we were able to impart a bit of knowledge and learn ourselves.  I spoke to everyone from new-starts setting up a web optimisation business, to a lawyer trying to blog without being contentious, to a guy trying to social networking the virtues of drain clearage, to an affiliate site owner looking for a change in direction.

I enjoyed the surgery, I hope I helped a little bit in addressing those little problems in e-marketing strategy and blogging.  I’ll be at the next one on:

Thursday April 23rd, 6.30pm, Cape Bar, Victoria St Nottingham.

Please let us know what you think of the events – is the location good for you?  Would working hours time be better?  How could we promote the event to the wider business community?  Advice in the comments please!

MediaCampNottingham, May 9th and 10th 2009

I’m really excited about this one.  The first ever event of its kind, MediaCampNottingham will land in town On Sat May 9th and I’m helping organise it. It’s based on the MediaCamp model that’s been running for a while now in London.  It’s an innovative UnConference exploring the latest digital trends in:

It’s an UnConference for knowledge-sharing and collaboration where you set the agenda.  MediaCampNottingham is for digital media professionals wanting to share and expand their knowledge, or businesses or social enterprises who are curious about the digital phenomenon and want to learn more.  This event is for you to share, explore, challenge and grow your abilities in digital media.   Learn about audio and video podcasting, blogging, web marketing, graphics, email campaigns, Second Life, Twitter and other social media tools. Whether you’re a veteran or just getting started, MediaCamp is for YOU.

For more info and to sign-up, visit the MediaCampNottingham wiki.  We are also looking for sponsors who could contribute towards the cost of lunch and refreshments in exchange for promotion on the website and at the event, or could contribute relevant promotional goodies for our giveaway bags.  If you can help, please contact Caron from PCM Creative.

Ada Lovelace Day

And while I’m here…

I totally missed blogging about Ada Lovelace Day as I didn’t find out until the day was upon us!   It’s an international day of blogging to draw attention to women excelling in technology. There’s a brilliant interview with Ada herself (in a Doctor Who style time machine style) here.

Ada Lovelace (1815-1852) was actually a local Nottingham woman, the daughter of wild 19th century poet Lord Byron, whose mother drew her into an opposite path, and she became a great scientist and technologist of her day, a rare achievement for a woman.  She worked on Charles Babbage’s analytical engine - the predecessor of the computer.

There are many great women in technology now, but probably not enough (apparently only 2% of Physics professors at universities are women) – and the lack of women in the games industry is well-catalogue.  Helen Whitehead thinks women are now excelling the field in communication technologies – particularly social media.  I think we’ve a way to come but it’s great when women are able to celebrate our achievements and spur each other on.

The revival of Girl Geeks Dinners in Nottingham is another example of both how Nottingham is getting more digital and humanistically connected and I’m looking forward to going along to meet some other girls working in the web and technology sector.  Sure beats the usual women’s networking for too many arts & crafts, life coaches and reiki healing ladies…

Innovation has been the big buzzword of this decade – apparently, start-ups to international corporations will thrive or fail based on how much they innovate – yet in another decade this activity might just have been called ‘enterprise’, ‘doing stuff’ or ‘trial and error’.   However, from my own research into disruptive innovation in the creative industries (due to be published by NESTA in May), I uncovered a wealth of people doing and thinking differently about how they framed – and later reframed – their business offer in the market through new business or production models. Perhaps this is what Schumpeter called “creative destruction” and reinvention rather than innovation – which is perhaps a too broad and yet too narrow term.

iFestival

Yet Regional Development Agencies love their innovation – with whole teams and programmes dedicated to the intangible verb.  Yesterday I went to East Midlands Development Agency (EMDA)’s iFestival – a celebration of ideas and inspiration from the region and a few bigger ideas too.

I tagged along to the second half and heard Luke Johnson, Chair of Channel 4, talk about his legacy as a food entrepreneur (Pizza Express, Strada and Giraffe to name but three) – and avoiding mentioned the inevitable  impending collapse and inter-broadcaster bunfights between C4 and others.  Johnson believed his success lay in taking the core roots of a succeeding entrepreneur and developing these into a corporate model of chains and franchises – entrepreneurs just got too bored after opening a few stores.

There was much talk from Johnson and the panel on the importance of youth and education – most innovators generated their great ideas in their 20s, when they will take risks (and have little to lose).  There was worry that too much reliance on age could see Britain like Japan – where conservative 50-somethings rule roost and resist change or new ideas.   Those who won’t take risks have low expectation and live in fear of the unexpected – and nowadays, the unexpected is almost to be expected.

What happened next almost defied belief; delegates were invited into a medieval street – resplete with musicians, a juggler (trading under the name ‘the Fluid Druid’, apparently) wenches and people dressed as giant emus (not sure why) – to enter the ‘Last Business Standing’ competition where businesses were encouraged to – over the din – compete to deliver the best pitch to the streets filled with regional business advisors.

From my own days working in the public sector, it’s easy to knock their efforts at doing something different (dare I say innovative) – but this event was odd, inducing smirks and giggles, but definitely memorable – though not necessarily for all the right reasons.  The discomfort from the black-suited middle age gents, mainly from traditional industries like manufacturing, and the incongrous medieval fayre to me ranks alongside the very bizarre snake dancers entertainment at Creative Clusters 2007 as one of those moments of unadulterated perplexion.

Nott Tuesday

Head somewhat fried, it was reassuring to head over in the evening to the second meeting of Nott Tuesday, the new network of high-tech and digital businesses, to hear two interesting speakers, Doug Ashby, IT business entrepreneur discussed “retirement at 45, heaven or hell?”.  If you were a small business owner into the number crunching of boom, bust, boom, boom zero to hero startup his account of the trials and errors of IT startup was no doubt interesting.

Ian Lockwood then gave a quick introduction to the Nottingham Fibre project, as a call to arms for Lace Market tech co’s to unite in the fight for faster broadband.  I’ve blogged about this project recently under its previous name, Ultraband.

The quality of chat this evening was undoubtedly higher and more innovative than at iFestival where I seemed to get emeshed in a very boring gentlemen’s musings on innovation in hole digging technologies for fibre optics companies.  Great chat with the ever idea-ful CJ from PCM Creative who intends to set up Nottingham’s first Media Camp in the spring – I hope to get on board with making that happen.

And Martin Wright who is hosting Nottingham’s first web 2.0 surgery on March 26th – a way of getting businesses and organisation to get some hands on help on “getting” all this complex web stuff (something the great social media tribe in Birmingham have been pioneering for a while) – and ditto I’ve signed up as an expert for that so hope to see some Notts folk there.

I was revived by the energy and ideas in the room and willingness to get on and do and make change;  it really seems tha now is the hour  for Nottingham businesses to get connected, linked in, and use social media to change the business and community landscape for the better – and now its needed more than ever.

So all this innovation seemed to be happily happening of its own accord, without a label, or if it did have one, it would probably read “people talking about interesting stuff and getting on and doing it” – which is the closed definition of innovation you’re likely to find.

This week I’ve been networking more in the physical rather than online world, though with some interesting dalliances in-between where online networks facilitate “third city” interaction in the real world. With three networking events in one week in Nottingham, it really does seem like the digital and creative scene in Nottingham is starting to emerge splenderous from its slumbering cocoon – these are exciting times!

Nott Tuesday 10-02-09

Tuesday saw the inaugural launch of Nott Tuesday, a new network for Nottingham’s high tech professionals which saw a packed room of about 50 IT and digital types (90 percent male) descend on The Cape bar for a structured evening of presentation and networking. I think I tracked this down from looking at new groups my LinkedIn contacts had joined that week.

Enthusiastically established and curated by Adam from Essendex, the speaker was Ewan McLeod from Mobile Industry Review who gave a fascinating talk on how blogging and social network grew his business. From his frustration trying to promote a previous business offering SMS to screen display to New Media Age, the main press of the time, Ewan started a blog on SMS news using the simple and classic blogging technique of signing up to Google Alerts and a £5 month Typepad account, aggregating content in a simple 10-minute-a-day round-up.

Within weeks he was the top ranking site for the search term ‘SMS news’ and soon he had an audience, which with hundreds of thousands of page views rapidly exceeded the 10,000 readership of New Media Age. When he started excerting his extreme opinion on Vodafone (in a hand shaking ‘dare I press publish?’ move) he realised he had an opinion people wanted to here, which echoes my own blogging experiences of gaining more reaction to opinion than reportage. With web 2.0 forms of publishing, you can become the press as easily as you can try and chase the tails of them.

Today, Ewan dam used the example of attracting the attention of the Government’s Minister for Information through using Twitter Search to find tweets relevant to his expertise, and responding in Twitter’s unique 140 character format to the Minister’s “Google, good or evil?’ post. Soon they were in dialogue, in a way unimaginable in either a traditional offline, longer-form (like letters or even email) or more formal style of conversion. Adam responded with knowledge and ideas to the Information Minister’s specific need to information right then.

Ewan’s talk was inspiring and made me realise I should utilise Twitter search more for potential sourcing of clients and like-minded.

The crowd at Nott Tuesday was a nice mix of digital start-ups, academics, games people, IT consultants and more and I feel really inspired by the possibilities of the new networks and events self-initiating within Nottingham at the moment (which makes my job many times easier!)

AMC/ TigerSpike launch 11-02-09

Way down in that extreme weather beacon of London village, I was invited to an event which celebrated something almost heart-warming in the present financial apocalyptic gloom: the launch of a new London office for Sydney and New York based TigerSpike, whose business has grown exponentially at 1000% per year.

TigerSpike specialise in mobile technologies and commamunications, and have coined the term ‘Personal Media’ - their term to describe person-to-person communications which include talking, phone, social media and web – and a perfect way of defining for the mobile comms solution. Their vision is to become a ‘platform as a service’ like the IBM for Personal Media.

Great thinking and technological innovation come through TigerSpike’s internal Innovation Lab model using a process called RIGOUR (Research, Identify, Generate, Opportunistic, Utilisation, Re-invest) which seems like an exciting formal innovation process to bring to a UK digital technology company. Definitely ones to watch.

Thanks to Xavier Adam from the AMC group for organising a splendid lunch and a very interesting collection of the city’s mobile and digital types there too, and no thanks for a terrible picture of me at the lunch!

Twestival Nottingham 12-02-09

Back in Hood town, Nottingham Twestival was a very different affair; Nottingham came to the Twitter table with late notice to set up a Twestival to join the 200+ other global cities in one simultaneous evening event for charity celebrating those brought together through the social medium of Twitter.  The global reports were impressive – the 700 person artsfest of London Twestival looked mighty fun, I was sorry to miss the 200+ attendees of Brum Twestival where many of my Twitter comrades are.

Nottingham was a more modest collection of 20 or so social media freaks – I was suprised at our diversity and motives – several PR, digital media and social media professionals but also several politicians and a few early adopters from other walks of life – and a few virtual participants joining in via ‘Tweets’ on Twitter.  If you’re not already sold on the instant connectivity of Twitter, the idea of coming together over a web platform is probably more barking that tweeting , but if you like the serendipity of how communities share knowledge then you just might find it addictive, and if you do I’d urge you to follow me on Twitter here.

I had a range of very different conversations – from using social media for business, to the pitfalls of beer festivals, to Nottingham’s tawdry legacy of Robin Hood. There’s definitely a ‘vibe’ to the ’share and share alike’ Twitter community that allows conversations between people from different professional and backgrounds to intermingle.

I’ve been warmed lately by the sheer volume of ‘non geeks’ signing up and how conversation are shaping more widely to augment the community.  The number of novice Twitterers, even at the Nottingham Twestival, shows we have some way to come as a social media connecting business community to compete with the chaps in Birmingham and beyond – but now is the right time for us to get inter-connected.

In the bar we had a screen displaying Twitter feeds from our own event, alongside posts from the rest of the Twestivals.  The beauty of Twitter is that you can easily aggregate information by tagging your posts with terms like #nottstwestival.  Here’s a lowdown of most of our collective conversations via Twitter, and you can follow some recap on action at the NottsTwestival Twitter feed.  Thanks to Martin for splendidly organising it all – we did raise £210 for charity (and I won a very bizarre DVD in a raffle that I can only describe as a strange am-dram Biblical version of Alan Bennett which will certainly be making it’s way to a charity shop near you soon. Double donation

Nottingham Creative Business Awards Presentation 16-02-09

And finally, a more formal wine, canapes and presentation do c/o Nottingham Trent University where winners of their 2008 Creative Business Awards presented their wares, with some corporate vid style big-up for the 2009 awards.

Martin Knox talked about how the city is ready to come out of its cocoon and the economy means everything is up for grabs for creatives.  That may be true, but I wonder whether the cash-strapped City Council and other private business will fund the awards in 09.  I’ve never been one for expensive penguin-suited awards ceremonies being a thorough digital type (the mantra: you get more for less online) but I do see their place in the visual creative industries and anything that openly celebrates the creative scene of the city is good news.

Many award winners werethe successful and predictable – I’m curious about University of Nottingham winning the digital award (Nott’s digerati get it sorted!), although their mad scientist Periodic Table videos on YouTube is, admitedly, quite funky in a “Look around you” way.  And Hetain Patel’s business of the year was a brave step for a one-man performance art canvas.

So despite the financial apocalypse gloom, I do believe the future for Nottingham creative sector is looking pink, if not rosy.  And this paves the way for an announcement from me very soon on a new digital project to take Nottingham’s creatives to the next stage of connectivity.

I’m in the midst of a very exciting piece of research – perhaps my most challenging yet. I’ve come to the final stage of my Masters at Birmingham City University in MA Media Enterprise which has provided some interesting opportunities to study and reflect on my own creative and media consultancy practice.

I’m now in dissertation mode, and my research is all about the opportunities and challenges of digital music for what I’m calling the ‘micro industry’ of music entrepreneurs. This includes independent artists, bands, promoters, non-major labels, independent retailers and those who create, produce and sell music that’s driven by aesthetics and passion rather than the ‘music-by-numbers’ approach of EMI et al.

My provocation: if the digital space is a ‘brave new world’ for independent artists, who are the winners and who are losers? Is one structure of the major label music industry just being replaced by another set of gatekeepers in the media conglomerate owned platforms like Last.fm and MySpace?  How do small producers exploit the ‘long tail’, niche markets and cut above the ‘noise’ of the digital space (where everyone is a ‘Pro-Am’ musician?).

I’m particularly interesting in this work in exploring two key areas:

1. 1. How intergenerational tastes in consuming and producing music are affecting young people versus their parent’s generation. Are younger musicians motivated by different drivers? Do younger music fans value music and invest in it in the same ways as my generation? What are the longer-term implications on music production and retail models on these new trends?
2. Music is the first-mover and first effected of all the digital content industries. It has borne the brunt and learnt the hard way how not to deal with the effect of bit-torrenting (see the Napster and RIAA fiascos, met by the decline of major retailers like Tower Records and Zavvi).  The existing industry has struggled to commercialise music as a product in the file-sharing age. What key lessons can other independnent digital industries – particularly film and computer games – learn from it’s failures and successes?

So far I’ve done a lot of reading and made a fascinating interview with Yinka Okewole from the band Sabatta. You can hear us rinsing about all things independent music and internet related here. I’ve also chatted to my old bandmate Roger Simian who now runs Shark Batter Records who waxed lyrical on the ‘devaluation’ of music by fans – a theme that’s recurring in more conversations.

I hope my research is going to I hope be a fascinating insight into the changing dynamics of what the music ‘business’ means here and now, and how grassroots, independent music entrepreneurs can adapt to the challenges in the future (if you’re interesting in this theme I’d also heartily recommended a mooch over to Andrew Dubber’s New Music Strategies website).

Wanted: music enterpreneurs to help this research

To bring in a wider range of views, I’m conducting a survey to questions on your current music enterprise, your use of digital tools and asks a set of ‘provocations’ to ask your opinion on online marketing and distribution like copyright, direct-to-fan marketing and bit-torrenting.

I’m looking for the following people to do it:

- Solo musicians
- People in bands
- Live music promoters
- Music retailers
- “Super music fans” (gig goer, journalist, blogger)

I will share the findings of the survey and research if you complete the survey.  I need completed surveys by March 31st 2009.

The survey takes 8-10 minutes to complete.  Here’s the survey:

http://www.surveygizmo.com/s/104564/the-future-of-online-music-for-independent-musicians

It’s still early days, but I will be using this blog to update on my findings and instill some provocations and I’d love to get readers thoughts. Email me (susi@digitalconsultant.co.uk) if you have any opinions on this subject – or better still complete the survey. I’m looking for more people to do formal (phone or in-person) interviews with.  I’m particularly interested in interviewing some teen music fans and bands, but being a bit of an ‘old rocker’ type myself I may struggle here so any recommendations of approachable bands much appreciated.

Last week I gave a talk in Manchester as part of the DMEX training programme I’m working on which upskills ‘traditional’ (strange term in itself!) media professionals from TV, radio and film to work in digital environments through a series of work placements, mentoring, an online network (email me if you’d like an invite to join), a collaboration project (we’re currently making a machinima film) and a series of workshops.

This one was on the mixed subjects of pitching (with Stuart Nolan from Hex Induction), multi-platform commissioning (with Mario Dubois from BBC Multiplatform) and I gave a presentation of using social media for benefiting your freelance business.  (The full write-up of the event is available on the DMEX Ning website – email me if you’d like an invite to join).

Here’s my presentation with some videos and links to case studies:

It was a fun, practical session with a lively group where I did a lot of “show and tell” and created a live blog post to show how easy it is to get going with publishing and connecting your ideas to the wider business community.  I’ll no doubt be writing more on this subject soon, but some key points to take away:

All networks are social

Online networks are much the same as real world networks, you need to feed your network and nurture it for it to bloom, but online networking, rather than just time-wasting, is like the telephone and email – just another new form of conversation so treat it as that – immediate and rich with an equal mix of great ideas and bullshit.

Start with the end in mind

Decide on your goals in advance.  It could be to gain profile because you’re new to freelancing or new in town – in this case a frequency strategy of short but high volume “presence” on blogs and other social networks is effective.  You may want to position yourself as an expert – you’ll then need to define your subject and think of carefully crafted links, comments and posts that define your specialism.  Maybe you want to use social networks to further your own knowledge – in which case you’ll do this by becoming a ’super connector’ giving advice and ideas to others in return for a piece of theirs.

Have fun and value your time

I’ve just started to use the rather excellent CreativePro Office (it’s free and let’s you track projects, milestones, invoices and time spend on projects) and now I monitor how much time I spend as part of my business development on Twitter, RSS and Facebook.  Decide on your goals and don’t let social networking impact on your workload – it takes a while to “work” for you in terms of bringing in work, so I prefer a little but often frequency to avoid internet addiction.  Keep it light and make it fun – you could make deeper relationships between you and your prospective clients, collaborators and peers.

I noticed my old colleague Dave Harte also did a talk recently on social media for business success, so check that out too – he has some interesting complimentary examples.

Hi to everyone I met at the seminar, it was great for me to help other people get a bit de-mystified and fired-up as to the why and how of social media for business.  If you’d like me to give a talk for your group or business on social media, please get in touch.