shaping phenomena

SHAPING PHENOMENA

April 1, 2011

How to maximize internaliza=on & externaliza=on

2 / 58 SHAPING PHENOMENA

A phenomenon is any observable occurrence (from Greek: phainómenon “that which appears”).


General mo=ve

In our age of informa=on, rhetoric has become redundant and can even get downright offensive.

We need to move from messaging to meaning.


We are not passive receivers of an independent reality.

To be able to make sense of a complex world,

we form mental construc=ons as representa=ons of reality.

Individually and in groups…


PHENOMENAL REALITY

INDIVIDUAL REALITY SOCIAL REALITY

Social construc2on Percep2on

Internaliza2on

Externaliza2on

-‐ Ref: Giep Franzen & Marieke van den Berg -‐



Internaliza*on

Externaliza2on INDIVIDUAL REALITY SOCIAL REALITY

PHENOMENAL REALITY


Our view of the world is a social construc=on.

We adopt customs and beliefs from our social environment.

Through internaliza=on this becomes an individual reality.

Internaliza=on is the process of acceptance of a set of norms established by people or groups influen=al to the individual.



Internaliza2on

Externaliza*on INDIVIDUAL REALITY SOCIAL REALITY

PHENOMENAL REALITY


The processes of percep=on rou=nely alter what we see.

We constantly expose our individual reality.

Through externaliza=on we match it with our social environment.

Externaliza=on is an unconscious defense mechanism where an individual projects his own internal characteris=cs

onto the outside world, par=cularly onto other people.


Why are these processes so important?


Internaliza=on creates trust

Degree of trust in different forms of adver=sing -‐ The Nielsen Company -‐


Externaliza=on creates reach


How to maximize internaliza=on & externaliza=on?



Internaliza*on

Externaliza2on INDIVIDUAL REALITY SOCIAL REALITY

PHENOMENAL REALITY


i1. CREATION

The act of making, inven=ng or producing.


Create something never seen before. Embrace new technologies.

Create newness by mashing up culture.


A culture of mul=tasking, on-‐the-‐go consump=on and 24/7 connec=vity, requires designs for con=nuous development and change.


Don’t talk about it, do it

Help customers drive efficiently

Stop selling your product for a day

Fund sustainability ideas


Stop communica=ng products, start making communica=on products.

-‐ Gareth Kay -‐


Conclusion Maximize internaliza=on by crea=ng new tangible projects and products.


i2. SIGNIFICATION

The act or process of giving meaning by using signs.


A sign is an observable unit of meaning that refers to an absent object.


Rela%on between sign & absent object

Iconic Rela=on based on resemblance Photos, typography, pictograms

Indexical Rela=on based on experience Indica=ons, names, symptoms

Symbolic Rela=on based on agreement Words, badges, logos


A sign acquires meaning in 3 stages:

Firstness is how the image itself is perceived (affec=on). Meaning can s=ll develop in any direc=on.

Secondness is no longer about affec=on, but understanding of the context of the image. Meanings are not yet fixed.

In Thirdness the meanings of signs are no longer emerging.

-‐ Charles Sanders Peirce -‐


Firstness

Secondness

Thirdness


Conclusion Maximize internaliza=on by using signs,

but allow people to assign their own meaning.


i3. NARRATION

The telling of a story or of happenings.


Narra=ve organizes not just memory, but the whole of human experience. Narra=ve is an instrument of mind that constructs our no=on of reality.

-‐ Jerome Bruner -‐


Narra%ve structures

Linear Story wrioen in the same =me order as it took place.

Mul%-‐narra%ve Two or more stories run alongside each other; either mul=ple people telling the same story or mul=ple different stories that alternate.

Reversed Story moves back in =me or heavily consists of ambiguous flashbacks and/or flash

forwards.

Fragmented Story is all over the place and the audience has to figure out what happened and in what

order.

Metafic%on Story within a story; a type of fic=on that self-‐consciously addresses the devices of fic=on,

exposing the fic=onal illusion.

Rhizome Same story told mul=ple =mes with different twists and endings.

Game Audience is part of the story and has direct influence on it; the story unfolds as they go

along.


Marke=ng typically follows the Hollywood structure,

aiming at comprehension.

While it should adopt other structures to become more interes=ng.

Nobody comes out of a movie, saying “That was a really good movie. I really enjoyed it.

It was really clear”.

-‐ Russell Davies -‐


Conclusion Maximize internaliza=on by adop=ng

non-‐linear narra=ve structures.


i4. DIFFERENTIATION

The act of dis=nguishing by giving specific difference.


-‐ Jean Baudrillard -‐

Different aspects or quan==es of knowledge, possessions or culture can define our status and

rela=ve grouping.


-‐ Katz & Lazarsfeld, 1955 -‐

Two Step Flow model


People tend to have different roles within different social environments.

In a media-‐fragmented world influencer roles become increasingly important.

Meanwhile it takes more effort to reach them.


Conclusion Maximize internaliza=on by dis=nguishing

between and adap=ng to different social roles.



Internaliza2on

Externaliza*on INDIVIDUAL REALITY SOCIAL REALITY

PHENOMENAL REALITY

CREATION SIGNIFICATION NARRATION

DIFFERENTIATION


e5. SENSATION

A percep=on associated with s=mula=on of a sense organ.


Through the senses we experience reality and create memories.

-‐ Kevin Roberts -‐


The screen has replaced the scene. The virtual can be seen as a new dimension of

hyperreality; a perfect copy of reality.

-‐ Jean Baudrillard -‐


Richness

Mobility

Max. 1” Max. 15” Max. 5” Max. 120”

On-‐the-‐go

All day

On the couch

Evenings weekends

In the office

Weekdays 9 to 5

On the couch

Evenings weekends

Max. 5”

In store

Business hours

Interac=ve Interac=ve Interac=ve Linear Interac=ve

Touch Touch Keyboard Remote control Touch

Call, SMS, Apps, LBS, NFC, music

Apps, sites, magazines, video, books

Websites, documents, video, music

Shows, series, movies

Shopping info


Conclusion Maximize externaliza=on by designing for

op=mal sensory s=mula=on.


e6. PARTICIPATION

The act of sharing in the ac=vi=es of a group.


Tell me, and I forget it, Show me, and I remember,

Let me do it, and I understand.

-‐ Confucius -‐


People need mo=va=on to get involved.


Entertainment

Self-‐expression

Experience

Informa=on

Convenience

Economic value

Altruism

Assembly

Connec=on

Compe==on

Reference

Collabora=on

Emo%onal

Ra%onal

We Me

Mo=va=on Spectrum

Note: Model developed by David Feenstra, 2010


Conclusion Maximize externaliza=on by triggering emo=onal and/or ra=onal mo=va=ons.


e7. INTERPRETATION

A personal mental representa=on of the meaning of an observa=on.


Ambiguity allows for mul=ple interpreta=ons.


Aesthe=c judgment is realized through spontaneous synchroniza=on of imagina=on and mental capacity.

When there’s harmony we judge the phenomenon as being beau=ful.

When there’s disharmony we judge the phenomenon as being sublime.

-‐ Immanuel Kant -‐


-‐ Self-‐portrait by Rembrandt van Rijn -‐ -‐ Self-‐portrait by Francis Bacon -‐


Eide=c features are the features that cannot be changed without affec=ng the true essence of a phenomenon.

Eide=c reduc=on is a form of imagina=ve varia=on in which features such as form, size and characteris=cs are changed in the imagina=on

to find the eide=c features of a phenomenon.

-‐ Edmund Husserl -‐


Eide=c features of the Common brand are: a product/service with a sustainable nature,

a concept selected by the Common community, and the brand name.


Conclusion Maximize externaliza=on by nurturing different individual interpreta=ons, while staying true to

the essence of the phenomenon.



Internaliza2on

Externaliza2on

SENSATION PARTICIPATION INTERPRETATION

INDIVIDUAL REALITY SOCIAL REALITY

CREATION SIGNIFICATION NARRATION

DIFFERENTIATION

PHENOMENAL REALITY


How to maximize internaliza=on & externaliza=on

1. CREATION – Create new tangible projects and products. 2. SIGNIFICATION – Use signs, but let people assign their own meaning.

3. NARRATION – Adopt non-‐linear narra=ve structures.

4. DIFFERENTIATION – Dis=nguish between different social roles.

5. SENSATION – Design for op=mal sensory s=mula=on.

6. PARTICIPATION – Trigger emo=onal and/or ra=onal mo=va=ons.

7. INTERPRETATION – Encourage different individual interpreta=ons.

1. CREATION – original outstanding crea=ve expressions 2. SIGNIFICATION – use of ambiguous signs throughout the story

3. NARRATION – narra=ve con=nuously shirs in meaning

4. DIFFERENTIATION – not relevant

5. SENSATION – disturbing visuals and sounds with enormous impact

6. PARTICIPATION – not possible

7. INTERPRETATION – designed to constantly throw the viewer off

DAVID LYNCH

1. CREATION – signature street art full of mischief and mystery

2. SIGNIFICATION – representa=ons of popular culture

3. NARRATION – ever-‐changing narra=ves to trigger specula=on

4. DIFFERENTIATION – not relevant

5. SENSATION – object and context designed to create shock effect

6. PARTICIPATION – not possible

7. INTERPRETATION – no consensus on iden=ty, mo=ve & meaning

BANKSY

MANIFESTO

OBEY Giant is an experiment in phenomenology. Phenomenology aoempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observa=on. The first aim is to reawaken a sense of wonder about one’s environment.

1. CREATION – image stays the same, context is ever-‐changing

2. SIGNIFICATION – sign & context re-‐awaken a sense of wonder

3. NARRATION – narra=ve emerges throughout the experiment

4. DIFFERENTIATION – project ini=ally aimed at influencers

5. SENSATION – discomfor=ng visual expression

6. PARTICIPATION – community is encouraged & enabled to join

7. INTERPRETATION – open experiment without fixed meaning

SHEPARD FAIREY

Arer turning the design of the boole into a popular icon,

Absolut transported this concept to the virtual world…

…and quickly realized it would not be sufficient. Absolut needed to adapt to a changing world.

So they decided to design ever-‐changing narra=ves under the eide=c theme In An Absolut World.

2 expressions…

1. CREATION – installa=ons, projects, products and pieces of art 2. SIGNIFICATION – the Absolut boole turned into an icon

3. NARRATION – the brand as a crossroads of different narra=ves

4. DIFFERENTIATION – collabora=ons with high profile influencers

5. SENSATION – s=mula=on of sound, sight and taste

6. PARTICIPATION – In An Absolut World consumers are co-‐creators

7. INTERPRETATION – no fixed meaning (in some cases)

ABSOLUT

David Feenstra

Strategic Planner

hop://denieuwejuniorstrateeg.web-‐log.nl

THANKS!

shaping phenomena

Business

reach shaping phenomena

ons of reality

independent reality

social construc

social environment

fragmented story

reversed story

individual projects