Matthew T Grant

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Tall Guy. Glasses.

I Recommend Here Comes Everybody by Clay Shirky

aquenteverybody.jpgIt’s not a revolution if nobody loses. – Clay Shirky

I just finished reading Clay Shirky’s masterpiece, Here Comes Everybody, and feel compelled to recommend that you read it. It’s thoughtful, insightful, and well-written. It also a “business” book that is so rich in detail and far-reaching in implication that you can’t easily reduce it’s thesis to a PowerPointable sound-bite.

Although ostensibly about technology – “social media,” broadly speaking – the book’s focus falls less on the geeky details of wikis, blogs, and tweeting, than on the way these technologies facilitate the organization and actions of groups in an historically unprecedented, even revolutionary, manner. In the words of His Shirky-ness, “[W]e are living in the middle of a remarkable increase in our ability to share, to cooperate with one another, and to take collective action, all outside the framework of traditional institutions and organizations.”

If you feel like you or your business could benefit from greater participation in the social media revolution, or if you feel that these new, powerful, group-forming-and-coordinating tools pose an existential threat to your business or occupation (as the rise of the printing press did to medieval scribes), then you can’t afford not to read this highly readable book.

Image – “Everybody was here” – Courtesy of {dpade1337}.

Do you consider SEO a part of marketing or a separate job?

I did a webcast on marketing careers for the Aquent and the AMA in September, 2008. We got a lot of questions during and after the webcast and here’s how I answered one of them. – Matt

Got this question after our AMA webcast on marketing careers t’other day and I’m reading it this way: Should all marketers be thinking about Search Engine Optimization (SEO) or should there be a specific individual in the organization who focuses on SEO?

My answer is, “Yes.” Now let me explain, since it doesn’t make any sense to answer an “either/or” question in the affirmative.

Marketers, especially in the communications and advertising realm, all need to think about SEO. The “comms” (PR, corporate communications, investor relations, etc.) should be thinking about it because most if not all the content they produce will probably live on the Web and should serve to drive convertible traffic to the relevant site. For this reason, said content ought to be optimized for search and fit the company’s overall SEO strategy.

Likewise, ad campaigns should have an SEO component in the sense that you should think about buying keywords you don’t already own if they are showing up in your TV, radio, or print spots. For example, I believe the folks at Sobe bought “Thriller” when they ran their Super Bowl ad, though my memory could be playing tricks on me.

At the same time, SEO has emerged as a discipline unto itself, meaning that people can get paid to focus entirely on that. Because this is a specialized and evolving field, every organization should at least hire an SEO consultant or contractor to help get their strategy right. In fact, it will even make sense for some larger organizations to hire a full-time SEO specialist.

In other words, “Yes, SEO is part of marketing AND a separate job.”

Content and its Discontents

1176663820_ecc5f27a17_mThe other day I posted, “5 Rules for Creating Content that RULES!“, which I wrote with PJA’s Mike O’Toole. We were walking a fine line because we wanted to talk about ways to effectively conduct content-driven marketing but, at the same time, we said that your content strategy had to flow from your marketing strategy AND that content itself, in order to be useful and ultimately shareable, had to be created with the audience in mind.

In other words, if you want to create content that rules, actually creating content is the last thing you should do.

The underlying message is: Don’t confuse means with ends. The goal of marketing is not to pump out advertisements, for example; the goal is to market products and services and use advertising or pricing or merchandising or channel management or whatever to do that.

But there is another, more subtle message underlying the aforementioned message: For content to be of use to you, it has to seem like you created it primarily for others. That is, if your content is too obviously self-serving (by being “salesy” or overtly promotional), even if others could use it, they will probably choose not to.

If you are going to give something away (valuable information, useful tools, practical insights, etc.) in order to get something, you have to give it away without expecting anything in return. I think there is some kind of life lesson in here somewhere.

Image Courtesy of dogeared-1144.

How Do YOU Measure the Impact of Design?

design metrics

Five long years ago, I wrote a piece entitled, “Return on Creative.” The crux of that essay was that design was critical to business success and, naturally, that a clear understanding of business principles and a focus on creating value was critical to successful design.

This was part of marketing campaign that we were running in order to position Aquent as the company that “got” both business AND design, making us the perfect choice for any organization looking for increased efficiency from creative execution (as we often called it). Of course, it also jibed with the growing (and still prevalent) trend amongst AIGA-istas and DMI-ers to insist that design deserved a “place at the table” – that is, the table where important business decisions are made.

This “place at the table” thinking has been questioned by folks like Michael Bierut and, more recently, Dan Saffer. Bierut sees it as symptomatic of an insecurity complex and insists that designers should focus on being good at design, not business. Saffer says that designers need allies at the table, but should relish their place away from it as outsiders who can “speak truth to power.” As high-falutin’ as that may sound, Saffer rightly emphasizes that, place at the table or not, designers need to be able to explain their work and decisions in business terms.

When a client or manager asks about the return on investing in “good” design, she wants to translate it into the language of profit and loss. Paying designers is an expense that she must weigh against other expenses and justify in terms of relative profitability. How do YOU handle this question? How do you measure the impact of DESIGN? Do you?

Or is that, ultimately, the wrong question?

Image Courtesy of Wessex Archaeology.

The Irony of Authenticity and the Authenticity of Irony

authenticity and social mediaSeems like nowadays, authentic is the thing to be.

Mitch Joel calls authenticity, “the cost of admission” in the Web 2.0 world, though he warns: “Being authentic isn’t always good. Let me correct that, being authentic is always good, but the output of being authentic [ie, revealing your flaws, shortcomings, and “warts” – Matt] is sometimes pretty ugly.”

HubSpot TV called the “marketing takeaway” of a notorious scandal involving a company paying for positive online reviews: “Be authentic. If not, you will get caught.”

When CC Chapman was among the Twitterati recently profiled by the Boston Globe, one of his Facebook friends asked, “Ever wondered why you have such a following?” He responded, “I wonder it all the time actually. I asked once and the general theme in the answers was my honest approach between life, family and work when it came to sharing things.” To which another friend replied, “Exactly right CC. You don’t try to be someone you’re not. It’s that authenticity that attracts people.”

Among the first to identify this flight to authenticity were James H. Gilmore & B. Joseph Pine II, who wrote Authenticity: What Consumers Really Want (2007). What notably separates them from contemporary partisans of authenticity is that their take is tinged with irony, an irony most evident in their promise to define “how companies can render their offerings as “really real.”’

This irony is refreshing because invocations of authenticity regularly fail to acknowledge or appreciate what is inherently contradictory about the concept. Said failure begins with the mistaken equation of authenticity and honesty (see above). Honesty may be a characteristic of an individual, but it is not a characteristic of authenticity. For example, an authentically honest person is being “authentic” when she is being honest, but an authentically devious person is being just as authentic when he is lying.

Similarly, we don’t call a painting an “authentic Rembrandt” because it is honest; we call it authentic because it was really painted by Rembrandt, unlike the forgery which only looks like it was painted by him. In other words, we call it authentic because it is what it seems to be. Herein lies the essential contradiction of authenticity: Authenticity isn’t about being real; authenticity is about really being what you seem to be.

The centrality of “seeming” to authenticity becomes even more clear when we call a person “authentic.” Such a designation usually means, “the way this person acts transparently or guilelessly reflects who they really are.” Because our sense of their authenticity depends on an assessment a person’s behavior, we should pay special attention to the fact that authenticity is performed; as paradoxical as it may sound, authenticity is an “act,” in the theatrical sense. (Which is why I always say, “Be yourself. It’s the perfect disguise.”)

The bigger problem though, is that our notion of authenticity assumes we really know who someone is and likewise the imperative to “be authentic” assumes we know who we really are.

Our identity, “who we really are,” is always contingent, provisional, and changing. It is an amalgam of who we want to be, who we mean to be, who we’re supposed to be, who we have to be, and who we are in spite of ourselves. Moreover, no matter how much we’d like to think so, we are not the authority on who we really are since it includes much that cannot be known by us. Indeed, and again paradoxically, we can’t know anything about ourselves without assuming the perspective of another, that is by identifying with someone else and precisely NOT being ourselves.

Just as one must consult an expert to determine the authenticity of a treasured heirloom – it can’t speak for itself – we can’t call ourselves “authentic;” that is for others to decide. At best, and this is the irony, we can always only strive to “seem” authentic. True authenticity calls for acknowledging that “who you are” is an open question and, moreover, a collaborative work in progress.

In the end, we must distance ourselves from our claims or pretensions to authenticity. We must call it into question and even suggest, especially to ourselves, that it may just be a ego-driven pose. (Hey, it just may be!) This distancing, implicitly critical and potentially mocking (or at least deprecating), is the classic stance of irony. And though the dodginess of irony (“did he mean that or didn’t he?”) seems to put it at a distinct remove from authenticity (“this is exactly what I think”), it actually mirrors the open-ended, unresolved, and ever-changing “dodginess” of reality itself.

Which is to say that irony, as a posture, an attitude, and as an approach, is more authentic (in the sense of “really being the way reality seems to be”) than honesty, sincerity, openness, or any of the other qualities that pass for such. The tragedy (or irony) is, however, that it will always seems less than authentic due to the all-too-human suspicion of ambiguity, indeterminacy, uncertainty, and, lest we forget, the wily intelligence native to irony and the ironist.

Image Courtesy of Mary Hockenbery.

Thinking about ‘Design Thinking’

An article by Dan Saffer at Adaptive Path got me thinking about design thinking, which led to a series of posts on the subject. This post was first published on March 7, 2007.

design thinking and Adaptive PathI subscribe to the feed from Adaptive Path’s blog because, as they say here in Boston, the people who work there are “wicked smaht.” As a result, and thanks to the magic of RSS feedings, I spotted this impassioned plea from one of the Adaptive Pathers, Dan Saffer, for design schools to start teaching design again.

Saffer’s main complaint is that design schools have moved towards a curriculum centered around “design thinking” and away from a well-rounded, practical education focused on “thinking and making and doing.” In his view, the real work of design consists in the process of moving from concept to realization; stopping at the idea stage means you’ve only done the easy part. He writes, “Some notes on a whiteboard and a pretty concept movie or storyboard pales in comparison to the messy world of prototyping, development, and manufacturing,” and then puts a finer point on it by adding, “It’s harder to execute an idea than to have one…”

Having encountered this lament in one form or another many times – “No one understands good typography anymore;” “People try to design when they can’t even draw,” “They think the computer’s going to do it all for them,” etc. – that aspect of his argument wasn’t new. Rather, what drew my attention was the phrase “design thinking” and his characterization of it as “just thinking.”

Since I was pretty sure that it meant more than that, I did a little research and found a Business Week article from last October called, “The Talent Hunt,” which describes Mozilla turning to the folks at Stanford’s Hasso Plattner Institute of Design (aka, the “D-School”) in search of a strategy for expanding the adoption of Firefox. In light of Saffer’s comments, I was struck by the following sentences: “Business school students would have developed a single new product to sell. The D-schoolers aimed at creating a prototype with possible features that might appeal to consumers.” Likewise, in a lecture at MIT entitled “Innovation Through Design Thinking,” IDEO’s Tim Brown talks about the process they follow often involving “a hundred prototypes created quickly, both to test the design and to create stakeholders in the process.”

As I understand it, the “thought leaders” behind “design thinking” (you can find a good overview of them and their thoughts here on Luke Wroblewski’s site) advocate the application of design methods to problems of business strategy precisely because it places a heavy emphasis on prototyping and real-world pragmatics. If Saffer is correct that “design thinking” as taught in design schools is primarily about thinking, and not about making things and seeing if they work, then I would say the real problem is that they are not actually teaching “design thinking.”

But then again, I never attended design school. If you have, do you think that Saffer’s criticism rings true?

Image Courtesy of dsevilla.

Product Placement in the Real World

Another blast from the past, originally published on Aquent’s Talent Blog, December 11, 2006. Summary: Advertisers must consider “all the world’s a stage” and manufacture ubiquitous product placement.

2534254541_06b30f2c59_m“As a result of the growing popularity of consumer-generated pictures, videos and e-mail messages on Internet sites like YouTube and Myspace, advertisers are getting consumers to essentially do their jobs for them,” according to this New York Times article which focuses on the emergence of Times Square as “a publishing platform.”

In brief, thanks to the ubiquity of digital cameras and the rise of user-generated and social networking sites, marketers are finding that “experiential marketing” (aka, “publicity stunts“), such as Charmin’s fancy public restrooms, are growing long legs on the Web. These restrooms alone, “[u]sed by thousands in Times Square [were] viewed by 7,400 Web users on one site alone.”

While this raises a lot of interesting questions about the meaning of “product placement” and whether or not advertisers should start courting, and compensating, particularly popular or prolific private citizens for featuring their products on Flickr and YouTube, I was particularly struck by the formulation “getting consumers to essentially do their jobs for them.” Now it is certainly the case that YouTubers and Flickr-ers are, wittingly or un-, doing things that benefit advertisers and the brands they promote. But so is anyone wearing a t-shirt with a visible logo.

It is not the job of advertisers to wander around the city in sandwich boards; it is their job, however, to come up with novel ways of getting brand-specific messages out to the world. If they create a spectacle noteworthy enough to generate spontaneous buzz promoted by random individuals, then they have done exactly what they are supposed to do. In fact, by now, I’d be astonished if the folks who conceived of and executed these events weren’t planning on a significant “web” effect. In a sense, if no one had posted this stuff to the Web, then you could rightly accuse advertisers of shirking.

Or do I, and not the paper of record, misunderstand what advertisers are supposed to do?

Image Courtesy of funadium.

Trust Agents in the Time/Space-Shifting Continuum

A slightly different version of this post originally appeared on Aquent’s Talent Blog, February 16, 2009

2971146962_c99af07858_mThe concepts of time-shifting and place-shifting (originally called “space-shifting”) come from the realm of consumer electronics. The classic time-shifting device is TiVo, which allows you to “shift” the time of your favorite TV programs to a time of your choosing. On the place-shifting front, Sony, HAVA, and Sling Media, among others, have devices which allow you to change the “place” where you consume media by sending TV shows to your PC, for example. You could also think of the iPod/iPhone as doing the same thing with your music and videos.

At least one denizen of the interwebs, Nari Kannan, postulates that the ability to shift time and/or place is an essential element of technical innovation. He writes, “Placeshifting in the larger context with the widespread adoption of the Internet enabled Outsourcing and Offshoring! Work is not tethered to one location anymore.” We find the same idea, mutatis mutandi, expressed in this article on the future of electronic design, “The Internet dissolves international boundaries, creating a time- and place-shifting global village of design and engineering.”

Any work whose end-product is an electronic file (which could be a text document or a feature film) requires solely that collaborators be connected electronically, not spatial proximity. In fact, the only complication introduced by the fact that the end-product takes a more material form, a chair, for example, is that the collaborators must each on their end be connected to some physical transport system such as that run by FedEx or UPS.

Given the boundary-less world of cyber-enabled work, to what extent are we still bound by geography when it comes to landing gigs or hiring people, especially since anyone can post a resume or portfolio online or advertise a job opening and it can be found by anyone with access to the web from anywhere on Earth?

When it comes to actually getting hired or hiring I believe that the only thing making physical presence in a particular geographic location necessary is trust (or, more accurately, the lack thereof). As atavastic or primitive as it may be, the most basic form of trust still rests in seeing someone with our own eyes, shaking their hand, and sizing them up by talking to them, asking them questions, and gauging their responses.

Nevertheless, people nowadays will readily work with others they have never physically met. The trust encouraging them to do so is not primarily generated by marketing and faith in governmental regulation. It depends instead on the accumulated recommendations of total strangers (as can be found in seller ratings from Amazon to eBay), and the growing reach of influencers who essentially make a career out of being trusted (Brogan calls these folk “trust agents“).

The same technology that enables time- or place-shifted collaboration in myriad domains has also fostered the growth of globe-spanning trust networks. And that, in the end, may turn out to be its most revolutionary effect.

Image Courtesy of Kevin Krejci.

Is this Downturn “Less Bad” for the Creative Class?

This post originally appeared on Aquent’s Talent Blog, February 23, 2009

2239558273_64efa8f7d7_m.jpgI heard Richard Florida on the radio this morning. You may remember him as the author of The Rise of the Creative Class, which traced “the fundamental theme that runs through a host of seemingly unrelated changes in American society: the growing role of creativity in our economy.”

Anyway, he was talking about America’s post-crash geography and mentioned that, while recessions have been traditionally bad for the working class, the creative class is still doing alright. When I checked the stats to which he was referring, I found that “alright” really means “less bad.”

Turns out, as in the past, this recession is extra hard on the working class. Jobs in production are down 12.9% since last year, and jobs in “construction & extraction” are down 14.2%. By comparison, jobs in arts, design, entertainment, sports, and media, as well as jobs in architecture and engineering, are down a mere 5.4%. So, “down,” but not “as down.”

Where is growth happening? In the sectors Florida calls “eds and meds,” that is, higher education and healthcare. For example, jobs in “healthcare support” have increased by 10.4% year over year.

My question is: Does this mean that marketing, communication, and design work related to healthcare is also or will be on the rise? What are you finding?

Image Courtesy of Buster McLeod.

Who is Matthew T. Grant?

Matthew T. Grant has chosen as his tag-line, “Tall Guy. Glasses.” He has done so for several reasons. First of all, he is above average in height for the human male (6′ 7″). Second of all, he wears glasses (I’ve been told that contacts are out due to my astigmatism. If any opthamologists are reading this and believe that I am misinformed, please contact me at mtg_at_matthewtgrant.com).

The most important reason for this fairly pedestrian tag-line is that I, Matthew T. Grant, have a variety of interests, several well-developed abilities, and a non-linear career path. I have established and run a corporate training department, directed an array of internal and external communications efforts for a global company, served as a business process consultant, taught at several colleges, and performed in a number of rock bands in San Francisco, Boston, and Ithaca. I received my PhD in German Studies from Cornell University (1993) and wrote my dissertation on mass media and political militancy in West Germany in the 1970s, My bachelor’s degree in German Studies was granted by Stanford University (1985).

As far as my aforementioned abilities are concerned, those that may be of most interest to you as an individual or representative of an organization are as follows. I can write real good (that grammatical incorrectitude was intentional). I’ve been involved in blogging, podcasting, and various online communities for years. I’m an entertaining and informative presenter (that link takes you to the slides for a recent webcast I conducted. To hear the ‘cast itself, go here – it’s free, but requires registration). I am also extremely comfortable hosting large events as well as facilitating small discussion groups.

To put this all another way: I’m skilled at acquiring and comprehending information and then communicating it to people in the way best suited to them. By “information,” I mean just about anything and by “people” I mean just about anyone.

Allow me to illustrate this ability in action. While serving as corporate spokesperson, I enlisted our local field managers to find me speaking engagements by telling them, “I can talk about anything.” The then-manager of our Osaka office took me up on my offer and said he had me scheduled to speak on “business method patents” at a large conference in his native city. I told him I didn’t know anything about that and he responded with, “But you said you could talk about anything.”

Hoisted on my own petard, I delved into the controversy surrounding the patent Amazon received for their “one-click” buying method and gave a presentation to three hundred Japanese business folk calling for greater openness and flexibility with regards to intellectual property in the Web era (you could call my approach anachronistically, “Lessig-esque“). Although the audience seemed more interested in learning how to make money from patents, rather than how not to, nobody said I didn’t know what I was talking about.

So, that’s Matthew T. Grant, in nuce. This blog will now return to its regularly scheduled programming.