In the 21st century, design appears to have become a truly global art form. This Critical Debate takes a closer look at design, the nature of globalisation and how the two spheres interrelate, and raises a number of pertinent questions. Is design contributing to the more positive effects of globalisation, or does the design industry simply chase commercial opportunities and devise better products to serve an international elite? What happens to local identity in global design culture? Have today’s global design hotspots migrated East to Bangalore and Shanghai or are London, Milan, Rotterdam and New York still home to the questions and the answers that push contemporary design forever onward?
Related: Metropolis story on the same topic
The five target areas include the sports industry, design, architecture, interaction between cultural institutions and commercial enterprises, and events.
(* In particular its Ministry of Economic and Business Affairs and its Ministry of Culture)
(See also my post on how to best face globalisation)
Current is easily mocked, but it is at least one youth-oriented cable network that does not dance to the tune of the 82-year-old Sumner Redstone, the chairman of Viacom.
“During the last year there has been a lot of discussion in Denmark around how to cope with the globalisation – until now the governments answer has been the “Technology, Research and Innovation Fund”, which is to support strategic efforts in areas like information and communications technology, bio-technology and nano-technology.
But if you ask one of Denmark’s leading experts in globalisation, professor Anders Drejer, this Fund is a huge mistake if the goal is to improve the possibilities for Danish businesses in a globalised world.”
(Related story: NextD interview with Anders Drejer on reconceiving innovation in Denmark)
What the museums learn about things such as delivering personalised multimedia content to mobile users, luring visitors to lesser-known exhibits and identifying how people react to interactive surroundings will help create applications for retail, entertainment and other industries.
(via Institute for the Future’s Future Now blog)
But the company’s business model is more than just pure play. Big-name brands like McDonalds General Mills, and Disney have staked claims throughout the site in what the company has termed and trademarked “Immersive Advertising.” The idea is to blur the ads with content, rendering the pitch easier to swallow.
Insidious, brilliant, or both, the site’s 25 million-plus visitors have turned Neopets into one of the stickiest sites on the web, according to comScore Media Metrix. Avid fans send in more than 11,000 pet stories and 30,000 pictures per month, and the site has been translated into 10 languages, including Chinese, Dutch, French, German, Italian, Japanese, Korean and Spanish. More importantly, the company’s ability to generate more than $10 million in ad revenue last year recently prompted a $160-million buyout by Viacom’s MTV Networks.
Feedster has now rectified the error and not only does we-make-money-not-art.com make the list, but ranks in the top 75! Congratulations Régine!
Co-edited by University of Southern California research scientist Mizuko Ito, Keio University lecturer Daisuke Okabe and Misa Matsuda of Tokyo’s Chuo University, the book examines, through a series of real-world case studies, the relationship between mobile technology and Japanese society. In doing so, it sheds light on the way handheld connectivity tends to reshape cultures worldwide.
In the article, he ties the broad the user experience concept to product and user research. He advises design managers on how to enable an understanding of experience instead of simply observing it.
“Analysing customer needs and market trends are essential competencies for managing complex design projects. However, after confirming user needs through market research, design teams often focus on the product, neglecting users until completing the product, or at best, usability testing. From consumer goods to websites, many design-driven projects limit front-end analysis to market research, focus groups or concept demonstrations. While these approaches are necessary, they overlook the opportunity for designing from understanding the user’s authentic experience.”
The findings came from a study of 1,000 adults and was carried out by Intel.
The pdf paper defines the “story of co-creation”, explores his research question, presents a conceptual framework for market-learning capabilities (before and after co-creation) and suggests some of the challenges to be resolved when conducting the research.
Download presentation (pdf, 932 kb)