Imaginary Brands
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Our session at the Brand Management and Communication Master at IED Milan, focused on Imaginary Brands, and the role of troublemakers in the creative industry
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Imaginary Brands
- 1. Imaginary Brands the role of troublemakers
- 5. Originally intended to quell morning sickness in pregnant women, and instead created the telepaths of the films' title. Was also used on the telepaths themselves to dampen their psychic abilities, and to prevent them from being overwhelmed by mental noise. Scanners David Cronenberg (1981)
- 6. Beyond the surface, the film is a deep meditation on the state of the mind in a time of medical and technological experimentation. Like with all of Cronenberg's early efforts, this is a film that seems to be created in direct scrutiny of Canada's ever-controlling public health care system. If a single drug can nearly bring the apocalypse in Scanners, then what can happen when an entire system of state medical control makes a mistake?
- 10. Imaginary Brands the role of troublemakers
- 13. on art and creativity: “The emergence of the Experience Economy coincides with, albeit not coincidentally, heightened interest in creative thinking. It also introduces a real need for greater improvisational skills in the workplace.”
- 14. Phase 1 a changing industry
- 15. Second Industrial Revolution BODIES Third Industrial Revolution MINDS
- 16. Zombies!
- 18. what is the zombie of the 21st century?
- 19. a space plant duplicates human beings and extends its reach all over the world, much like the World Wide Web, exposes the violent normative power of the American way of life
- 20. 1978 remake, by Philip Kaufman moves the discourse to highlight the role of technologies and networks: the snatchers occupy telecommunication networks and start a planetary action for the circulation of bodies, in the transition from the industrial era to the one of immaterial labor. Production ends, replaced by a regime of mediation and reproduction.
- 21. “Most product designers focus primarily on the internal mechanics of the good itself: how it performs. What if the attention centered instead on the individual’s use of the good? The focus would then shift to the user: how the individual performs while using the good.”
- 22. Both art and creativity, become norms, expected, needed, both from the point of view of the industry, and from the perspective of the user, of the individual. Both become performers, in stage acts (the authors describe them in terms of theatre genres), in which both parties take active, constructive, creative part in a creative action.
- 23. “The Industrialisation of the Mind” Hans Magnus Enzensberger The term “cultural industry” is vague and inaccurate, and embeds a paradox. Conscience can be induced and reproduced by industrial means, but it cannot be produced. Conscience is a social product, and the result of dialogue. No industrial process is able to replace the people who generate it.
- 24. The industry of the mind does not produce anything, but the dynamics of infiltration and transmission which are necessary to the formation of the perception of what is possible, desirable, preferable: in the formation of the perception of the future.
- 25. The industrialization of the mind begins from education. The education system as a mass-media
- 26. what is the role of intellectuals? artists, designers, coders, creatives, writers…
- 27. the majority of creative products are derivatives
- 28. this is not enough to feed the industry
- 29. we have to deal with potential troublemakers … also said: those who radically innovate
- 30. Enzensberger: “The rapid development of the mind industry, its rise to a key position in modern society, has profoundly changed the role of the intellectual. He finds himself confronted with new threats and new opportunities. Whether he knows it or not, whether he likes it or not, he has become the accomplice of a huge industrial complex that depends for its survival on him, as he depends on it for his own. He must try, at any cost, to use it for his own purposes, which are incompatible with the purposes of the mind machine. What it upholds he must subvert. He may play it crooked or straight, he may win or lose the game; but he would do well to remember that there is more at stake than his own future.”
- 31. According to Marshall McLuhan “the artist is the person who invents the means to bridge between biological inheritance and the environments created by technological innovation”.
- 32. According to Derrick de Kerckhove “few people apart from artists are capable of predicting the present. […] The role of the artist today, as always, is to recover for the general public the larger context that has been lost by science’s exclusive investigations of text”.
- 33. According to Roy Ascott “the artist as the figure which is able to confront with a world which increasingly sees its content and meaning as created out of people’s interaction and negotiation. A world which is unstable, shifting and in flux; which parallels life, not through representation or narrative, but in its processes of emergence, uncertainty and transformation.”
- 34. According to Gregory Bateson “art was the only possible way to satisfy the need of finding solutions through radical changes in our way of thinking, or even to our way of knowing.”
- 35. Arts are about possibility, and opportunity. About sensing the present (the contemporary) and exposing it, in ways that suggest reflection, and the insurgence of imagination. About the opportunity – through artworks and performance – to shift what is perceived as “possible”, as “imaginable”.
- 37. (un)Branding performative brands in the era of interconnectedness
- 38. the end of the Brand … and the beginning of the conversation
- 39. new forms of identity
- 41. Brand as Enzyme
- 42. Transmedia
- 43. art, marketing, hacking and activism
- 44. San Precario
- 45. mythopoiesis PRECARIO SANTO from Preco, unstable; unsteady; without balance, XXI century A.D. In legents, patron saint of the evicted, underemployed, exploited, blackmailed, precsrious workers. Invoked against liberism, injury without insurance, mobbing. It is celebrated on February 29th. …
- 54. Serpica Naro
- 71. RedNoze
- 77. Crashvertise
- 83. This Man
- 89. AdBusters
- 96. ArtVertiser
- 122. CYBERSQUAT FAKE IDENTITY PROCESS NETWORK PRACTICES (SOCIAL) HACKING REVERSE THE LOGIC, ENACT A FAKE, CREATE REALITY
- 124. THE FAKE BECOMES MORE REAL THAN THE ORIGINAL
- 125. REFF IS OFFICIALLY RECOGNIZED BY CULTURAL COMMISSION OF THE ITALIAN SENATE EUROPEAN COMMUNITY YEAR OF CULTURE
- 133. Incautious Porn
- 138. Phase 3 Near Future Design
- 139. Near Future Design
- 140. the FUTURE does not exist
- 141. the FUTURE is a performance
- 143. FUTUROLOGY
- 144. FUTURES
- 145. alternative futures with varying likelihood assumption:
- 146. FUTURE is the result of a conversation
- 148. transitory + nomadic CHANGE & MUTATION
- 149. understanding & shifting of the IMAGINARIES
- 150. SENSE OF the POSSIBLE the DESIRABLE
- 157. EXAMPLE:
- 159. EXAMPLE:
- 162. Paul Du Gay “Doing Cultural Studies: the story of the Sony Walkman” http://books.google.it/books?id=Gop0dQGKm5sC&dq=paul+du+gay+walkman&hl=it&source=gbs_navlinks_s
- 164. the most influential anthropological study of modern times the iPhone is “empty” it is ready to be “filled” (with apps) this is its value: it is a platform for human expression
- 167. Emerging Rituals IDEA SIMULACRUM State of the Arts & Technologies Future Map +
- 168. SIMULACRUM — in short, remain close to the “truth,” in order to test the reaction of the apparatu – Jean Beaudrillard’s “The Preecession’s of Simulacra”
- 169. Transmedia Narratives a transmedia story represents the integration of entertainment experiences across a range of different media platforms Henry Jenkins, 2007
- 171. WORLD-BUILDING people reactions expression of the “preferred future” Shifts the perception of what is “possible” transforms the future into a collaborative performance
- 172. The Future becomes a performance
- 187. the FUTURE does not exist NFD
Notes de l'éditeur
- Un viaggio nelle possibilità per la definizione di nuove forme di identità. Nella contemporaneità iperconnessa, l'idea di "identità" si trasforma, esplicitandosi definitivamente come concetto liquido, emergente, multiplo, conversazionale e performativo.
- L'identità si trasforma in una performance, attuata da una moltitudine di persone in grado di "scriverla" attraverso la propria visione, percezione e punto di vista.
- Il brand, dunque, cambia paradigma, diventando l'enzima capace di coagulare, in forma proteica, emergente e ricombinante, la performance polifonica dell'identità, attorno al senso e ai valori
- attraversando ed interconnettendo media differenti, la fisicità, la presenza online e le strade delle nostre città, attraverso la creazione di Narrazioni Transmediali, da un lato più tecnico e tecnologico, e la capacità di stimolare immaginari, desideri e visioni, da un punto di vista psicologico
- Future is a performance that sees us all engaged through the dimensions of desire and of the imaginary.
- Future is an undefined lapse of time, after the present.
- Futurology, the study of the future, is a science, art and practice which postulates possible futures. It highlights, in the process, the importance of their characterisation asmultiples and plural: many possible and alternative futures, not a single, monolithic one. Thus exposing the limits of clairvoyance, of prediction and of combinatorial, probabilistic and statistical calculus, in respect of the possibility to conceive (and actuate) possible and preferable futures.
- Future does not exist, some might say, except as a possibilistic projection of the tension of the present. Infinite futures exist, and we actuate them according to the decisions we make and the directions we embrace.
- One of the main assumptions of future studies is that the future is plural, not singular. It consists of alternative futures with varying likelihood. The primary objective of future studies is to identify, map and describe alternative futures, by gathering quantitative and qualitative data and information dealing with the possibility, probability and desirability of change, according to a holistic perspective. Here, the cultural analysis of what are the“preferred” futures among the different possible ones is a fundamental part of the process.
- Future is the result of a conversation. In the era of information, of digital networks, of hyper connection and of knowledge, the comprehension of the future changes direction.
- It is the era of continuous disruption, in which a constant state of radical innovation bears impacts of incredible energy on all our societies. In which game-changers across business, city governance, energy and politics, are the main actors and beneficiaries of innovation processes.
- It is here, in this transitory and nomadic space of change and mutation, that we can imagine to start our conversations about the ways in which to co-create our future, in performative ways.
- To do that, we must start from a level comprehension which goes well beyond the understanding of the state of the arts and technologies. We must start from the understanding of the imaginaries, of the rituals and tensions of the contemporary era, including the conflicts and the things which provoke wonder and sense of surreality.
- We must understand the “sense of the possible” just as much as the “sense of the desirable”.