On stage Monday during an Advertising Week event in New York, the CEO spoke in superlatives, telling marketers about the “extraordinary,” “brave new world” Tumblr and its digital peers are building for advertising.

In the past few months, the company has launched its first paid product for advertisers, hired a new head of global sales and experimented with a number of big name brands. (Hear more about Tumblr’s advertising efforts from Karp at our RoadMap conference on November 5th in San Francisco).

This week, the company’s new advertising orientation is on full display with a prominent, front-of-the-book ad in the Advertising Week guide and at multiple events.

On a Bloomberg Leadership Summit panel with executives from Pepsi, Havas and media companies, Karp pushed his company’s new approach to “native” non-intrusive marketing.

As opposed to traditional marketing that tends to take the same shape across the medium (for example, 30-second spots appear on all TV networks), Karp said newer digital platforms are much more concerned with creating advertising appropriate for the environment.

“We’re much less likely to take directions that are going to compromise that – that are going to inject something alien that pulls you out of Tumblr, or whatever [site] it is and send you to the other network,” he said.

On Tumblr, advertising takes the form of creativity-centric posts that look organic to the site, not disruptive, full-screen, “big honkin’” interstitial ads that make you want to close out of your browsing experience and head somewhere else, Karp said.

“Tumblr, Twitter, Instagram, all of us, and all the marketers, brands and media companies, our interests are more aligned than they’ve ever been, which is we want people to pay attention,” he said.

With about 27 million unique visitors in July, an impressive 6.7 million mobile visitors that month and 70 million blogs, Tumblr has a big network to offer advertisers.  But it still remains to be seen what kinds of returns advertisers get from the nontraditional ads on Tumblr. Later this week,  six months after the first Tumblr ad, the company plans to release some initial findings about its latest efforts and it will be interesting to see what they have in store.

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Not according to a new study published in the Journal of Consumer Research. To investigate the link between creativity and noise levels, researchers asked 300 participants to complete mental exercises like word association games and dreaming up as many ways as possible to use a brick while in environments that were either totally silent, moderately buzzing or straight up loud.

The results show that those who worked in moderately noisy environments with sound levels on par with your average bustling cafe (about 70 decibels) scored higher on these tests of creativity and were also rated as more innovative by other participants. The WSJ Ideas Market blog sums up the findings:

The study adds to research suggesting that small doses of distraction — including hard-to-read fonts — prompt the mind to work at a more abstract level, which is also a more creative level. (The possibility that sound energized people was considered but rejected: Participants’ heart rates did rise when they first encountered noise, but soon subsided.)  The effect of noise is inverted-U-shaped, this study suggested: There’s a sweet spot between silence and din.

That’s good news if we’re soon to be doing everything from studying to buying socks in a coffee-shop-like environment.

Do you find you’re more creative in a moderately noisy, buzzing environment?

Image courtesy of Flickr user LOLren.

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Artists are entrepreneurs, too, and deserve to be able to monetize their work

SOPA is clearly too extreme to be a practical solution, and it threatens core pieces of what make the Web great. In spite of even the best-intentioned efforts of those in the film and music industries, I do not expect this legislation to pass. Still, the issues that the act seeks to address are very real, and the impact of non-action will continue to affect those of us in film, music and television. Those of us who are so up in arms about SOPA also risk forgetting that the underlying issues are nonetheless quite pressing — not just for the big media companies, labels and studios, but for the artists who produce great content, and whose livelihoods depend on viable monetization of their commercial work.

We forget that artists are entrepreneurs, too — every new record, and every new film production is its own startup, so to speak. Lost in all of the anti-SOPA backlash (whether you agree with it or not) is the fact that these artist-entrepreneurs create incredible value every day, and deserve much better from all of us. What if your proprietary source code was stolen, and shared freely with anyone? What about your underlying data? What about your breakthrough algorithm?

The technology industry has progressive cultural habits like open-sourcing that have proved out new modes of ownership, and community. Artists from Radiohead to Louis C.K. have taken notice, and experimented with radical new distribution models that challenge traditional notions of “free” and “commercial.” But technology also has more patent warfare than we know what to do with, not to mention uniformly sharp competition. Words like “moat” and “proprietary” are music to any VC’s ears.

The “discovery” benefit doesn’t actually translate to profits

The Internet is neither a panacea nor an imminent danger — it produces enormous benefits, and some unfortunate byproduct. We need to seize opportunity and mitigate risk simultaneously. SOPA swings the pendulum too far to one side. But this issue isn’t going away, either.

Why?

Because the “discovery” benefits, of free-flowing music, film, and TV, contrary to popular belief, do not generally trickle down to the actual artists who create these works. This is important to understand. There are exceptions, of course, breakout hits and outliers. But for most artists, the magic hand of discovery is never realized. New fans do not in fact materialize out of the Internet and start paying for content, as if on cue.

As general manager of Austin City Limits, I live this reality day in and day out. We’re a nonprofit, and for us and the artists we diligently work with to create unforgettable musical experiences, the discovery argument rings hollow in practice. The benefits are more directly realized by marketing departments, maybe, and top artists who are already trending. Stating that a Lily Allen or Arctic Monkeys were “discovered” or  that they “broke” via the Internet is a convenient copy point in a label-written artist bio, but for each of these valid success stories, there are thousands of artists losing the income necessary for them to live and dedicate themselves to their craft.  For every pirated download or freely shared file, there is not in fact a new fan created who will someday purchase a concert ticket or t-shirt.

Don’t believe me? Read this article and absorb the research. Take for example the number of record labels that have been shuttered, or the large number of layoffs at the music companies that are still in business, or the statistics showing the drastic decline in sales over the last 10 years  — it’s apparent that free online music discovery does not generate new fans — at least not fans who are interested in making purchases.

Now, some may say that that’s part of the creative destruction of the old music industry model, the big business run by a few major labels crumbling as a new model of all-digital distribution takes its place. That may be the case, but the artists don’t make money off the new model, either. In Forrester’s report, cited in the same article, it found that “just 44% of U.S. Internet users and 64% of Americans who buy digital music think that music is worth paying for.”

We do need reform, but we need the right reform

As an artist-first company, Austin City Limits endeavors to bring the highest quality live music programming to our weekly television audience. Beyond television, we are always looking at new ways to share the Austin City Limits experience with as many fans as possible through online and mobile technologies. We’re innovating on a lot of different fronts and 2012 will be a groundbreaking year for us. Certainly, innovation and reinvesting in great experiences is part of the path forward. And the proposed SOPA legislation, while targeting pirates, will also threaten the ability for legitimate content producers to innovate and bring great experiences to their respective audiences.

But at the same time, if zero limitations are put on the sharing of creative intellectual property — the internet will continue to harm artists, and the people and companies that support them, by hobbling their ability to be fairly compensated for their talents and work. The future of artists and filmmakers lies in the balance.

Legislation that chokes out the same creative flame that it seeks to protect is not the answer, but we’ve got to find some middle ground. The two extreme points of view being represented right now — on one hand, taking over the internet as regulatory infrastructure and punishing many for the acts of a few — and on the other, advocating royalty-free access with legal impunity under a deceptive “free and open” ethos — well, neither is going to work.

For those protesting SOPA for its shortcomings — you are absolutely right. But also know that reform needs to come, and will come, and that we’d all do well to collaborate and shape the right policy, instead of watching, and commentating.

Tom Gimbel is the general manager of Austin City Limits, the award-winning KLRU produced music television show.  Prior to joining ACL, Gimbel’s career includes more than 20 years in the music industry including senior positions at Arista Records and as serving an artist manager at High Wire Music.  In 2009, Gimbel founded Clatterhead, a social media marketing company.

Image courtesy of Flickr user BurgTender.

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Information and communication technology company 2e2 asked nearly 2,000 workers how they experience the nine-to-five grind. The responses confirmed the results of earlier polls and studies showing workers are actually more productive away from the office: 55 percent of those 2e2 asked said they got more done working from home.

Slightly more surprising was the respondents’ choice of the location where they’re at their most creative. Where do they feel they get their most innovative ideas?

• 47 percent said the best discussions about business ideas come when people get together in a pub or restaurant.
• 24 percent said the office boardroom.
• Online discussions were chosen by 19 percent.

This will be great news for knowledge workers looking to convince the boss to splurge on working lunches and a few rounds of drinks (though, it’s assumed, creativity falls off pretty sharply if you overdo the libations). It’s also food for thought for the laptop addicts among us, suggesting making time to get away from our screens and talk to actual humans is valuable and often overlooked.

But even if these less-than-rigorously scientific findings confirm the enduring affection of Brits for the pub more than any hard and fast intelligence for business leaders, the idea that place influences creativity and that our choice of locale is often knee-jerk and uninspired is worth considering.

Where do you get your best business ideas?

Image courtesy of Flickr user @rgs.

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The brainchild of New York–based filmmaker Kirby Ferguson, the series (so far in three parts) builds on the premise that original ideas and thoughts are extremely hard. And because of that, some of the greatest creations are derivative works or remixes of those original thoughts.

The Sugarhill Gang and Kanye West to George Lucas and Led Zeppelin to even the original Apple computer are products based on thoughts, art and ideas that emerged elsewhere. Ferguson describes the process as “copy, transform and combine.” I suppose you could say the same about blogging itself.

Do me a favor: Sit back and enjoy what are three awesome videos and pray for the fourth and final part of the web series to come soon. And Kirby, if you are in San Francisco, I am happy to buy lunch.

Everything is a Remix Part 1 from Kirby Ferguson on Vimeo

Everything is a Remix Part 2 from Kirby Ferguson on Vimeo

Everything is a Remix Part 3 from Kirby Ferguson on Vimeo

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I’m not sure if Bezos has been sniffing too much eInk from Kindles or what, but this is a real patent with a detailed description and some lovely drawings to accompany it. Yes, there’s a need to protect our precious smartphones from drops (or throws against the wall when that last Angry Birds pig smiles a toothy grin), but airbags? Actually, I’m being too hard on the design, since it allows for little springs to pop out of the device as well. Of course, as anyone who has dropped buttered toast can tell you, a falling smartphone with springs or airbags is sure to land on the non-protected side.

If this all sounds far-fetched and you don’t expect future phones to have “damage avoidance systems”, no worries. The patent applies to wide range of other devices as well, such as “personal data assistants, electronic media players, electronic book readers, notebook computers, netbook computers, tablet computers, barcode scanners, cameras, video cameras, pagers, portable video game consoles, video game controllers and the like as each are susceptible to damage and/or loss.”

Yup,  just like you: I can hardly wait for a future when my gadgets are more protected than the passengers in my car. And speaking of the future, maybe Amazon should add Sleeper, Woody Allen’s classic look at tomorrow, to the Amazon Unbox video service. Once the company does that, Bezos will surely see that Woody Allen has a better, all-encompassing protection method that may even qualify as “prior art” in the patent world.

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Using social-media tools like Twitter, Facebook and blogs has become almost a necessity for musicians, authors and creative professionals of all kinds, as a way of both promoting their work and connecting with their fans. But can doing all this get in the way of the creative spark that makes them artists in the first place? Singer John Mayer raised a warning flag about exactly that in a recent presentation to young musicians, telling them to avoid social media and concentrate on the music. Fellow musician David Usher, however, says that while he agrees Twitter can become addictive and distracting, young artists still need to do it.

Mayer, who has won several Grammy awards for his music, told students at the Berklee College of Music in Massachusetts that using social media — including his blog and a very active Twitter account that at one point had more than 4 million followers — got so distracting that he started focusing on that rather than creating new music. According to a Berklee blog post about his presentation, Mayer said that he started asking himself questions like “Is this a good blog? Is this a good tweet?” instead of “Is this a good song title? Is this a good bridge?” Mayer added:

I realized about a year ago that I couldn’t have a complete thought anymore. And I was a tweetaholic… I stopped using twitter as an outlet and I started using twitter as the instrument to riff on, and it started to make my mind smaller and smaller and smaller. And I couldn’t write a song.

Mayer’s struggles with Twitter have been well publicized, thanks to his former relationship with actress Jennifer Aniston, which made him a target of the tabloid press. He quit Twitter in late 2010 — after reports that his “obsession with Twitter” caused problems in his relationship with the actress — and he has spoken out before about how he believes that no one who participates in Twitter has created any “lasting art.”

To see if Mayer’s views were shared by other professional musicians, I asked David Usher for his thoughts on the topic. Usher, a Canadian singer-songwriter whose former band Moist had a number of top 10 hits in the late 1990s (and someone I consider a friend, in the interests of full disclosure) has been an avid user of all forms of social media in his successful solo career, including his blog, Twitter account and Facebook page. He even helped develop a digital-media tool called DEQQ that allows fans to talk with him directly and get updates about songs.

Usher, who is currently on tour, said that he has also struggled with the impact that social media has on his life as an artist — primarily the effort and time that it takes to engage in all of those forms of communication, but also the psychological distraction that always being connected brings. While Usher said he loves to “play with all the new shiny social media toys” when they come out, and loves the fact that Twitter and Facebook provide “a new way for us to communicate and connect,” he also finds it a distraction.

The addiction to the endless interruption and engagement does make it hard to find the flow of creation. The endless ping of your phone makes it harder to live in the moment, to be present. Observing life is so much a part of the creative process for me that the constant distraction of social media has become problematic.

The singer said that while he has not cancelled Twitter or shut down his blog the way Mayer has, he is trying to scale back his involvement more. “I want to try to figure out how to stay connected without being the guy who is always looking at his iPhone — it’s not an easy balance,” he said. Some of that involves trying to connect more aspects of his social-media world together, such as syndicating his blog through Facebook and Twitter, and connecting Facebook comments into his blog. “I’m really trying to limit the pages I need to look at to stay connected,” he added.

One thing the singer disagrees with when it comes to Mayer’s views on social media, however, is the necessity for young artists to use these tools to promote themselves and their work. In his Berklee presentation, Mayer said that the constant urgency that some artists feel to update their blogs or YouTube channels with new songs or clips was also a distraction, and that musicians should focus on writing good music and let the promotional part wait until later. Usher said this wasn’t a realistic approach:

I actually don’t think it’s great advice to tell young artists not to bother with social media. It’s like saying don’t use the telephone. That’s fine if you have a huge machine that will do all your talking and promotion for you — but most of us still need to let people know we are playing. You can have the greatest songs in the world but if the room is empty, it still sucks.

In the end, the singer-songwriter said, artists of all kinds, whether new or well-established, have to find their own “social media voice,” and then manage that in such a way so that it doesn’t become too much of a distraction. I think this advice extends beyond just the artistic world. Anyone who has spent much time on Twitter or Facebook or even Google+ knows that such networks can become a “time suck” that threatens to overwhelm other aspects of your life. Some of that — and some of the talk about Twitter “addiction” — might be explained by the chemical changes in the brain that research shows take place when we engage with others through social media.

The bottom line, however, is that while managing the use of these networks may be difficult, it is becoming a skill that we all need to master, whether we are famous musicians or not.

Post and thumbnail photos courtesy of Flickr users Alessandro Reginato and Social Sidekick

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The rise of curation

Social recommendation isn’t new; marketers have long known the value of vocal advocacy. The difference is that now, a brand’s audience (or its followers) can register direct and extremely visible benefits from their advocacy.

Thus, curation is a valid, and valued, technique for gaining currency with audiences. We benefit from our own curatorial advocacy (which builds our credibility), and we rely on our favorite brands or businesses to sift through the web and point us to good resources, insights and opinions.

Little wonder, then, that many business brands have built large audiences using the curation approach. These brands are seen as leaders because they have the ability to tell the good from the bad, and they have market-leading contacts who keep them abreast of the latest developments.

In the curatorial approach, the network is critical, along with the brand’s ability to sort the dross from the diamonds.

The role of creation

While curatorial communication dominates some social media right now, it’s important not to forget the valuable potential of creation in audience engagement.

After all, curators curate creations. So when you make, do or say something new and valuable, your online presence will be more likely to be included in the curations of others. It’s the basis of viral marketing, but thanks to the nuances of social media, your creation doesn’t need to go viral to deliver value to your brand, or your team.

If everyone else is funneling or channeling information, those brands that create have a point of difference. When you make ideas, products, or thoughts, the information you deliver to your audience is unique.

Your creative work gives you the scope to engage customers, stakeholders, and other parts of your organization, by inviting them to join the process of creation and development. But more importantly for collaboration, creation allows you to share stories of experimentation, learning and application through social media, the company blog, industry events and so on.

That experiential information can form the glue for engagements with third parties, which, over time, can prove mutually and deeply beneficial. Such benefits could be something as simple as landing a spot in an invite-only beta test, or something as valuable as hearing about a bug that may affect you — in time to preempt disaster.

If you create, you have a lot to gain by sharing your experiences online, and connecting with others doing similar work. If yours is known as a creative brand, you likely already have followers and connections who are craving your creative insights. The question is: are you using that opportunity?

Striking a balance

How can you make the most of the opportunities for curation and creation in your social media activity?

Your team’s online presence may address multiple audiences. But whether you are concerned with engaging with customers, suppliers, or peer organizations, your team has a lot to gain by creating, as well as curating, information. This is particularly the case if your team is an isolated unit of specialists, or has a specific technical focus. It should be imperative for such organizations and teams to be directly engaged in the business of creation.

Connect with the creative leaders in your field. Share product development stories and updates on your blog. Invite creative third parties and peers to contribute their ideas for overcoming challenges, or addressing issues you face in your own creative process — and publish your own thoughts to get the ball rolling.

Traditional businesses may be concerned that asking questions or seeking advice from others, even peers,  online has the potential to damage the brand. Adopting a strategy that encourages individuals in the creative team to seek peer input through their own online activity (as employees of the brand) may be a solution to this impasse.

Do you leverage creation in your online engagements, or do you stick largely to the territory of curation?

Image courtesy stock.xchng user rolve.

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If you asked Brian Eno, he’d almost certainly answer that web workers are killing their creativity with their always-on mentality. According to a fascinating piece in 99% recently, the legendary musician and producer is a big believer in idleness as an essential ingredient in innovation – whether you’re writing a song or an iPhone app.

The article delves into Eric Tamm’s book, Brian Eno: His Music and The Vertical Sound of Color, and surfaces with insights from Eno on the magic that seems to happen during down time:

It quite frequently happens that you’re just treading water for quite a long time. Nothing really dramatic seems to be happening. … And then suddenly everything seems to lock together in a different way. It’s like a crystallization point where you can’t detect any single element having changed. There’s a proverb that says that the fruit takes a long time to ripen, but it falls suddenly … And that seems to be the process.

If you’re not an Eno fan and are ready to brush aside worries about what your workaholism is doing to your creativity, than be aware that the connection between lazing and inspiration goes back to Archimedes in his bath, passes through loafing enthusiast Walt Whitman and counts John Cleese as a contemporary standard bearer. Here is the Monty Python comic in a hilarious video backing up Eno’s claim that excessive busyness will destroy your capacity for creativity:

As a side note, Eno is also, apparently, a big believer in structured creative process and for those who are looking for ideas to refine their own, the 99% piece has a grab bag of great tips.

Do you worry that your tendency to be always-on is having a negative impact on your creativity?

Image courtesy Flickr user emma.kate

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What does remote work mean for creative collaboration?

The Old Model

While technology may have made many aspects of business easier and simpler, the traditional model of creative collaboration has a lot going for it.

Two minds (or three, or more) are better than one. To come up with ideas — or solutions — is difficult, which is why creative collaboration in teams is so valuable. This model allows us to gain the advantages of different viewpoints, skill sets, and values in concocting solutions that exceed the requirements of the project brief.

The creative process is a particularly human endeavor. When they’re working in teams, creatives rely on mood, inflection, body language, gestures, and eye contact to gauge responses to ideas, and clarify their understanding of what’s been communicated verbally. Often, it’s the use of these non-verbal cues that separates the great creative teams from the less-than-great.

If a creative collaboration endeavor will continue for some time, keeping those creatives in the same physical space can also be helpful. The walls become populated with idea drafts, notecards and images. The team reorganizes the space to reflect their working relationships, and make themselves as comfortable as possible.

The physical space speaks loudly to each team member about what they’re doing, what they’re part of, and where it’s at. Those spatial reminders may help them recall a conversation they had with a team member, an idea they’d forgotten, or a thought they’d had that they want to take back to the team tomorrow.

New Challenges

The use of dispersed creative teams presents some challenges, especially for those who previously worked with the “agency” model of creativity: a bunch of people in a room with a whiteboard.

In a distributed creative effort, team members may be more likely to work on the creative task independently. First of all, they’re not physically surrounded by their colleagues, so if they want even to do so much as run an idea past someone, it takes effort — and may therefore be avoided.

Also, more effort may be needed to integrate the independent inputs or ideas that your dispersed team members have come up with. Three creatives working independently will come up with different angles and ideas than three creatives working together. That doesn’t mean the ideas aren’t as good, but it often means that more work is required to integrate them into a coherent whole.

In some ways, the challenges inherent in working from different locations, under the burdens of technology and time, preclude some aspects of the very concept of “working together.” It’s much harder to work together when you’re not together. And this is especially true for creative work.

The Distributed Creative Process

The creative process differs for each individual, but in an on-site creative team effort, it can be molded to suit the requirements of the team members, tasks and workplace situations fairly easily.

Throw distance into the equation, and the creative process can be more difficult to get — and keep — a handle on. Also, the naturally disjointed nature of remote collaboration can mean that the already-slippery creative process is more easily derailed: it’s more difficult to keep everyone on the same page, in the same frame of mind, and working at the same level of momentum when they’re in different locations.

There are ways to minimize the negative potential of the distance separating your creatives. Making it easy for each person to record, store and share their ideas in whatever format suits them is critical. Don’t delete evidence of old ideas, though: keep them on file in a logical, searchable order so that, if needed, they can be accessed by the team — as idea-triggers for future projects, or the enrichment of the current one.

Keeping the output or product separate from creatives’ work in progress and from their raw ideas is also a good idea. Wherever possible, keep a clear delineation between idea that have been developed and discarded, and what has been developed and produced.

Contact is, of course, crucial. Consider its regularity, depth and frequency, and make sure that your team members can embrace the approach you choose. Don’t be afraid to try new ideas — video chats every couple of hours during intense collaboration phases, for example — or to change your approach if it doesn’t seem to be working as you’d hoped. Alleviating blockages and ensuring smooth, clear communication is often the most important thing a manager can do to support a creative team.

Transparency during the assembly of the creative product is also a necessity. To get the greatest value from your creatives, you’ll want to give them the ability to adjust or amend the product as it’s created. Do this in a way that ensures their accountability to the rest of the team, and so that each team member is aware of the impacts the others are having, and you should avoid nasty surprises.

How do you manage the creative process in your dispersed team? We’d love to hear your thoughts in the comments.

Image courtesy stock.xchng user michelleho.

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