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covertcreativemedia · 4 years

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Preliminary Research and Summation #2

1. Brick-and-Mortar as Service Center

Today, stores are much more than a place a transaction and distribution and must be treated as a marketing opportunity a billboard for the brand. The new store model allows consumers to experience a “smaller, more design-forward and experience driven” format that is tailer to location and the local tastes (Chen, pg.2). These locations act as a service and return hub, more than a retail outlet. Shoppers are more inclined to immersive themselves in experience, take photos, and learn to later make a conversion online.

“Nearly 90 percent of shoppers begin searching for a new product online, according to a 2018 consumer insight survey from Salesforce and business consultancy Publicis Sapient” (Chen, Pg.8). With an increase in shoppers becoming accustomed and learning new habits of shopping online, it is crucial to create valuable and convenient ways of melding the online and offline experience, either your in-store or online.

As SNS and online marketplaces changing consumer tastes, the brick-and-mortar channel must keep up with the Velocity that digital channels demand. Velocity,, refers to constant change. “You don’t see people posting the same photo on Instagram everyday so why should a retailer have the same stuff all the time” (Chen, Pg.16).

-Physical store as an experience and service center, and melding the online and offline experience.

-Experience Center

-As consumers continue to become accustomed to buying online through large marketplaces, the instore retail model must transform to adapt to this new lifestyle, while taking into account the local aesthetic preferences.

-The instore model is lacking to keep up with the ever evolving consumer due to online marketing places and SNS rapidly changing consumer tastes. The brick-and-mortar channel must adapt to the Velocity and be just as disruptive as they aim to be online.

-The brick-and-mortar channel is not lost but must be completely evolved, by bringing in metrics that typically live online, such as immersion, engagement, and impression.

Metrics such as sales-per-square-foot are outdated ways of analyzing how strong a business is and fail to capture other types of returns on the investment of physical retail.

It is crucial for stores to offer a meaningful media channel for customers to discover and engage with a brand, and every impression is just as valuable as customers seeing an ad on their Instagram feeds (Chen, Pg.14).

2. The evolution of the sales associate

The role of the sales associate has evolved in brick-and-mortar channels as they continue to provide more digital services than ever before. Clients and costumers expect more digital competency and digital incentives when they are in a physical retailer and expect quick service as they would online. “The role of a sales associate is evolving and the expectations we have of the associate are different today” (Chen, Pg. 11). The consumer is more accustomed to searching and overloading on information on products before making a purchase or entering a brick-and-mortar location. “Even though the majority of Warby Parker’s sales took place in-person, the overall process of those sales, from research to transaction, began online and over 70 percent of customers browsed WarbyParker.com before entering a store knowing which glasses they want to try on” (Chen, Pg. 4). The sales associate must be just a smart as the consumer about the products available online and offline and know how to work with customers who have done the research.

-The evolution of the sales associate in the age of information, and how to work with consumers who know just as much about the product.

-Customer/Sales Associate Role Reversal

-It is know that 90% of shoppers research the product before making a purchase, how can the sales associate provide service to a customer that is just as informed.

-Sales associates must not only by digital competent, but act as an knowledgable influencer to consumer at the point of purchase, how do you train sales associates to adapt to the smart consumer?

-As consumers continue to immersive themselves into the digital information available for products, either reviews, images, videos, UGC. How do you train sales associates to be knowledgable and influential about the product assortments available online and offline and provide the customer with service that is digitally focussed.

3. Cultivating Online Community

With SNS becoming a major proponent in brand awareness and customer acquisition, retailers must have a presence on an assortment of social media platforms and become content creators. “Confined at home all day, consumers are also spending more time on social media. Between late March and early May, about half of adults in the US said they were using social media more since the pandemic began, according to the Harris Poll cited by eMarketer” (Chen, Para. 37). Retailers can use the physical space to understand the consumer, how they interact with product and associate, and observe them to better equip the online channel and create appropriate content.

-The in-store channel to observe the consumer to better assess online channels and SNS content.

-In-store consumer observation

-Every retailer must evolve to become a unique media outlet to continuously provide loyal and emerging consumers with inspiring and quality content on an assortment of SNS channels.

-How can the retailer utilize the in-store channel to assess the evolving customer through customer-associate interactions to better curate a tailored online experience, through e-comm and SNS channels. As customers becoming increasingly apart of the brand story through UGC, reviews, influencers, how can retailers use that information to create content that resonates with the evolving customer.

-The in-store experience is direct access for retailers to experience and observe the customer, how they try-on, how they feel in the clothes, how the look in the clothes, how they react to clothes. As consumers increasingly become more involved with the brand story online through UGC, how might retailers take this information to better curate media for DTC channels and SNS.

-Retailers must see the physical touchpoint as a method to better understand loyal and emerging consumers beyond conversion, but emotion. This can allow retailers to provide the customer with the best content to inspire and inform the consumer through SNS whenever and wherever.

4. Retailers as brand incubators

Successful retailers have began initiatives to incubate, design and manufacture exclusive brands going beyond private labels. Allowing retailers to own categories, innovate, test, and enhance product discovery. The old model of heritage brands does not excite the hyper connected consumers as much anymore, as they are attracted to fresh brand stories and increased product releases. Apposed to brands expanding product assortments that don’t fit into the existing brand story, retailers now have the opportunity to develop new brands to keep up with emerging trends. “Kendo aims to turn these brands into global beauty powerhouses, notably, the launch of Fenty Beauty by Rihanna in September 2017 triggered an industry-wide shift towards inclusive beauty products for a diverse array of skin tones” (CBInsights).

-Avoid blurry narratives and stale private labels, retailers can now create brand incubations to align with emerging consumer habits and increase innovation and product discovery.

-Own the space, Innovation, Test

-Brand incubators can give retailers the opportunity to test and provide consumers with products that align with emerging trends without blurring the overall retailers brand story. An opportunity for retailers to own a category, and fill white spaces at they arise creating exclusivity within the retailer.

-Retailers can often create blurry narratives with sub-brands when they try to reach new audiences outside of the brand story and audience.

-As consumer trends and tastes rapidly evolve, retailers can provide emerging consumers with exclusive brands through retail brand incubators.

5. Retail developments serve as important attractions for the local community.

Increasing customer acquisition can be driven though local community building, unique and exclusive experiences, and immersing the brand into the local culture. “A report released last year by e-commerce player VIPShop showed almost two-thirds of post-90s consumers trust local brands, a much higher percentage than their predecessors”(Hall). This means that instead of flagship locations in notable cities such as NYC being the heightened retail experience, retailers should consider physical concepts in residential neighborhoods (Chen, Pg. 6). “How does a store play a role in the community as a community access point? (Chen, Pg. 15). The managers and associates is a bridge for the community, hiring the right associates who can relate to shoppers, is a way to access customer loyalty. When thinking about a storefront as a community hub, retailers must take into account the local culture and demand, “the store is a showroom too, edited by location and by climate” (Chen, Pg.15). Successful luxury brand has transformed the flagship store model by bringing exclusivity to local locations, “every store looks and feels unique, and even offers its own exclusive capsules” using the term “glocal” to describe the brand’s approach to physical retail (Chen).

-Retailers becoming community hubs tailored to the local culture.

-Localisation, Community, Loyalty

-The flagship experience can become more local to the community, becomes hubs that are tailored to the specific tastes and aesthetics of the location. Creating unique and exclusive experiences that become a new flagship model.

-The fifth avenue excessive flagship experience has been outgrown as we have become more local, technologically driven, informed and sustainable. These flagship experiences once allowed consumers to access larger product assortments, but e-comm and fulfilled that desire.

-Since consumers have access to extensive product assortments online, locality, and exclusive “capsule” collections can drive brand loyalty and provide customers with a new flagship experience.

-Flagship stores can become more local and exclusive to specific communities, heightining local brand experiences while increasing customer curiosity that was once driven by NYC flagship stores.

6. Social Retail Concept

A new method of integrating technology into the physical retail model, specifically personal mobile, is by designing the physical store to be interacted with virtually. A new partnership with Burberry and China’s Tencent is the first to try this model in luxury categories, describing it as a “customised digital companion tailored to enhance the way customers experience the store physically or virtually” (Yuen).

-Integrating the customers personal devices into the physical retail model.

-Virtual Interaction

-The best brand are socially driven and provide consumers with cutting edge experiences available online and through mobile.

-How can the retailer provide the consumer with a virtual experience while physically in store which can enhance customer experience, drive loyalty and brand awareness.

-Brand awareness is primarily driven through digital incentives but rarely become accessible while in a physical retailer. The physical model must create a strategy to implement digital touchpoints that continue to excite the consumer while playing a role in telling the brand story while heightening awareness.

-Retailers can consider designing the entire physical retail format to enhance the digital experiences that already exists outside of the brick-and-mortar location. While utilizing the progressive feature that mobile tools can provide such as camera, qr, ar, etc.

7. The Drop Concept

Exclusive product launches and releases, popularly know as “drops” have proven to be entertaining and exciting to consumers. Giving consumers something to look forward to, build community, and get together for the sake of retail. If you create a sense of scarcity and urgency for a product that is fundamentally desirable, it heightens demand” (Sherman). This controlled release of limited edition product has driven consumer excitement with a constant stream of newness, for everyday items like shoes and lipstick. (Morency)

-Increasing newness through drops produces consumer excitement while driving community within the brand.

-Community, Demand

-Limited edition drops by brands encourage exclusivity through heightened demand while producing massive amounts of social content.

-Brands are cashing in on limited edition releases while producing buzz and building community, but the retailer is often left out of this equation.

-Retailers don’t have the same opportunity to offer customers limited edition releases as much as brands can. Retailers can offer brands larger platforms to host these community building events.

-Retailers can introduce a rotation of limited edition brand releases exclusive to the retailer. Building community within the retail while providing a platform for brands to host these drop releases.

8. The customers role in the brand.

A new type of narrative is emerging - one that’s told through many media at once in a way that’s nonlinear, that’s participatory and often gamelike, and that’s designed above all to be immersive (Rose). Consumers have increasingly grown to become fans of brands without ever making a conversion, and continue to want to learn and be deeper within a story, and carve out a role for themselves (Rose). At the same time shoppers are seeking out authenticity in brands and have the power to control the brand message.

-Customers evolving role in the brand.

-Participatory, Immersion

-Customers and emerging customers have the opportunity to be apart of the brand story through UGC and digital channels with tagged content, fan accounts, etc. How can brands offer consumers authentic platforms beyond dedicated SNS channels that allow for participation and immersion in the brand story. “Usual platforms — Instagram, Facebook, Twitter and Youtube — shouldn’t be the be-all and end-all of digital strategies” (Suen).

-Retailers lack exclusive platforms that offer customers new and immersive ways to involve themselves in the ever evolving non-linear storytelling of the brand.

-Consumers are constantly seeking new ways to be involved in the storytelling of the brand, though UGC and branded content on existing SNS channels, however, these platforms must evolve and offer customers with new ways of being empowering them through authentic storytelling often driven by digital media.

-Retailers have the opportunity to increase customer loyalty and brand experience by offering new ways to introduce products, provide content, and create community through exciting and immersive platforms beyond existing channels.

9. Mobile assisted shopping

The term showrooming is the act of consumers using a retailer as a showroom to view products in-person before buying them from an online retailer (Quint). In 2010, retail analysts and media outlets in the US began to talk about the electronics chain Best Buy becoming a “showroom for Amazon.” In a survey of 3,000 shoppers, 21% said they were mobile-assisted throughout the shopping experience and the information they receive effects buying decisions (Quint). Customers are increasingly attracted to lower prices offered though e-comm sites, but are interested in trying the product before making the online purchase.

-Customers are often inclined to use physical retailers to try, test, and experience product before making a decision to buy online through a DTC retailer.

-Showrooming, Mobile-Commerce

-Customers are attracted to lower prices offered though e-comm sites, but are interested in trying the product before making the online purchase.

-Physical retailers are often being used a showrooms for consumers and typically mobile assisted throughout the shopping experience.

-Shoppers have the opportunity to price check and do research on other retailers platforms often offering lower price points through a mobile-assisted shopping experience. Showrooming has allowed for retailers to increase foot tracking without making a conversion.

-In a mobile-assisted shopping experience it is crucial for retailers to avoid showrooming through customer service and incentives for drive conversion and customer acquisition.

10. Immersive Shopping Experience

One feels enveloped in immersive spaces and strangely affected by a strong sense of the otherness of the virtual world one has entered, neither fully lost in the experience nor completely in the here and now (Griffith, 3). Immersion offers the sensation of entering a space that immediately identifies itself as somehow separate from the world and that eschews conventional modes of spectatorship in favor of a more bodily participation in the experience. This might include the spectator moving freely around the viewing space (Griffiths).

-Creating immersive and experiential shopping experiences that inspire and create memorable experiences for shoppers. Bringing in more experience and technology over product and merchandise.

-Immersion, Experiential

-Immersive experiences often give people the opportunity to enter spaces that go beyond physical reality, often utilizing digital and technological mediums.

-Retailers must go beyond the typical brick-and-mortar experience and create immersive experiential destinations that provide consumers with memorable and inspirational outlets of retail.

-The typical brick-and-mortar model lacks experience and is driven through merchandise and customer service, creating a disconnect between the virtual and physical world that has become increasing important to consumers.

-Technology and immersive driven retail blends the physical and virtual realities that often gets left behind when entering physical retail channels. Offering spectatorship can drive brand awareness and give consumers inspiring and memorable shopping experiences.

Sources

CB Insights. (2020, June 27). How Sephora Built A Beauty Empire To Survive The Retail Apocalypse. Retrieved September 24, 2020, from https://www.cbinsights.com/research/report/sephora-teardown/

Chen, C. (2020, August 13). Tapping Into the Future of Physical Retail. Retrieved September 24, 2020, from https://www.businessoffashion.com/articles/education/case-study-physical-retail-future-stores-ecommerce

Chen, C. (2020, September 22). 6 Ways the Pandemic Has Changed How People Shop. Retrieved September 24, 2020, from https://www.businessoffashion.com/articles/professional/pandemic-shopping-habits

Chen, C. (2020, August 25). The Case for Opening a New Store Right Now. Retrieved September 24, 2020, from https://www.businessoffashion.com/articles/professional/brick-and-mortar-retail-coronavirus-off-white

Griffiths, A. (2013). Shivers down your spine: Cinema, museums, and the immersive view. New York: Columbia University Press.

Hall, C. (2020, July 30). Catching the Next Wave of Beauty M&A Targets. Retrieved September 24, 2020, from https://www.businessoffashion.com/articles/professional/beauty-china-perfect-diary-yatsen-global-shanghai-jahwa-loreal-estee-lauder

Morency, C. (2018, August 09). Is Luxury's Love Affair With 'Drops' More Than Marketing? Retrieved September 24, 2020, from https://www.businessoffashion.com/articles/professional/is-luxurys-love-affair-with-supreme-style-drops-more-than-marketing-moncler-burberry-off-white-celine

Quint, M., & Rogers, D. (2013). SHOWROOMING AND THE RISE OF THE MOBILE-ASSISTED SHOPPER. Columbia Business School.

Rose, F. (2012). The art of immersion how the digital generation is remaking Hollywood, Madison Avenue, and the way we tell stories. New York: Norton.

Sherman, L. (2020, April 23). For Some Labels, Drops Are Still Working When Nothing Else Is. Retrieved September 24, 2020, from https://www.businessoffashion.com/articles/professional/drops-apparel-sales-sporty-and-rich-moncler

Suen, Z. (2020, September 10). What Fashion Media Can Learn From the Chinese Model. Retrieved September 24, 2020, from https://www.businessoffashion.com/articles/professional/chinese-fashion-media-gq-elle-harpers-bazaar-renwu-conde-nast-china-hearst-dan-cui-mia-kong-stephanie-zhuge

Yuen, S. (2020, July 27). Burberry to open first social retail store in Shenzhen. Retrieved September 24, 2020, from https://www.marketing-interactive.com/burberry-to-open-first-social-retail-store-in-shenzhen

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blogsosoulcollectionblr · 5 years

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Getting New Consumers for Your Business

A large number of people may have perused numerous administration on market infiltration as a piece of the "Things - they-instruct - you-at-b-school" and would thoroughly understand Mr Ansoff and his amazing 2X2 matrix. Till today, practically the majority of the writing around structure advertises entrance and getting new shoppers still spins around Ansoff’s matrix. In any case, did you realize that this structure was made over 10 years? Seven Group of Companies operates in Navi Mumbai.

Does it hold importance 60 years after the fact – presumably … What holds solid in the present VUCA world is to have an Outside In approach so as to continue pulling in new buyers (increasing market penetration) consistently as a part of your core business strategy. Seven Group has Seven Consultancy as a vertical which has Placement Agency in India.

Let me explain...Everyone wants to catch wind of the incredible pieces between Coca Cola versus Pepsi or Nike versus Adidas/Reebok or Apple versus Samsung or BMW versus Mercedes or UBER versus OLA today. They are the stuff whatsapp viral legends are made of. Anyway organizations ought to abstain from making this the sole reason for their reality. On the off chance that they fall into this snare of one-upmanship over their rival, at that point they are probably going to overlook the fundamental target of working together – serving the neglected customer needs. Essentially concentrating on the fight with your closest rival possibly great to create mottos for those shoddy office shirts (and the periodic office war dance during the celebration parties) however in the end this nearsighted approach will simply drive you to turn into a frog in the well. There are Generalise HR Training in Mumbai conducted at 7 group Mumbai.

With the goal for you to assemble a reasonable development organization, regardless of whether you are a start up or a multibillion dollar endeavor, you have to re-characterize the market , develop it and attempt to get a noteworthy offer of that development. You can do this just by envisioning your changing shopper's needs. This will genuinely require you to get inside the skin of your buyer (figuratively!). This way to deal with getting new purchasers is called an Outside In Approach. The Outside In approach is guided by the conviction that buyer esteem creation, shopper direction and customer encounters are the keys to progress. There are various overseas education consultants in mumbai who charge you a bulk load of money. There are various verticals in this organization one of them is Seven Consultancy which is one of the Placement Agency in Thane. It provides free consultancy for students who seek jobs.

To effectively get all the more new purchasers, an outside in approach for your business procedure calls for 3 building squares (Seven Academy offer core hr payroll in mumbai)

1. Understanding your TG

2.) Enhancing your psychological accessibility for her

3.) Enhancing your physical accessibility for her

In this article we are going to discuss the initial two of these and utilize an advanced way to deal with touch base at the key standards on the most proficient method to deal with these squares. At 7Group India there are seven verticals. Seven Group is located in Navi Mumbai

1. Understanding your TG - Know THY buyer - 3 Core Principles:

i. Comprehend and Tap into the developing customer sections:

ii. Scout for and ride sprouting patterns :

iii. Don't simply be GLOCAL : Use a nearby knowledge to construct another pattern for the neighborhood society

2. Improve your psychological accessibility for her - Get into her brain - 3 Core Principles :

i. Use Co-Creation and collaboration

ii. Be Easily Discoverable

iii. Be Creative and disruptive

#SevenGroup #7Group India #SevenGroup Mumbai #STOP

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easterndaze · 7 years

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Budapest’s New Underground

Although the international reputation of the country, whose PM hailed illiberal democracy as his preferred NWO, is not the best (to say the least), there's a parallel culture that largely operates independently of state-run infrastructure, creating several microcosms with their own audiences and worldviews, implicitly turning against misogyny, discrimination, narrow-mindedness, and reflecting the techno-dystopian times we are living in at the moment. "...The goal of our underground is to create a second culture, a culture completely independent from all official communication media and the conventional hierarchy of value judgements put out by the establishment", wrote Ivan Jirous, a member of The Plastic People of the Universe, in 1975. For the purposes of this article, we will focus only on Budapest. Hungary, in general, is very centrist, even more so than its neighbouring countries. Most of the cultural happenings take place in the capital. "It is worth mentioning that to me the 'underground' seems to be an arty, intellectual, middle-class, mostly Budapest-centred, or at least city-centred thing", explains popular music scholar Emília Barna. "For instance, there is so much rap music made in the outskirts or the provinces, extremely poor areas of Hungary, scenes that thrive in these localities as well as on the internet – music that I would certainly call political because these artists directly address issues of poverty, social deprivation, criminality (gangster and prison life) etc. – yet as far as I know this music is never referred to as part of 'the underground'".

UH Fest

"A strong stage performance and powerful art are always political acts", says Krisztián Puskár, one of the organisers behind UH Fest. The experimental music staple was established at the dawn of the new millennium, taking inspiration from the now-defunct Austrian phonoTAKTIK festival. Since 2000, UH Fest (also known as Ultrahang) has staged approximately 500 performances. From noise techno, through avant-garde improv, to an hour of drone, UH Fest aims to challenge its audience's expectations and break the boundaries between various genres and generations. Thus, over the course of the week of the festival, the likes of Romanian spectralist Iancu Dumitrescu rub shoulders with Low Jack, KTL, Sote and Richard Dawson. Unlike many other similar urban festivals in Europe, UH Fest is not institutionalised, and is largely run on a volunteer basis. "To this day, we are just ordinary citizens without an institution behind us. We have a foundation, which is a legal entity, but not in terms of an office or infrastructure. It was a grassroots initiative, a family venture in the beginning, because my sister and brother-in-law were also involved", says András Nun, the organiser of the festival and one of the most pivotal figures of the Budapest underground music scene. Aside from its main event, which usually happens in late September/early October, the festival has also organised so-called "Demo" events for up-and-coming local talent, which acted as a springboard for several successful musicians such as The Death of Rave artist and Mark Fell collaborator Gábor Lázár, Opal Tapes and Lobster Theremin producer S Olbricht (whose own Farbwechsel imprint we'll discuss later), and the improv duo 12z.

OMOH

OMOH is a new addition to Budapest's queer scene, shunning the music played at mainstream gay events and embracing a more abrasive type of techno and underground house. The name itself comes from Russian police special forces and can be interpreted "as a sort of middle finger to all homophobic legislators of the world", explain the organisers, whose identity remains a mystery. "No organisers, no line-ups" is their egalitarian motto. The monthly (or so) OMOH party takes place at the top of a decaying shopping centre built in 1926, the home of the infamous Corvin Club & Bar. This sprawling venue is wedged between the 7th district, renowned for its tourist-filled ruin bars, and the up-and-coming, working-class 8th district. "Lively, chaotic, and most definitely an architectural, urban and social war zone – not postcard material. Which fits our mindset perfectly." The right-wing parties who came to prominence across Central Europe – most prominently in Poland and Hungary – championed heteronormative, Christian, conservative, nationalist values, the resonance of which can be felt in places like OMOH: "Even if club owners and managers have no problem with the LGBTQI crowd, the organisers still have to deal with the suspicion of the staff and the regulars – to put it mildly. And our audience, quite frankly, is a division of brave little foot-soldiers claiming their share of an environment which is by no means a so-called safe space."

Auróra

About 10 minutes' walk from Blaha Lujza Square, deeper into the dimly lit streets of the 8th district, the increasingly gentrified inner-city "ghetto" which is also one of the most ethnically diverse and lively areas of Budapest, lies Auróra. Located in the street of the same name, Auróra is based in an inauspicious building – you will have to ring the bell in order to get in. This family house with a cosy garden has become an oasis of alternative culture and thinking in its purest sense. Aside from its music programming – which largely centres around the weekend – the space also provides offices to several NGOs such as Budapest Pride, Roma Press Center and DrugReporter, maintained by a platform called the Auróra HUB, which is funded from Auróra's profit. The genealogy of the space can be traced back to Sirály, a former squat located on one of the busiest commercial veins of the city, at Király St 50, which was shut down in 2013. Several activist groups and a few political parties emerged from the vaults of Sirály – one of which was the collective behind Auróra (another established Gólya, a venue also located in the 8th district). Auróra's music programming is diverse, and encompasses over 40 gigs per month, ranging from free jazz, techno and punk to experimental electronics – all of this without any official state support. "The political situation doesn't let us cooperate with culture-politics at all", say Auróra's Fanni Tóth, Áron Lukács and Zsuzsi Mekler. "You can see self-censorship, fear and unpredictability across cultural institutes all over Hungary. We think the only possible way to keep this platform of NGOs and the lively discussion about issues in our country alive is to run a social centre like this, totally independently."

RNR666

RNR666, or Rock'n'Roll 666, is a music community established in 2005 by three friends from rural eastern Hungary: Csühes Pali, Lavor and Szabo, whose backgrounds include music, art and fanzine publishing. Initially begun as online radio, the RNR666 RADIO SHOW, the group widened its activities to include concert organisation, online publishing and record releasing. Their collective spirit is marked by a fiercely DIY attitude and punk-inspired ethos. They began in the era of Myspace, which connected them to the global underground and the low-budget, so-called "food-flat-and-beer bands". 10 years later, not much has changed in terms of the frugality and DIY aspect of this scene. "Lots of the venues here don't care about the fact that you want to do small, but subculturally very important events, they are just interested in profit", says Lavor as we sit in Kék Ló, an improv venue/bar in the 8th district. These days, they might do one gig per month, largely due to the lack of resources, inviting mostly foreign bands – they have to finance everything from their own pockets. This is how they released their first 7-inch, a psychedelic garage rock split between Piresian Beach, the moniker of Budapest-based singer-songwriter Zsófia Németh – who is also a member of the collective – and JC Satán. Although event promotion has shifted to Facebook, they still make posters and spread the word IRL: "I still party six days a week, so I get to talk to people that way."

Farbwechsel

Farbwechsel is a truly glocal label based on friendship and personal connections, sourcing its roster almost exclusively from local talent and organically spreading the "Budapest sound" abroad. This happened largely thanks to acclaimed producers like Route 8, S Olbricht – who established the label with Bálint Zalkai aka Alpár in 2012 – Norwell and Imre Kiss, all of whom released their debut albums on Farbwechsel. You'll often find musicians associated with the imprint jamming in each other's bedrooms, sometimes perusing vintage hardware instruments borrowed from Zoltán Balla, an avid collector and member of Farbwechsel-signed project Wedding Acid Group. Even though several artists from the label's roster have gradually begun to release music on foreign labels such as Opal Tapes and Lobster Theremin, they remain faithful and committed to the imprint that brought them recognition, and they also organise regular events in Budapest. Their sonic aesthetic has been described mostly as lo-fi house, but that doesn't do them justice. There's a sense of ghostly melancholia and longing, perhaps an aural appropriation of their home city, a place constantly hovering somewhere between the past and the present. This is most prominent in Mikolai's work, which centres around the dancefloor and transgresses it at the same time. The label roster has become stable over the last five years, with names such as Saint Leidal The 2nd, Aiwa, S Olbricht, Norwell, SILF and Alpár.

Küss Mich

Küss Mich… and follow me to a gritty basement, where we'll dance to abandon and the music will elevate us beyond our physical selves, bodies sublimating in communal spirit. Küss Mich is a romantic event – romantic in its truest, least-saccharine sense. Founded in 2008 as an irregular DJ club event at the iconic drinking den/underground basement Vittula off Blaha Lujza Square, Küss Mich is a legendary night in the context of Budapest nightlife – a place that hailed eclecticism before it was in fashion and steered clear of the corrosive irony inherent in postmodern hipsterdom. Their sonic cocktail contains a blend of DIY-synthwave, punk, Italo disco, acid and industrial – in a concert or DJ format. "The motivation was to entertain ourselves. One of us had an industrial-dark-synth-punk background, the other came from techno and acid-oriented electronic dance music. We were both tired of the narrow-mindedness of these scenes", says Krisztián Puskár who also DJs under the moniker Splatter, one of the founders of Küss Mich alongside Gábor György alias Gördön. Adopting their outsider status and subverting expectations of the then-segregated music milieu, rediscovering past gems and presenting them alongside current sounds and bands, enabled them to navigate the muddy waters of contemporary music, aided by a devoted audience. "To choose a German name was pretty strange, fun and uncool back then. Now it's totally the opposite of that. German party and brand names will vanish or become out-of-vogue, but great people will still be there to do things on their own. And us too. If there is no money in it, there must be another motivation, right?"

JazzaJ

JazzaJ is a compound word combining "jazz" and "zaj" (which means "noise" in Hungarian). The event, which aims to bridge the free jazz and noise/experimental scenes, based on improvisation, was founded in 2011. "We wanted the noise musician to meet the free jazz musician. The underground rocker to meet the folk musician. The baroque player and the avant-garde music-philosopher to meet the electronic music geek", says Ernő Zoltán Rubik, one of the organisers of the event. Over the last five years it has grown into a communal gathering of discerning listeners, who welcome anything that JazzaJ offers them. "Listening is a creative act", adds Rubik. The main task that musicians who play at JazzaJ are given is to leave their comfort zones. "We believe in no style". Recently, JazzaJ began to invite musicians to be curators – each month a musician puts together the line-up, which sometimes creates rather interesting and surprising juxtapositions. This way, they've staged "hardcore-like nights" courtesy of Balázs Pándi, video operas with Miro Tóth, baroque and noise improvisation with Albert Márkos, and 12 saxophonists running around the room via Gergő Kovács. The JazzaJ community is sourced from the sprawling local scene, but remains tightly connected not only to neighbouring countries, but also the European and international scenes. "Our way of promoting improvisation as an act of freedom and tolerance, listening and presence, is already political without naming it so. There were times when we felt that for some people, this was a weekly refuge, a hideout from everyday cruelty and ignorant aggression taking place on social and political fields, or the streets." (photo: Attila Nagy)

T+U

T+U stands for Technologie und das Unheimliche, or the uncanny, the strangely familiar – that which repulses and attracts you at the same time. Established in 2014 as a publishing project and cross-disciplinary movement by Mark Fridvalszki, Zsolt Miklósvölgyi and Márió Z. Nemes, T+U is located somewhere between Berlin, Budapest and Leipzig. Their leitmotif is an exploration of the confrontation between the age-old dichotomy: the human condition – its various manifestations and cultures – and technology, through theme-based issues and events. Music plays an important role in their modus operandi. They have a regular radio show on legendary Tilos Rádio and create guest mixes, employing a specific sonic aesthetic that chimes with their ideology: dark, technoid, dystopian. Some of T+U's members have left Hungary for personal and political reasons. "Within the recent years, mostly due to the socially and morally harmful cultural politics of the current political establishment, there is less and less air for progressive art and subversive thoughts", says Zsolt Miklósvölgyi via email. "This catastrophic hedge-hop mainly caused by the anti-intellectualist, reactionary attitude of the ruling right-wing populist party and its substandard cultural myrmidons, obviously forces many of us into 'exile'. But within our techno-capitalist era, the image of 'living in exile' no longer means that you exchange one geo-cultural location for another, but you are in constant transition. You are not only characterised by the place you are from, but rather by the way you are rewriting these already-existing cognitive landscapes and cartographies."

Drrpnc

If you are a musician or into underground rock and extreme metal in Budapest, you will probably have passed through Keleti Blokk and the adjoining Dürer Club at some point. The sprawling complex neighbours the green oasis of the city park, whose integrity is threatened by a huge makeover that, for the foreseeable future, may replace much of the greenery with shiny concrete. Drrpnc is a secret cellar somewhere in the underbelly of the aforementioned space. A cross between a rehearsal room and a gig space, Drrpnc has become one of the city's most prominent havens for the punk/hardcore and extreme underground metal. Needless to say, the modus operandi of their activities is strictly DIY. "We have always had some challenges, such as leakage, electrical damage, etc., but the Hungarian scene is a community, so we can solve all of our problems through our common strength", says Adam Mjöl. The future remains uncertain. "This building, where we are now, will be probably demolished, so we have to start looking for a new place."

Davoria & Külvárosi Techno

The seeds of Davoria were sown around the year 2000. The collective began organising sound-system parties in the summer, as part of the then-thriving freetekno scene and its annual summer teknival gatherings. Ever since their beginnings they have always been part of both worlds – throwing events at regular clubs as well as the outdoor, illegal parties. These days, Davoria's monthly events take place at Müszi (situated in the 8th district at the aforementioned Corvin shopping mall), a space for alternative culture that also includes the offices of the civil watchdog Atlatszo.hu, as well as Auróra. The sonic identity of the event remains faithful to their beginnings: hardcore techno, noise and experimental electronics. "We call our parties tekno, because we feel that this term is open enough to represent different kinds of genres, from tekno to experimental music", explains Davoria organiser Péter Márton, who also produces uncompromising techno (or tekno) and noise under the respective monikers Telesport and Prell. Davoria also host a stage at the now-legendary underground techno event Külvárosi Techno (Suburban Techno), which takes place several times a year in the industrial premises of the large studio space and now-defunct venue R33. Ideologically, their stance hasn't changed over the last fifteen years. "We try to show that even in a commercial world, you are capable of doing productive, good things while keeping your freedom."

Originally published in Glissando magazine #30

Lucia Udvardyova

#Davoria #Budapest #OMOH #RNR666 #Jazzaj #T+U #Farbwechsel #S Olbricht #Aurora #Uh Fest #Kuss Mich

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jeramymobley · 7 years

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30 Years Ago, KFC Opened in China — and Changed All the Rules

I was there on Nov. 12, 1987 when the first KFC opened in Beijing, just south of Tiananmen Square in an area called Qianmen. I was an American kid living in China starved for some food I recognized. The three-story Kentucky Fried Chicken—then a division of PepsiCo and not yet called KFC—was a godsend. And because we could pay in FEC—foreign exchange certificate—we did not have to join the impossibly long lines of locals looking to get their first taste of American fast food.

KFC sold 2,200 buckets of chicken that first day and I watched as Chinese customers, unfamiliar with eating with their bare hands, contemplated how to eat fried chicken with chopsticks. Beijing would not welcome a McDonald’s location until 1992, when the world’s largest golden arches opened on the iconic Wangfujing shopping street. Little did I imagine that hazy Beijing day that KFC would become ubiquitous across China.

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KFC is celebrating its 30 years in China with fanfare and some special deals. State newspaper China Daily published a retrospective on the brand’s success and impact, calling it the “King of Fast Food in China.” KFC China, which split from Yum! Brands in 2016, is marking the occasion with in-store promotions including throwback 1987 pricing. But it also launched one unexpected promotion: a branded smartphone.

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In partnership with Chinese phone-maker Huawei, KFC China produced 5,000 limited edition KFC-red Huawei 7 Plus handsets, all branded with the Colonel’s image and pre-loaded with with 100,000 “K-dollars,” the digital currency exclusive to KFC China, and KFC/KMusic app.

But for me, the neatest part has been how numerous pictures from 1987 are popping up on Chinese social media like Weibo, capturing a slowly-opening China on the precipice of the modernity that would sweep the nation over the next 20 years, such as these images below:

KFC is not alone in China, of course. The nation is now home to foreign chains of all kinds, including McDonald’s, Ajisen Ramen, Yoshinoya, Pizza Hut, Starbucks and Subway.

But KFC rules them all in terms of market share and popularity, and has written the book on glocalization—when global brands think and act locally, and adapt their businesses and offering to appeal to local customers’ needs and tastes. KFC China‘s deft localizing of its Western menu and playbook has been profiled in the Harvard Business Review.

While the menu I ate from in Qianmen 30 years ago looked little different from the one I knew in Wisconsin, today’s KFC China menu is unrecognizable to most Westerners.

From congee at breakfast (above left) through lunch, tea-time and dinner, it offers items like mushroom rice, curry pork, soy milk, egg drop soup, multi-stack beef burgers, and coffee lattes to compete with Starbucks. KFC went into China looking to change it and in the process, China changed the brand.

Beyond the menu KFC has also embraced local tastes. The chain recently experimented with a healthy eating concept. And, in tech-crazy and mobile-pay-obsessed China, it is experimenting with tech-driven consumer touchpoints like online ordering, Tmall, a mobile app for delivery or pick-up, in-store kiosks and AI-based facial recognition payments.

And just as KFC U.S. has been having fun with celebrities taking turn playing the Colonel, KFC China is ditching the old colonel and getting young.

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Last year saw one of China’s hottest stars, Luhan, don the colonel’s outfit for a dance number. The new colonel is a young, slightly androgynous heartthrob K-pop star.

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Before that, KFC partnered with K-Pop supergroup Exo-M, including launching a K-pop KFC mobile game and app. Now KFC is targeting younger women with a non-alcoholic concept drink and campaign called “Mojito Girl.”

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Yum! China says consumers can find KFCs in about 1,100 Chinese cities. The brand is eying another 900 smaller cities for expansion, the focus for the brand’s mainland growth in the near future. It’s a smart move—rising income in those smaller cities is predicted to drive China’s fast food market value to about $150 billion by 2020.

In 2008, then-CEO of Yum! Brands, David Novak, predicted there would someday be 20,000 KFC location in China; there are about 5,100 today. That may seem overly ambitious, but no more so than 1,000 KFC Chinese stores did in 1987—and KFC hit that benchmark in 2004.

For more on the brand’s Chinese evolution and growth, former KFC executive Warren Liu reminisces in the video below:

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— Follow brandchannel contributor Abe Sauer on Twitter.

The post 30 Years Ago, KFC Opened in China — and Changed All the Rules appeared first on brandchannel:.

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idealandia · 4 years

Video

“Her smile reflected the light of the sun when it is the brightest.” — #KimShin #Goblin "The Lonely and Great God" #Kdrama Quote #PhysicsOfLove 💕 #Poem by > #KimInYook < [ #IdeaTherapy ] Evolving with you! #IDEAcatalyst sharing #CultureShifting facts #IdeaTherapy #TrekkerATLAS #TRAVELengram #DigiBITACORA | #Newness #GloCal #Message @unionsquareny #unionsquareny #usqnyc (at Union Square, Manhattan) https://www.instagram.com/p/B96rIZgpmMq/?igshid=10hpjbypqhmgu

#kimshin #goblin #kdrama #physicsoflove #poem #kiminyook #ideatherapy #ideacatalyst #cultureshifting #trekkeratlas #travelengram #digibitacora #newness #glocal #message #unionsquareny #usqnyc

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michaelfallcon · 5 years

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Touring Gruppo Cimbali’s Factory And Espresso Machine Museum

After three days of hyper-caffeination at the first-ever Milan Coffee Festival, it was a relief to escape the crowds for a quick trip out to the quiet and often foggy rural town of Binasco. I was traveling in the opposite direction of traffic—to take a private tour of Gruppo Cimbali’s historic espresso machine factory and MUMAC Cultural Center.

MUMAC stands for Museo della Macchina per Caffe and is home to a collaborative collection of over 200 professional coffee machines that span more than 100 years of innovation. Attached to the Cimbali factory, it’s the largest espresso machine museum in the world.

This converted spare-parts warehouse wasn’t solely intended for the means of meandering through history. As part of their ongoing push into the specialty coffee market, Cimbali opened MUMAC in 2012 with the idea of building a space to host certified coffee education programs, events, and coffee competitions. With third wave coffee still somewhat nascent in Italy, every espresso machine manufacturer seems eager to open their own academy and museum, and I was eager to see the Cimbali facilities, which are among the first.

The town center of Binasco is about a 20 minute drive southwest of Milan towards Pavia, and is ornamented with all of the classic Italian landmarks you come to expect no matter how tiny the town: a macelleria (butcher shop), a pasticceria (pastry shop), a tabaccheria (tobbaconist) with an espresso bar and of course, a photogenic medieval castle near the square illuminated by overarching Christmas lights sprawling down the main street.

MUMAC. Photo courtesy of Gruppo Cimbali

Gruppo Cimbali SpA relocated its headquarters from within the center of Milan to Binasco in the 60s and has since been the largest employer of its residents. An employee base of around 450 people is distributed between the logistical hub in Binasco and their three production facilities in nearby cities Bergamo and Cremona.

The 200 employees that work in their facilities can produce up to a stunning 200 mechanical appliances a day (not just espresso machines). While we were suiting up with steel toes and hard hats for the factory tour, Cimbali’s Production Manager Paolo Molteni explained that this level of efficiency is attributed to his implementation of the “Lean Manufacturing” system.

Paolo Molteni

Lean Manufacturing is a philosophical and methodological system that comes from the automotive industry that when it works as intended, produces perfect products on time through minimization of actions that don’t add value to the process. This type of development doesn’t just happen overnight, Molteni explains. “The involvement of our original factory operators was fundamental when we started this journey a few years ago.”

The facility was empty, dark, and silent while the operators were on lunch break. As we passed through the assembly rows, I noticed that the lights automatically illuminated only the stations we were standing in, prompting the many questions I had for Molteni about how Cimbali was combating production waste and energy consumption.

Molteni attributes the “Lean” system as a key factor in energy reduction in all of the facilities. The factories are partially powered by solar energy, and with recent renovations like a geothermal floor heating system, conversion to all LED lighting, and new cooling systems, Cimbali has brought overall energy consumption from production down 10% in the past year. 12% of that overall consumption is powered by renewable energy sources, and hazardous materials from production have been reduced to less than 1% of the company’s overall waste.

As the factory started to fill back in with employees, I slipped out of my safety gear and took off towards the undulating facade of the imperial red MUMAC Academy building. We were greeted by technology specialist Filippo Mazzoni near the gift shop and reception before making our way over to the lobby cafe for some mid-morning macchiatos.

In addition to his quirky and talkative manner, Mazzoni’s years of experience as a trainer and technician for Cimbali makes him an engaging tour guide. He popped open antique machines left and right throughout the museum to explain the evolution of coffee tech and made sure to squeeze in plenty of juicy details on historic patent drama between rivaling machine manufacturers (some of which are now owned by the same parent companies).

Early Espresso History Room at MUMAC

The majority of pieces on display are restored and owned by espresso machine collector Enrico Maltoni. Maltoni discussed a shared vision of a museum likes this with Maurizio Cimbali when they met in the early 90s, and the two have worked together towards realizing this dream ever since.

Each of the six chronological galleries in the museum represents a different era of technology, all adorned with Maltoni’s collector coffee cups, magazines, and other signs of the times. Although the museum is without question a Gruppo Cimbali venture, there are machines on display by virtually every company from La Marzocco and Kees van der Westen to Elektra and Vibiemme.

The final exhibit of the museum was a personal highlight, and featured the only machine on exhibit that Mazzoni couldn’t open up for a photo; the exploded view of a La Cimbali M100, seen at the top of this story.

We then made our way to the MUMAC Coffee Machine Academy. The two-story SCA Premier Campus features a barista and technician training center and water lab on the first floor, and a sensory lab on the top floor that regularly hosts CQI certification courses. (Thankfully there were only a few minutes to breeze through the museum library, because I would have been fixated for hours on its collection of over 15,000 patents and coffee reference points dating back to the 16th century.)

In a town of about seven thousand people, only a quick drive from one of the largest metropolitan cities in the world, the MUMAC Academy protects and valorizes the history and culture of coffee machines with a dedicated focus on technology and the future of the industry.

From humble roots in a Milanese copper shop in 1912 to becoming one of the world leaders in the production of high-quality espresso machines, I was impressed by their ability to stand firmly by their integrity, humility, and glocal modus operandi.

“When the challenge to improve is missing, that is the end,” Maurizio Cimbali explained to me. “There is always room for us to improve.”

Alexander Gable (@mrgable) is a freelance journalist based in Milan. Read more Alexander Gable for Sprudge.

The post Touring Gruppo Cimbali’s Factory And Espresso Machine Museum appeared first on Sprudge.

Touring Gruppo Cimbali’s Factory And Espresso Machine Museum published first on https://medium.com/@LinLinCoffee

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epchapman89 · 5 years

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Touring Gruppo Cimbali’s Factory And Espresso Machine Museum

MUMAC. Photo courtesy of Gruppo Cimbali

Paolo Molteni

Early Espresso History Room at MUMAC

“When the challenge to improve is missing, that is the end,” Maurizio Cimbali explained to me. “There is always room for us to improve.”

Alexander Gable (@mrgable) is a freelance journalist based in Milan. Read more Alexander Gable for Sprudge.

The post Touring Gruppo Cimbali’s Factory And Espresso Machine Museum appeared first on Sprudge.

seen 1st on http://sprudge.com

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mrwilliamcharley · 5 years

Text

Touring Gruppo Cimbali’s Factory And Espresso Machine Museum

MUMAC. Photo courtesy of Gruppo Cimbali

Paolo Molteni

Early Espresso History Room at MUMAC

“When the challenge to improve is missing, that is the end,” Maurizio Cimbali explained to me. “There is always room for us to improve.”

Alexander Gable (@mrgable) is a freelance journalist based in Milan. Read more Alexander Gable for Sprudge.

The post Touring Gruppo Cimbali’s Factory And Espresso Machine Museum appeared first on Sprudge.

from Sprudge https://ift.tt/2Vj0h21

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mikemortgage · 6 years

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IBC Awards Look to the Future

LONDON — The IBC2018 International Honour for Excellence was presented to Joan Ganz Cooney, Co-Founder of Sesame Street. The audience heard that the award was not just for 50 years of inspiring and educational television, but for a continuing commitment into the digital future. In a video message shown during the ceremony she said that she did not want to talk about a legacy “because this is not over”.

As part of the celebrations for the International Honour for Excellence, the audience cheered as Ernie the muppet appeared live on stage. He chatted with Naomi Climer, Chair of the IBC Council and told us that I, B and C are some of his favourite letters!

Ernie was accompanied by Steve Youngwood, President of Media Education and COO of Sesame Workshop. He said “In some ways, the world looks different than when ‘Sesame Street’ was created almost 50 years ago and obviously the media landscape has transformed dramatically.

“I’m happy to say, however, that in an industry dominated by change, Sesame is constantly evolving and still relevant, and Joan’s vision lives on,” he added. “On behalf of Joan Ganz Cooney and everyone at Sesame Workshop, thank you so much for this honour.”

Host for the evening was broadcaster and technology journalist Kate Russell, who pointed out that Joan Ganz Cooney is the first woman to receive the IBC International Honour for Excellence – “and about time,” she quipped.

IBC Innovation Awards

Eurosport and Discovery took the first of the three IBC Innovation Awards, for Content Creation. To immerse audiences in the action from the Pyeongchang Winter Olympics, they created the Eurosport Cube, surrounding the presenter with LED screens, an idea that proved hugely popular with audiences.

“To receive recognition from IBC compliments the rave reviews the Eurosport Cube received from athletes, the broader Olympic family and viewers across Europe,” said Simon Farnsworth, EVP Technology and Operations, EMEA and APAC, Discovery. “By working alongside such excellent partners, including Whitelight and Deltatre, we were able to deliver the Cube experience to the highest standard.”

Two other projects were shortlisted in this category: CCTV and its technology partner Sobey for its 4K remote production system linking Pyeongchang and Beijing; and Euronews with technology partners Dalet, Adobe and Peaks for the first “glocal” news production system, using automated support to deliver global news to localised audiences.

Medialaan won the IBC2018 Innovation Award for Content Distribution for the genuinely radical idea of making commercial breaks shorter. For its Stievie service, the Belgian network allows subscribers to genuinely catch up, by showing only commercials which are relevant to the individual.

“Medialaan is absolutely delighted to win an IBC Innovation Award, surely the most prestigious prize in broadcast engineering,” said Pieter Coucke, Solution Architect at Medialaan. “I would like to thank Yospace for developing a truly ground-breaking, viewer-first solution for live monetisation, and IBC for recognising what is a very forward-thinking project.”

Winner of the evening’s first award, Eurosport was also a finalist in this category, for its use of the NEP Mediabank asset management solution for the Winter Olympics. The third finalist was Vodafone, which developed with Kaltura a cloud-based platform allowing it to roll out television services anywhere in the world, quickly and cost-effectively.

RTÉ, the Irish national broadcaster, was the winner of the third Innovation Award, for Content Everywhere. It wanted to offer the sophistication of modern OTT platform, on a free-to-air budget. Saorview Connect has proved extremely popular with viewers.

“We are absolutely delighted to have won the IBC Innovation Award for Content Everywhere,” said Richard Waghorn, Director of Transformation and Technology at RTÉ. “We are very proud of what we achieved on the Saorview Connect project with our partners Freesat and EKT. It is a truly innovative service and for it to be recognised by IBC is a credit to the entire team.”

Highly commended alongside RTÉ were two very different projects. ESPN’s Short Stop Live, developed with LiveU and Imagine Communications, gives reporters the ability to go straight to air from a mobile phone. And World Rally Championship now offers views from as many as 75 cameras covering every moment of every special stage with WRC All Live, created with technology partners NEP, AMP Visual TV and Vislink.

Judges’ Prize and Special Award

The international judging panel responsible for the Innovation Awards gave two additional honours this year.

The Judges’ Prize went to Econet Media for Kwesé Play, a bold attempt to bring TV Everywhere services to the tough-to-reach Sub-Saharan Africa region, making local and international content readily available to all. Verimatrix, AWS Elemental and Roku delivered the technology.

Two imaginative creative projects from the BBC collectively were honoured with an IBC Special Award. Civilisations AR is an augmented reality app linked to the landmark arts series, which allowed local and national museums to share more information about the objects in their care. BBC News chose to tell the geopolitical story of a project to dam the Nile in Ethiopia through a journey along the river shot in 360˚ video and immersive audio.

Best Conference Paper Award

A second award went to BBC R&D, this time for the best technical paper in the conference. The paper, ‘AI in production: video analysis and machine learning for expanded live events coverage’, discusses a project known as ‘Ed’, to create near-live content with minimal crew. An example might be a set of three unmanned 4K cameras, from which ‘Ed’ would produce a number of properly framed HD pictures, cutting between them as appropriate.

“The point of the work is to allow coverage of more events, to reach places we otherwise could not reach,” said Project Lead Mike Evans. “With conventional production we cover only about six of the nearly 100 places music is performed at the Glastonbury Festival, for example, or just a tiny fraction of the 50,000 performances in 300 venues at the Edinburgh Fringe.

“But with ‘Ed’ we can reach many more of these, and do so with production techniques which are much less intrusive for the event itself.”

Exhibition Stand Design Awards

This year’s IBC Exhibition Stand Design Awards were presented on the show floor on Saturday afternoon. The award for the Most Innovative Use of Shell Scheme Space went to INA, for its excellent use of light and the way the stand underlined the importance of archiving for the broadcast industry. Highly Commended in this category were Telmaco and Speechmatics.

With colour clear messaging and creative shapes that bring people together, the prize for the Best Smaller Free Design Stand (less than 100 square metres) went to Paywizard. Both MRMC and Conviva were Highly Commended by the judges.

From the biggest stands, it was Wyplay, with its technologies set into inviting context and excellent networking opportunities, that won the nod from the judges. They also highly commended Viaccess-Orca and Google.

## ENDS ##

Notes to Editors:

For more information about IBC2018 visit: show.ibc.org

About IBC

IBC is the world’s most influential media, entertainment and technology show, attracting 57,000+ attendees from more than 170 countries and combining a highly respected and peer-reviewed conference with an exhibition that showcases 1,700+ leading industry suppliers of state-of-the-art technology. In addition to the world-class exhibition and conference, IBC also encompasses the IBC Daily, IBCTV and IBC365.

IBC365 provides year-round insight and opinion into the hot topics and key trends from leading industry journalists, along with insightful whitepapers, peer reviewed technical papers, highly engaging webinars and an expansive video library.

IBC2018 Dates

Conference: 13 – 17 September 2018 Exhibition: 14 – 18 September 2018

For more information about IBC2018 visit: show.ibc.org/

View source version on businesswire.com: https://www.businesswire.com/news/home/20180916005022/en/

Contacts

For IBC Bubble Agency Louise Wells, +44 7718 985 252 [email protected]

from Financial Post https://ift.tt/2NM4KtZ via IFTTT Blogger Mortgage Tumblr Mortgage Evernote Mortgage Wordpress Mortgage href="https://www.diigo.com/user/gelsi11">Diigo Mortgage

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