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[Episode One] First Impressions.

introducing Ainsley Copper by @jaigny!

ainsley was such a sweetheart from the moment he walked up!! he was embarrassed the minute dan introduced himself, and with his bio mentioning the publicity stunt the poor guy's agent was trying to pull, he didn't want daniel to feel pressured into advertising for him! daniel's not that kind of guy, though, and i'm sure those impressions won't stick! ;)

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Week5 Tradition&Contemp WuHung

Several years ago after I gave a talk on contemporary Chinese art, I was asked how Chinese art could also be contemporary. The person who asked the question obviously found these two concepts incompatible. To him, China or Chinese art was intuitively—and necessarily—situated in a time and place outside the realm of the contemporary. I pointed out the falsehood of this presumption, but also confessed that a systematic explanation had yet to be worked out to account for the creation and operation of a "local" or "national" contemporary art in today's world—not only contemporary Chinese art but also contemporary Iranian art, contemporary Indian art, contemporary Mexican art, and contemporary Algerian art—to name just a few. The purpose of this essay is to develop this explanation. In this regard, it is a case study meant to shed light on a larger issue. The direct subject of my discussion is a kind of Chinese art that self-consciously defines itself as "contemporary" (dangdai yishu) and that is also accepted as such by curators and art critics worldwide, judging from their inclusion of this art in the many exhibitions they have organized to showcase recent developments in visual art. To be sure, many brands of "Chinese art" are produced today, but those in traditional mediums and styles (such as literati ink landscape or realist oil portraiture) are not conceived—nor do their creators label them—as dangdai yishu. "Contemporary art" in Chinese thus does not pertain to what is here and now, but refers to an intentional artistic and theoretical construct that asserts a particular temporality and spatiality for itself. Therefore, the first step of my study is to map this temporality and spatiality in terms of art medium, subject matter, exhibition and circulation, and to trace the people and institutions involved in its creation and promotion. This initial investigation leads me to define certain general spheres for the production, exhibition, and collection of contemporary Chinese art, and to propose a model in interpreting this art in its various contemporary contexts.

The need for a new interpretation of contemporary Chinese art naturally arises from dissatisfaction with earlier interpretations, which have often approached this art (or in a broader sense, any contemporary art from the so-called Second and Third Worlds) either exclusively in its domestic context or as a straightforward manifestation of globalization. The first approach follows a traditional art historical narrative defined by nations. The second privileges a totalizing, global perspective that stymies local angles of observation.' To this end, even the notion of a "local" contemporary art already implies this dilemma, demanding reconsideration. Deconstructing the global versus local dichotomy is a vital component of the new understanding of contemporary Chinese art I am pursuing.2 In this essay, I argue that contemporary Chinese art is simultaneously constructed in different yet interrelated spaces, and that it subtly changes its meaning when artists and curators (or their works) traverse and interact with these spaces. Tracing such permutation enables us to develop a spatial model for contemporary Chinese art. This model further helps us interpret a burgeoning "international contemporary art" in today's world, which encompasses various "local" or "national" brands of contemporary art, as a unified field of presentation and representation. Generally speaking, instead of assuming that this type of contemporary art is linked with modern (and postmodern) art in a linear, temporal fashion and within a self-sustaining cultural system, this interpretative model emphasizes heterogeneity and multiplicity in art production, as well as the creativity of a new kind of artist. This new artist creates contemporary art through simultaneously constructing his or her local identity and serving a global audience.

A "CONTEMPORARY TURN" IN CHINESE ART

The Chinese art critic Lii Peng is the main author of two comprehensive introductions to new Chinese art (also known as avant-garde or experimental arts) which emerged after the Cultural Revolution (1966-1976). The first book, which he co-authored with Yi Dan and published in 1992, is called A History of Modern Chinese Art: 1979-1989 (Zhongguo xiandai yishu shi, 1979-1989).4 The second book, which he authored alone, came out in woo under the title A History of Contemporary Chinese Art: 1990-1999 (Zhongguo dangdai yishu shi, 1990-1999).5 The change in the titles from "modern" (xiandai) to "contemporary" (dangdai) was no accident. It is symptomatic of a general (but so far unnoticed) shift in the Chinese art world from the '80s to the '90s, which I call a "contemporary turn." Simply put, throughout the '80s, Chinese avant-garde artists and art critics envisioned themselves as participants in a delayed modernization movement, which aimed to reintroduce humanism and the idea of social progress into the nation's political consciousness (FIG. 2_1).6 From the '90s onward, however, many of them abandoned, or at least distanced themselves from this collective undertaking. Looking back at Chinese avant-garde art of the '80s, some of its original advocates contrasted that exhilarating but chaotic era with the much more practical and diffuse period following it.' According to Li Xianting, a major voice of new Chinese art in both the '80s and '90s, artists of the '80s "believed in the possibility of applying modern Western aesthetics and philosophy as a means of revitalizing Chinese culture." Starting from the early '90s, however, many of them turned "against heroism, idealism, and the yearning for metaphysical transcendence that characterized the '85 Art New Wave movement."' Other critics and curators share this view and have used "modern" and "contemporary" to encapsulate the many differences between these two periods. For instance, they wrote books and articles in the '80s to promote "modern art," and titled the enormous exhibition that concluded the '85 Art New Wave A Grand Exhibition of Modern Art (Xiandai meishu dazhan).9 In contrast, many books, art journals, and exhibitions since the early '90s have used "contemporary art" in their titles.'°

Underlying this change was a major shift in conceptualizing new Chinese art over the past twenty-five years. Most importantly, the two terms indicate two different ways of contextualizing this art, one temporal and diachronic, the other spatial and synchronic. When avant-garde Chinese artists and critics called themselves "modern" in the '80s, they identified themselves, first of all, as participants in a historical movement which had been interrupted in China by Communist rule. Lii Peng and Yi Dan thus opened A History of Modern Chinese Art: 1979-1989 with a passionate introduction, linking new Chinese art to the May Fourth Movement that started in 1919. In their view, although this early twentieth-century "cultural revolution" had the correct goal of bringing China into a modern era of democracy and science, its heavy emphasis on the social function of art and literature finally led to an extreme pragmatism, as realism willingly turned itself into political symbolism in the '60s and '70s to assist a "proletarian dictatorship." To regain the spirit of a genuine cultural revolution, therefore, their introduction exhorted "modern artists" of the '80s to not only uphold humanism as their fundamental ideology, but also to take upon themselves the role of cultural critic, "reexamining the relationship between art and society, religion, and philosophy in all possible ways."" Similar claims characterize many other writings from that period.'2 In contrast to such spirited discussion of "modern art" in the '80s, no particular discourse has qualified the art of the '90s as "contemporary," even though the term has gained wide currency among Chinese artists and critics. What the term indicated in the early '90s was, above all, a sense of rupture and demarcation—the end of an era as well as the kind of historical thinking associated with it. This meaning is made clear in Li Xianting's writing cited above. But as veterans of the art movement of the '80s, Li and his colleagues perceived the art of the new era pessimistically as visual forms without genuine historical, political, and social engagement. Others writers explained the artists' break with history and ideology in terms of China's changing political situation. For example, Chang Tsong-zung, who sponsored and co-organized the first major international exhibition of contemporary Chinese art in 1993," attributed this change to the ill-fated June Fourth Movement (the pro-democratic demonstrations in Tiananmen Square in 1989): "In shock, artists came to a sudden realization of their impotence in the face of real politics. The idealism and utopian enthusiasm so typical of new art in the `80s met its nemesis in the gun barrels in Tiananmen."14 Applying this understanding to visual analysis, he pointed out that two major styles in

post-8 9 Chinese art—Cynical FIG. 2.2: LW WEI, Two Realism and Political Pop— Drunk Painters, OIL ON CANVAS, 1990. both translated idealism into sarcasm (FIGS. 2.2, 2.3). Chang's observation has a broader significance in alluding to a general pattern that distinguishes the development of postwar Chinese art from that of the West. It is a "pattern of rupture" caused by violent intrusions of sociopolitical events such as the Cultural Revolution and the Tiananmen incident. The result has been a series of deep ruptures as a general historical and psychological condition for artistic and intellectual creativity. Each rupture has forced artists and intellectuals to reevaluate and reorient themselves. Instead of returning to a prior time or space, the projects they have developed after each rupture often testify to a different set of parameters and are governed by different temporality and spatiality. This pattern of response explains the sudden change in artists' attitudes after '89, and also enables us to see the "modern art" of the '80s and the "contemporary art" of the '90s not as two consecutive trends, but as disconnected endeavors conceived in separate temporal and spatial schemes. Earlier, I mentioned that avant-garde artists and critics of the `80s linked themselves with the May Fourth Movement, a cultural movement that aimed to transform China based on a western, Enlightenment model. It is therefore not surprising that these artists and critics also developed a strong desire for cosmopolitanism, eagerly seeking inspiration in western modern art, art theory, and philosophy. This desire became both the cause and the result of an "information explosion" in the '80s. From the start of the decade, all sorts of "decadent" western art forbidden during the Cultural Revolution was introduced to China through reproductions and exhibitions; hundreds of theoretical works, from authors such as Heinrich Wolfflin to Ernst Gombrich, were translated and published in a short period. These images and texts aroused enormous interest among younger artists and greatly inspired their work. It was as if a century-long development of modern art was simultaneously re-staged in China. The chronology and internal logic of this western tradition became less important; what counted most was its diverse content as visual and intellectual stimuli for a hungry audience. Thus, styles and theories that had long become past history in the West (such as surrealism or Wolfflin's categorization of artistic styles) were used by Chinese artists as their direct models. The meaning of their works as "modern art" was located, therefore, not in the original historical significance of the styles and ideas, but in the transference of these styles and ideas to a difference time/place.

Like any transference, this dislocation of modern art was based on the idea of precedents. Although separated by time and historical experience, Chinese artists of the '80s saw themselves as direct followers of great modern philosophers and artists in the West. A historian of western contemporary art may be shocked to find that in Lii Peng and Yi Dan's A History of Modern Chinese Art: 1979¬1989, the most influential figures on Chinese artists in the '80s were, in fact, "Arthur Schopenhauer, Friedrich Nietzsche, Jean-Paul Sartre, Sigmund Freud, Carl Jung, Albert Camus, and T. S. Eliot."" But it makes perfect sense if we understand these artists' longing to rediscover their modernist roots. This situation changed completely after '89. These grand names suddenly became infinitely remote, and few Chinese artists, if any, continued to seek guidance from them. Rather, the sharp historical gap created by the Tiananmen incident distanced them from the previous era, enabling them to develop a radically different relationship with history and with the surrounding world. In this process, they also disengaged themselves from yundong, the Chinese term for large-scale political, ideological, or artistic "campaigns" or "movements. Although seldom analyzed by historians and sociologists, yundong was one of the most fundamental concepts and technologies in modern Chinese political culture until the '90s. This was especially true for the period from the 50s to the '70s. Upon ascension to power, the Chinese Communist Party mobilized various yundong to realize both short-and long-term projects, and to unify the "revolutionary masses" against internal and external enemies. Three major characteristics of a yundong include a definite and often concrete political agenda, a propaganda machine which helps define and spread this agenda, and an organization which helps forge a cohesive "front" among participants. Yundong became the norm. It is therefore not surprising that a yundong mindset continued to control artists' thinking even after the Cultural Revolution had ended. The persistence of a yundong FIG. 2.3: FANG LIJUN, Series 2, No. 2, OIL ON CANVAS, 1991.

mentality is clearly seen in the avant-garde art of the `80s: while attacking official ideology and art policies, the advocates of this art tried hard to galvanize experimental artists into a unified front and to develop this art into an organized "movement." (In fact, they called their collective activities a yundong.) It took a hit as hard as the Tiananmen tragedy to disengage Chinese artists from this yundong mentality. Almost overnight, they were transformed from soldiers in a heroic struggle into lone individuals facing an alien world. The unfamiliarity of the world in the early '90s, however, had less to do with the Tiananmen incident as with two simultaneous, contemporary happenings. First, China had entered a new stage in a profound socioeconomic transformation. Beginning in the late '70s, a new generation of Chinese leaders led by Deng )(hoping had initiated a series of socioeconomic reforms, but the consequences of these reforms were only fully felt in the '90s. Major cities such as Beijing and Shanghai were completely reshaped. Numerous private and joint ventured, including privately-owned commercial art galleries, had appeared. Educated young men and women moved from job to job in pursuit of personal well-being, and a large "floating population" entered metropolitan centers from the countryside looking for work and better living conditions. As I will discuss below, many changes in the art of the '90s were related to this larger picture. Second, China had also entered a new stage of globalization. If the "modern art" of the '80s was predominately a domestic movement linked closely to the country's internal political situation at the time, "contemporary art" since the '90s has unfolded across multiple geographical, political, and cultural spheres. Consequently, my discussion will now turn to the three most important spheres of this art, which overlap but do not constitute a coherent framework for a continuous narrative. These are: 1. China's domestic art spaces, 2. the global network of a multinational contemporary art, and 3. individualized linkages between these two spheres created by independent artists and curators. THE CONTEMPORANEITY OF CONTEMPORARY CHINESE ART 1. Contemporary Art as a Domestic Avant-Garde In the domestic sphere, the term "contemporary art" conveys a strong sense of avant-gardism and signifies a range of experiments that aspire to challenge established art institutions, systems, and forms. Over the past ten to fifteen years, most of this experimentation has been conducted in three areas: art medium, subject, and exhibition.16 A simple but powerful strategy employed by many avant-garde Chinese artists to make their works explicitly "contemporary" is to subvert traditional art mediums. The trend of subverting painting emerged in the '80s. (Before this, independent artists, even the most radical ones, still worked in the domains of painting and sculpture). But it was only from the mid-90s onward that new art forms, such as installation, performance, site-specific art, and multi-media art, prevailed (arcs. 1.4-2.6). An increasing number of younger artists abandoned their former training in traditional or western painting, or only made paintings privately to finance their more adventurous but less marketable art experiments. One can draw interesting parallels between them and an earlier generation of westernized Chinese artists, who abandoned the traditional Chinese brush for the "modern" medium of oil painting. But if those artists in the early twentieth century chose between different types of painting, their successors in the present choose whether to abandon painting altogether.

As I will discuss in the following section, new, experimental art forms provide contemporary Chinese artists with an "international language." Inside China, however, these forms have served to forge an independent field of art production, exhibition, and criticism outside official and academic art. In denouncing painting, artists can effectively establish an "outside" position for themselves, because what they reject is not just a particular art form or medium, but an entire art system, including education, exhibition, publication, and employment. Such a break is sometimes related to an artist's political identity. But it can also be a relatively independent artistic decision, as these artists find new art forms both liberating and challenging. On this level of individual experimentation, these artists negotiate with painting in different ways: some of them squarely reject painting, while others subvert painting and calligraphy from within, and still others reframe painting as a component of installation or performance.

Contemporary Chinese artists have also distinguished themselves in the domestic sphere by developing site-specific projects and "experimental exhibitions." One type of site-specific project can be called a counter-monument or anti-monument. Set in important political spaces such as the Great Wall or Tiananmen Square, a counter-monument or anti-monument transforms such spaces into a stage for individual expression (FIGS. 2.7-2.10). Additionally, the pursuit of contemporaneity has given rise to many "ruin images," which comment on or interact with the drastic transformation of Chinese cities. Over the past ten to fifteen years, one striking aspect of a major Chinese metropolis like Beijing or Shanghai has been its never-ending destruction and construction. This situation furnishes both the context and the content of a large group of works, which represent "demolition sites" or take place in such places (FIGS. 2.1 I-2.14). 1 have discussed some chief characteristics of these images and site-specific projects, especially the skewed temporality and spatiality contained in them.17 A demolition site in real life is a place that belongs to everyone and to no one. It belongs to no one because the breakdown it effects between private and public space does not generate a new space. Captured by contemporary artists, a demolition site signifies a kind of "non-space" outside normal life. Its suspended spatiality is further linked to its suspended temporality. The contemporaneity of these ruin-related projects should be distinguished from the concept of the present, conceived as an intermediary, transitional stage between past and future. As the subject of contemporary art, demolition sites break the logic of historical continuity, as "time" simply vanishes in these "black holes." The past of these places has been destroyed and few people know their future. Unlike war ruins, however, demolition sites inspire not only anxiety but also hope. FIG. 2.8: XU BING, Ghosts Pounding the Wag PERFORMANCE AND INSTALLATION, 1990.

Some artists and curators have staged exhibitions at demolition sites. In doing so, they have identified their projects as "experimental exhibitions," which shift the focus of experimentation from the content of an exhibition to the exhibition itself: its site, form, and social function." These issues loom large in present-day China because of an intensified conflict between a rapidly developing, aggressively active contemporary art and a backward official system of exhibition. Since the late '90s, independent curators and artists have tried to discover new exhibition spaces and to transform old exhibition spaces into venues for contemporary art. Most significantly, they have organized a considerable number of contemporary art exhibitions that have taken place in versatile, non-exhibition spaces, bringing works of contemporary art to the public in a dynamic, guerilla-like fashion. That many such site-specific exhibitions have used commercial spaces reflects their curators' interest in mass commercial culture, which in their view has become a major force in contemporary Chinese society. While affiliating contemporary art with this culture, their exhibitions have also provided channels for artists to comment on it.

2. Decontextualization as Contemporaneity

The close relationship between the development of contemporary Chinese art and China's sweeping transformation has encouraged the compilation of a kind of macrohistory, which interprets this art in light of domestic social and political movements. This history, however, fails to document or explain the global presence of contemporary Chinese art and its growing contribution to a burgeoning international contemporary art. We cannot simply expand the domestic context of contemporary Chinese art into a global one, because these two spheres are governed by different forces and present different problems. Neither can we study contemporary Chinese art in the domestic or global spheres in complete isolation. Our task, I propose, is to observe and analyze how this art negotiates with these two spheres and how it changes its roles and aims in responding to different spaces and audiences.

Most important, as part of an international contemporary art, the relationship between contemporary Chinese art and contemporary China becomes submerged. Such decontextualization is coupled with a recontextualization of this art in a different socioeconomic network. The beginning of this twofold process of decontextualization and recontextualization can be dated precisely to the early `90s, when contemporary Chinese artists first appeared in the 45th Venice Biennale and were featured in mainstream western art magazines. Around the same time, contemporary Chinese art became a global commodity, promoted by transnational commercial galleries and collected by foreign

collectors and museums (FIG. 2.16). Direct ties between Chinese artists and western art institutes were then forged both inside and outside China, as international curators flocked to the count search for new talent, and as Chinese artists increasingly participated in international exhibition; workshops, some of them immigrating abroad for good. These facts are well-known and need little elaboration, but the question of their impact o, meaning of contemporary Chinese art remains. In other words, the recontextualization of this art s1 be thought of as a reconstruction of its defin and identity. While the term "contemporary Ch art" remains the same, its purposes and strat have undergone crucial changes. On the most level, displacement and translation already alt work's significance. For example, I discussed how in China, new art forms such as installed performance, and site-specific art convey a strong s, message to subvert established norms. This significance largely disappears when these works are display international exhibitions (such as the many biennial and triennials staged extravagantly around the we that feature endless installations and multi-m work. Contemporary artists from China contribute to these events by immersing themselves in kind of "international contemporary art" these transnational exhibitions promote. Unlike and ink paintings, installation, performance, multi-media art defy a rigid cultural identity. NI they provide to Chinese artists on these occasiom an "international language" that not only conf their own contemporaneity, but also allows t to incorporate indigenous art forms, mater and expression into contemporary art. In so dc they can maintain their identity as Chinese ar within international contemporary art.

Such immersion inspires creativity as well as simplification and misinterpretation. On the one hand, some of the most compelling works of contemporary Chinese art have been created in the global sphere, where they reflect on current international and intercultural issues through genuine artistic innovation (FIGs. 2.17, 2.18).2" On the other hand, international art exhibitions encourage the tendency to reduce a local tradition into ready-made symbols and citations. The wide circulation of contemporary Chinese art brings it to a global audience, but such circulation also removes this art from its roots and erases its original, historical significance. On the one hand, the new context challenges Chinese artists to compare themselves with the best contemporary artists around the world. On the other hand, they can seldom avoid the audience's expectation of finding Chineseness in exotic, self-orientalizing forms. The advantages and disadvantages of such decontextualization and recontextualization is best demonstrated by the changing meaning of Cynical Realism and Political Pop, two contemporary Chinese art styles that are best known in the West (see figs. 2.2, 2.3). As discussed earlier, both styles were invented in the aftermath of the Tiananmen incident to express, among other things, artists' disillusionment with their own political engagement. But when paintings in these two styles appeared in a series of international exhibitions in the early '90s (including the 45th Venice Biennale, China Avant-Garde in Berlin's Haus der Kulturen der Welt, and China's New Art, Post-1989 in Hong Kong, all organized in 1993), they were immediately taken as representatives of an "underground" or "dissident" art under a Communist regime. Ironically, such an interpretation based on a Cold War logic led to the artists' commercial success and changed their status in their home country. Soon thereafter, some of these artists built large villas outside the Chinese capital in order to live an affluent lifestyle in a tightly guarded environment, painting largely for an unfamiliar, overseas audience.

On a methodological level, the decontextualization and recontextualization of contemporary Chinese art implies a shift in interpretation from historical context to broad theoretical implication that can be applied to works created anywhere. The numerous self-portraits by contemporary Chinese artists lend themselves to both types of interpretation. Historically, these images signify a desire to reconstruct the self through visual representation. This desire comes from an absence: self-portraiture disappeared entirely in China during the Cultural Revolution. In a period when every action and thought had to be directed by a collective ideology, self-portraiture was naturally identified with bourgeois self-indulgence and was therefore counter¬revolutionary. On the other hand, the art of portraiture was given an exaggerated importance by reducing it to the mass production of the image of one man. The desire to represent the self resurfaced after the Cultural Revolution was over. But the form and logic of these representations have been conditioned by both the country's recent past and present. Instead of representing one's personal appearance and emotional state, a more common tendency among contemporary Chinese artists has been a conscious denial of explicit self-display. Numerous "self-portraits" by these artists demonstrate a voluntary ambiguity in their self-images, as if the artists felt that the best way to realize their individuality was to make themselves simultaneously visible and invisible (FIGS. 2.19-2.21). These ambiguous, fragmentary images express their anxiety, frustration, and dilemmas in a rapidly changing society, and are therefore still concerned with the authenticity of the self. Displayed in an international exhibition, however, these images are given a broad rhetorical significance related to a general redefinition of the self in the contemporary world, and are used to exemplify how in our time, the traditional view of a fully integrated, unique, and distinctive individuality has been increasingly compromised, causing the fragmentation of the self and a decline in the belief of the individual as a legitimate social reality.

3. Artists as Mediators of Contemporaneity

This section focuses on the third sphere of contemporary Chinese art, comprised of individualized spaces and channels generated by artists and curators through their independent projects and physical movement. Although the domestic and global spheres of contemporary Chinese art are connected on an institutional level, either through a transnational commercial network or through government-sponsored art exhibitions, the main linkage between the two spaces, I would suggest, is provided by contemporary Chinese artists themselves. Thus, they function not only as creators of contemporary Chinese art, but also as mediators among the multiple identities of this art. Many of these artists have become world travelers in the past decade. Some of them have returned to China after spending several years abroad. Others maintain a residence in New York or Paris but have become increasingly involved in domestic exhibitions. The majority of artists never officially emigrate, but it is not unusual for them to spend several months per year outside of China, traveling from one exhibition to another. Some thoughtful artists have created site-specific works for locations outside China, or have expressed their experience as global travelers in their works.22 Because of the unsystematic nature of such movement and activity, it is difficult to generalize about these artists. The channels opened up by these activities remain highly fluid and flexible. The "sphere" that they constitute vaguely encompasses the domestic and international spaces of contemporary Chinese art, but again in an unsystematic and undefined way. Despite its elusiveness, however, this sphere is most intimately connected with individual artistic innovation, the result of an artist's internalization of broad social and cultural issues (FIG. 2.22). This recognition demands close analyses of individual artists and their works. Unlike traditional "biographical" studies in art history, however, such analyses must show how contemporaneity is constructed through an artist's personal engagement with the domestic and global spheres.

Many Chinese artists can and should be discussed this way. For example, Zhang Dali, the most famous graffiti artist in Beijing in the `905.2' Like many other contemporary Chinese artists, his life has been filled with unexpected turns. To make a long story short, he grew up in northeast China and studied traditional painting at a top art school in Beijing. He graduated in 1987 and then immigrated to Italy in 1989, after the pro-democracy student movement in Tiananmen Square ended in bloodshed that year. In Italy, he first made Oriental-style commercial paintings for a living, but later became a spray-can graffiti artist and forged the image of a bald head as his trademark (FIG. 2.23). He continued to paint the same head after moving back to China in 1995, and by 1998, he had sprayed more than two thousand such images all over Beijing. These images, which he created secretly at night, eventually became the focus of a public controversy and were widely discussed in Beijing's newspapers and magazines (FIG. 2.24). It was only then that Zhang Dali revealed his identity as the creator of these images. In one interview he explained his art: "This head is a condensation of my own likeness as an individual. It represents to me a communication with this city. I want to know everything about this city—its state of being, its transformation, its structure. I call this project Dialogue."'

Zhang Dali's basic technique in developing such "dialogue". was to fill in a half-demolished, empty house with his own image. He was therefore able to "reclaim" an abandoned site, however temporarily. The locations he selected for such a project always highlighted certain contrasts between different political identities and social spaces. Sometimes, he juxtaposed the graffiti head with an official monument; other times, he juxtaposed a preserved traditional building (a palace) with a half-demolished one (an ordinary residence). But most of the time he contrasted urban destruction and construction. This mode is forcefully demonstrated in a 1998 performance/photograph (FIG. 2.25). In the foreground of the picture, standing amidst scattered garbage, are some broken walls as the remnants of a demolished traditional house upon which Zhang Dali has sprayed a row of his famous heads. Two huge modern buildings rise behind this wasteland. Still surrounded by scaffolding, one of them already advertises itself as the future "Prime Tower" and offers the telephone number of its sales department. Many aspects of Zhang Dali's artistic experiments in the '90s are related to the notion of contemporaneity. These aspects include art medium and form (he abandoned painting in favor of performance, site-specific installation, and photography), social function and audience (his graffiti images became part of Beijing's public space, encountered by Beijing residents everyday), and identity-Regarding this last aspect, by inscribing his own image on old Beijing houses, Zhang Dali defined a specific space around which he could construct his identity as a "local artist" opposed to globalization and commercialization. But this identity contradicted his other identity as an "international artist" working for a global audience. (Since 1999, his photos have been shown in many art exhibitions outside China and have been collected by foreign collectors and institutions.) We should not simply consider such contradiction negatively. As I have suggested, tensions between various spheres of contemporary Chinese art problematize straightforward answers to complex problems. Partly responding to the commercialization of his "graffiti" images, Zhang Dali has developed a new project in recent years, making sculptures directly from the bodies and faces of migrant workers from the countryside—people who are rebuilding Beijing but who remain anonymous, deprived laborers in the Chinese capital (FIG. 2.26).

Zhang Dali's example supports one of my methodological proposals, that a general sociological contextualization does not automatically reveal the contemporaneity of contemporary Chinese art. If such contemporaneity has anything to do with China's social transformation and globalization, these external factors must be internalized as intrinsic features, qualities, intentions, and visual effects of specific art projects. This interpretative strategy discourages the broad reduction of contemporary Chinese art to either its domestic or global contexts, but encourages us to forge micronarratives that emphasize artists' individual responses to common social problems.

CODA: CONTEMPORANEITY AS INTENSIFICATION

In a seminar held in Beijing in 1999, a well-known European curator confessed that he actually knew little about the history of contemporary Chinese art. He nevertheless decided to include some twenty young Chinese artists in his forthcoming exhibition because he found "the intensity of creative energy in their works irresistible." I told him that although I did know something about the cultural background and sociopolitical circumstances of this art, I was attracted to contemporary Chinese art for exactly the same reason. I then wondered what this "intensity of creative energy" actually meant—a feeling shared by two observers with very different backgrounds and experiences that seemed to capture the essence of new Chinese art at that moment. If intensity results from intensification, then contemporary Chinese art is a consequence of a double intensification. In other words, this art not only responds to China's startling transformation over the past ten to fifteen years, but further enhances the feeling of speed, anxiety, and theatricality inherent in this external transformation through artistic representation. The strength of this art certainly does not depend upon the solitary perfection of individual masters over a prolonged time span. What makes it "irresistible" is the speed and depth of the artists' internalization of the sweeping changes around them—changes that have altered Chinese cities and the country's economic structure in a short period, transformed people's lifestyles and self-identities, and made China a major economic power in the world. Similar transformations took place years ago in other parts of the world; China's ambition is to accomplish a century of development in the West within one or two decades. The same desire and urgency, often combined with self-doubt and uncertainty, is found in many works created by contemporary Chinese artists. As a result, many of these works strike viewers as containing something "real" and raw—ambition, rage, struggle, yearning, hope. The rapidly changing art mediums, styles and subjects further generate a sense of constant happening. All these characteristics contribute to a particular kind of contemporaneity in art, which is often lacking in works produced in peaceful, "normal," and more individualized societies.

This observation, however, also implies a predicament: as China's explosive development eventually slows down, and as contemporary Chinese art is eventually "normalized" to become a routine aspect of social life, the "intensity of creative energy" in this art will diminish. From such a historical perspective, therefore, the kind of contemporaneity described in this essay can only be a momentary quality of contemporary Chinese art. But this only proves that instantaneity and simultaneity are inseparable from the conception of contemporaneity, which inevitably involves the condensation of time. Originally presented in the "Modernity and Contemporaneity: Antinomies of Art and Culture After the Twentieth Century" conference, held on November 4-6, 2004, at the University of Pittsburgh.

Take That Back: The Top Scientific Retractions of 2019

“If it disagrees with experiment, it’s wrong. That’s all there is to it.” So stated famous physicist Richard Feynman at a lecture about the scientific approach at Cornell University in 1964.

Feynman seems just half appropriate, though. Yes, one’s proposed theory is incorrect if it does not concur with experiment. However that’s not all there is to it. With negligence or straight-out scams, you can make it appear that your theory is appropriate — and get it released in a top scientific journal. 

Usually, such deceptiveness is ultimately found. This previous year was abundant in scientific retractions of documents filled with bad procedures and, oftentimes, outright fabrications. Here are 5 from 2019 that made the news in part due to the fact that they misinform and offer incorrect hope.

5. Creationist’s paper withdrawed ’20 million years’ later

(Image credit: Shutterstock)

God produced the Earth 6,000 years back, according to numerous Christian creationists. And on the 6th day of production, God made 3 types of lumber vole with ribonucleotides that would concern show the imperfections of the theory of development, according to a 1989 paper in the International Journal of Neuroscience.

Russian researcher Dmitrii Kuznetsov, the author of this paper, declared that each of these 3 really carefully associated voles have ribonucleotides — enzymes that are the foundation of DNA and therefore DNA repair work — that are absolutely incompatible throughout the 3 types. This finding supports “the general creationist concept on the problems of the origin of boundless multitudes of different and harmonically functioning forms of life,” Kuznetsov composed in the paper.

But did Kuznetsov break the rule about bearing incorrect witness? Swedish biologist Dan Larhammar, who in 2018 ended up being president of the Royal Swedish Academy of Sciences, questioned Kuznetsov’s findings in a letter to the journal released method back in 1994. As reported in The Scientist in November 2019, Larhammar declared that the outcomes were ostensibly shown which numerous of the recommendations could not be validated, even after he called researchers mentioned in the paper.

The International Journal of Neuroscience concurred with Larhammar and withdrawed the paper, albeit 30 years later on. Kuznetsov has actually been implicated several times of scientific misbehavior, consisting of for his analysis of the Shroud of Turin, which scholars declare come from the Middle Ages however which Kuznetsov recommended might be the 2,000-year-old death shroud of Jesus.

Why the 30-year hold-up for a retraction? Thirty years in a 6,000-year-old Earth would be comparable to 20 million years in a 4-billion-year-old Earth. Perhaps the journal was reluctant to retype the initial title, “In Vitro Studies of Interactions Between Frequent and Unique Mrnas and Cytoplasmic Factors from Brain Tissue of Several Species of Wild Timber Voles of Northern Eurasia, Clethrionomys Glareolus, Clethrionomys Frater and Clethrionomys Gapperi: A New Criticism to a Modern Molecular-Genetic Concept of Biological Evolution.”

4. HPV vaccine vindicated when again

(Image credit: Shutterstock)

The vaccine versus the human papillomavirus (HPV) has the possible to get rid of most cases of cervical cancer around the world and conserve millions of lives. The HPV vaccine can likewise avoid the bulk of vaginal, anal and penile cancers. However that’s just if moms and dads immunize their kids versus HPV. 

A growing number are pulling out over worries that the HPV vaccine is damaging. In Japan, for instance, HPV vaccination rates fell from about 70 percent to 1 percent, its existing level, in simply a couple of years after unproven reports of vaccine negative effects, according to research study released this year in the journal Expert Review of Vaccines.

As such, vaccine supporters are hesitant of any brand-new research study professing issues with the HPV vaccine. Gayle DeLong, an associate teacher of economics and financing at Baruch College in New York, found out that rapidly. In 2018, she released a paper in the Journal of Toxicology and Environmental Health, Part A, in which she reported a link in between the HPV vaccine and infertility. Wives in between ages 25 and 29 who had actually gotten the HPV vaccine were less most likely to have actually developed compared to wives who didn’t get the vaccine, DeLong discovered.

The finding was promoted within anti-vaccination circles, however the research study had several analytical imperfections, such as not managing for birth-control usage. Additionally, those ladies who got the vaccine had a greater instructional level. So, it might be that college-educated ladies who had actually gotten the vaccine were postponing giving birth till after age 30, as is the U.S. pattern.

The journal withdrawed the paper in December 2019, keeping in mind “serious flaws in the statistical analysis and interpretation of the data in this paper.” The World Health Organization has actually put the HPV vaccine on its list of necessary medications, right up there with penicillin and acetaminophen, as an indication of its security and effectiveness.

3. What takes place when the scams czar is implicated of scams?

(Image credit: Zhang Daozheng/China News Service/VCG through Getty Images)

On Nov. 13, 2019, Cao Xuetao, one of China’s most popular researchers, talked to his fellow compatriots from the Great Hall of People in Beijing about research study stability. Some 6,000 individuals remained in presence, and the speech was live-streamed to 800,000 university student throughout the large country, compulsory seeing for the majority of.

The subject was a controversial one. Simply a year prior, the Chinese Ministry of Science and Technology (MOST) and a number of other companies had actually promoted a series of punitive steps to be utilized in cases of scientific misbehavior, an indication that the Chinese federal government was thinking about the matter seriously. This had actually been available in the wake of various scientific scandals in China, such as the retraction of more than 100 documents in 2017 over fabricated peer evaluation and information control. 

Cao is a previous president of the Chinese Academy of Medical Sciences, existing president of the prominent Nankai University, leader of a number of laboratories and primary research study stability officer for all Chinese research study. His distinctions are numerous. Now, Cao’s actions are drawing close examination, as he has actually been implicated of scientific misbehavior. 

As reported on Nov. 22 in the journal Science, a plethora of Cao’s documents appear to have actually doctored images. Science sleuth Elisabeth Bik, based in San Francisco, saw that a number of images from a 2009 paper, in specific, appeared like repeats. Bik has actually outed numerous researchers for information control. Cao’s body of work was quickly inspected; they discovered examples of charts and images seeming duplicated and controlled in lots of documents, which quickly might be withdrawed.

Cao vowed to check out the matter. As kept in mind, he’s the leader of a number of laboratories and has a full-time gig as a university president, and he likely counts on postdoctoral fellows and college students to perform real research study. And they likely wish to please the one in charge with ostensibly excellent outcomes. The exact same would use to other elite researchers in China, which suggests the issue of scientific misbehavior may be tough to root out.

2. Cars And Truck T research study hauled off to the retraction load

(Image credit: Shutterstock)

The cancer research study neighborhood was happy over a research study released in the journal Nature in September 2018 that explained a homing system to provide the effective anti-cancer chimeric antigen receptor (CAR) T cell treatment to brain cancer cells, which have actually long been out of reach to drug treatments.

But the scientists who carried out the research study, from Baylor College of Medicine in Texas, might not have actually crossed the blood–brain barrier, after all, however rather the reality–fiction barrier.

Within a couple of weeks of publication, other researchers started homing in on what might be prevalent image control. Almost every image seemed fudged and not helpful of the underlying information, according to remarks published on a confidential post-publication peer-review site called PubPeer.

The journal Nature examined and withdrawed the paper in February 2019. The credibility of this homing system stays in doubt. Some commenters on PubPeer kept in mind that Nature must have identified the image control throughout the peer-review procedure. Software application exists to find it. It’s either that or anticipate researchers to be sincere.

1. ‘CRISPR Baby’ researcher withdrawed from public view

(Image credit: Shutterstock)

He Jiankui has actually not been seen openly because January 2019, simply a couple of months after he infamously revealed the birth of twin women whose DNA was modified utilizing CRISPR. His strategy was to make the women unsusceptible to HIV infection by customizing a gene understood to use some security versus the infection.

Seemingly happy of his accomplishment, He experienced speedy around the world condemnation — not simply over the secrecy of the experiment however likewise for the possible damage that might have been done to the children, whose genes were controlled while in an embryonic state. CRISPR is an imperfect method that can modify DNA in unidentified and often damaging methods, as animal research studies have actually shown.

The Chinese federal government, which might have supported He’s efforts, has actually because suspended all of his research study activities and, according to the New York Times, has actually kept him under guard.

Not much is learnt about He’s treatment. Here’s what is understood: Scientists have actually mentioned that the standard property of the work — changing a gene called CCR5 to avoid HIV infection — is shortsighted due to the fact that this transformed gene, discovered in nature, does not use consistent HIV security to those individuals who bring it. Additionally, the twins were provided imperfect variations of this transformed gene, and the health repercussions are unidentified, according to investigative work done by MIT Technology Review.

So, this was a speculative research study otherwise ideal just for laboratory animals, clinically unneeded and improperly performed at that. There was a 3rd gene-edited infant, too, possibly born in the summertime of 2019. Absolutely nothing is understood of the infant’s fate.

At concern is germline gene-editing on embryos. Gene change at this early phase guarantees that all genetic engineerings are copied into every cell in the body, consisting of egg and sperm cells, making the modifications inheritable. Otherwise, CRISPR and comparable innovations continue to reveal excellent guarantee in treating hereditary illness in kids and grownups through more separated and restricted gene adjustment. 

Originally released on Live Science.

New post published on: https://www.livescience.tech/2020/01/01/take-that-back-the-top-scientific-retractions-of-2019/

Xperia Play Reviews.

War Robots generator

War Robots (formerly Strolling Battle Robots) is a free-to-play mobile third-person shooter developed by Pixonic LLC for Android as well as iphone where gamers can pilot their own war robot in legendary PvP fights. In some connections, the Transformers have a Robot War in their backstories , having actually defended self-reliance from their greedy & vicious alien developers referred to as the Quintessons. Overall though, it's still a great game that every Gears of Battle follower possibly will appreciate. Video Game War Robots MOD APK v3.4.0 VIP Costs - Game ini merupakan game yang baaru saja di kembangkan oleh programmer ternama yaitu Pixonic LLC, Dan game ini masuk dalam kategori video game action jadi cara bermain video game ini sangat seru. The Alternating Universe seen at the start of Kenneth Bulmer's The Diamond Contessa is a world in which mankind was eliminated in a Robotic War. The large robotics can lug the smaller sized ones, providing them with neighborhood control as well as power. Bohemia Interactive: In 2014 BI's portion of the PC Pc Gaming Show was all about Tanoa, the rich jungle terrain that was launched in 2014. Several added procedures will be executed by robotics in the future, as much more advanced robotics are created that are capable of doing difficult surgeries. There are a few disadvantages nevertheless, first, this is one of one of the most costly robotics in the video game. The robotics differ in power as well as essential strengths, with rarer crawlers normally being more effective compared to their usual counterparts. The program has a 2D field of battle where you can place in robotics and also where all the activity happens. War Robots merupakan game dari Pixonic yang hadir di perangkat Android dari tahun kemarin. While robots may take a few of the appeal away from going out to consume at a restaurant, they will be an advantage to dining establishment owners that are desperate to profit. If you've been a fan of previous Gears titles, there's a whole lot to such as about Gears of War 4, however, yunona.org/ for anyone that had not been currently sold on the series, do not anticipate anything below to suddenly change your mind. As a full bundle, Gears of War 4 is everything I could have requested for as well as much more. With the objective of bringing solution robots to help individuals, PAL Robotics has established several of the world's most innovative humanoid robots, the REEM collection. Equipments of War 4 is a best of-game, providing all the important things we enjoy regarding previous Equipments of Dry run. The dimension of the makers is reproduced well in the 3D setting with robotics towering over farmhouses and also office complex. Currently, humans could decide whether to attack or not yet a current policy change in the USA suggests that 'intelligent' self-governing assault robotics will certainly soon be offered the power to determine who when to kill.

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Even if they do not have a face as sometimes portrayed by popular culture and mainstream media, it does not imply they aren't robotics. He is among the 16 poets from Globe Battle One that are acknowledged in the Poet's Corner of Westminster Abbey. Equipments of War 4 likewise broadens and also fine-tunes on the sense of press, protect and also draw at the office in battle scenarios. Carnage is among the 5 future generation robots unlocked at degree 20. Carnage is quite difficult to identify, piloting wise, as it has an hp bar likened to Gl. Patton. For a six-year-old application that hasn't been upgraded in greater than three years, The Battle of Eustrath holds up quite well. It could also be made use of to purchase certain robotics and items, the majority of which are highly sought after. Battle verse shows the shock of the initial strike, the reaction of the civilian population, as well as the angst of armed forces leadership. An additional dangerous situation lurks if an opponent finds a method to hack the system and also utilize the tool versus the armed force. To figure out even more concerning exactly what type of effect such robotics could have in people with mental deterioration, Teacher Moyle has been performing a number of research studies. While the PC is the recommended platform to play the video game, the Xbox One version is adept, as it still thinks of a solid experience.

Returning War for Cybertron gamers as well as hardcore Transformers geeks will appreciate the spruced up personality creation, which enables matching a plaything and also mixing shop's worth of parts while personalizing your loadouts. Baru kemudian setelah 2 tahun sejak pertama kali dirilis, Walking War Robots menyediakan fitur Klan (Clan) sebagai hadiah peringatan 2 tahun usia permainan ini. Much of these Vietnam Battle tracks are cultural symbols that play in any American battle as well as armed forces problem. Pablo Picasso repainted Guernica in reaction to Nazi Germany's battle of Guernica, Spain, on April 26, 1937, throughout the Spanish Civil Battle. There are a great deal of robotics to gather, pleasing the needs of also the most hardcore of collection lovers.

Post-Pandemic Business Strategies: 5 New Truths

New Post has been published on https://tattlepress.com/business/post-pandemic-business-strategies-5-new-truths/

Post-Pandemic Business Strategies: 5 New Truths

It’s safe to say that 2020 was a year like no other, and 2021 will certainly not revert back to the old normal. As print service providers think about building business this year and beyond, what lessons from the pandemic apply? What do printing/marketing service providers need to do to grow faster?

Combining these interviews with what I’ve learned from three decades of working with printing and marketing service providers, and the unprecedented changes initiated from a pandemic, one thing is apparent: business basics still apply.

Service providers still need to focus on the right target markets; provide the right products and services; deliver excellent customer service; build strategies to drive new business development; and establish solid customer relationships. COVID-19, however, has caused changes in the ways that service providers are executing on these business basics.

Here are five business basics or “truths,” and how successful service providers are altering or updating their execution to improve business results.

1. Old Truth: Targeting the right vertical markets is critical to business success. New Truth: Understanding how target markets are changing and the ability to adjust are critical to business success.

In today’s challenging and competitive market environment, it is vital to use all resources, capabilities, and capital effectively to produce goods and services that customers desire. The majority of print service providers have target market segments they focus on but now, more than ever, they need to pay attention to the market dynamics impacting their client base and adapt strategies accordingly. Successful providers have been quick to pivot target marketing strategies to meet changing market demands.

B2C Versus B2B

When the pandemic hit, many B2B (business-to-business) companies that do business with other companies halted print marketing efforts. With their end customers working from home, these B2B firms didn’t know how or where to reach clients or prospects. B2C (business-to-consumer) companies selling directly to individual consumers knew that people were working from home and used the opportunity to put in place more aggressive direct mail and digital marketing campaigns. While vaccines are rapidly moving into the market, B2B firms are not in a hurry to make employees return to corporate locations.

DS Graphics/Universal Wilde (DSG/UW) shifted its market focus to B2C opportunities. According to Executive VP Chris Wells, “We were heavily weighted to B2B and a lot of that business disappeared, while B2C clients were driving more communications. Going forward, the B2C space continues to use more print, as well as digital communications, to reach people working from home.” He adds, “B2B marketers are still focusing more on digital solutions because their customers are still not in offices. Some corporate offices are not even accepting mail. This is not something that is going to change quickly.”

Finding the Right Verticals

A number of print service providers focus on specific vertical industries: for example, finance, insurance, healthcare, gaming, hospitality, or education. Service providers needed to adjust focus during the pandemic to pursue industry segments that were stable.

According to Quantum Group Executive VP of Marketing and Sales Michele Brennan, “Some of the vertical industries we served, like gaming, declined dramatically. We refocused our efforts on verticals where we could help our customers with more effective communications, including pharmaceutical, healthcare, financial services, and retailers with an online presence. Other segments, like senior living and education, are starting to come back.”

Highlighting the verticals that provide emerging opportunity to LCP (Lake County Press) during the pandemic, Dean Petrulakis, senior VP of sales, reports, “We proactively worked with a client in the RV space that needed marketing asset management solutions for their dealer network, as well as identified opportunity in the cannabis market.”

2. Old Truth: Print service providers need to deliver great products and services. New Truth: Print service providers need to deliver great value to customers in response to changing market needs.

Consumer appetite for good communications has piqued marketers’ interest in creating personalized experiences. Marketers realized that generic mass-marketing campaigns are not working. The best way to attract and hold a consumer’s attention is through personalized communication and a great customized experience. All of the providers interviewed highlighted the drive for more and more personalization.

Data-driven marketing is a top priority for Quantum Group’s direct mail customers. “Data is front and center when serving our direct mail customers,” Quantum CEO Cheryl Kahanec notes. “We waited a long time for customer adaptation of variable data and personalized communications, and they are ready now.”

In addition, Melanie De Caprio, VP of marketing at SG360°, notes that her company has seen a rise in customer demand for personalization. “SG360° has seen an increase in laser-focused targeting. We work with clients on data modeling to identify high-potential prospects — those most likely to respond. We leverage client demographic and behavioral data (including website behavior) to build a hyper-targeted prospect list for customers. The end result is that we improve the ROI for every marketing dollar our clients spend,” she says.

Innovations in digital printing technology also play a role in the expansion of personalizing print, Andrew Henkel, VP and principal of Johnson & Quin, points out. “Inkjet printing has enabled us to produce high-quality, full-color personalized messages and graphics quickly and cost-effectively on forms and envelopes. We continue to see increased focus on personalization, especially personalized envelopes that get the consumer’s attention.”

Omnichannel Expectations

Print service providers are continually challenged to rapidly adapt to rising customer expectations across all channels. Whether it is essential communication touchpoints like bills and statements, or sales or marketing materials, the bar has been set very high for marketers to provide consumers with easy, engaging, and personalized digital and print interactions. This is putting increased pressure on print service providers to deliver omnichannel services.

According to Ken Gammon, VP of healthcare sales and business development at RR Donnelley (RRD), “Client demand for marketing automation through technology and business process outsourcing services have increased post-pandemic. The increase in marketing automation correlates with staffing declines in marketing departments. More use of data for 1:1 communications will continue. Email is not an effective tool from a standalone perspective. It needs to be part of an omnichannel experience,” he notes.

Wells, of DSG/UW, highlights the importance of direct mail as part of the omnichannel experience. “Millennials appreciate the creative pieces they get in the mail. We are working with clients to deliver direct mail that gets the consumers’ attention. The direct mail is used to drive them to a digital experience — augmented reality, QR codes, or the Web. From there we help clients nurture the leads on the right communication channel.”

Self-Service Online Tools

As more people worked remotely during the pandemic, offering customers self-service tools for managing print work became extremely critical. This was good news for service providers that already had the right Web-to-print enabled portals in place. Multi-location organizations sought print providers who offered quick-turnaround marketing materials and signage that supported a brand identity, and that could be customized at a local level.

For more than 25 years, Tukaiz has supported the quick-service restaurant (QSR) market and multi-unit retail community with a technology platform called Backstage. “Each Backstage portal is designed to suit the client’s purpose, Dan Defino, Tukaiz’ VP and managing director, explains. “It’s made up of several building blocks that can accommodate a large suite of marketing capabilities, ranging from print to digital and social media solutions.

“With our Backstage offering, clients had easy access to materials they needed. During the pandemic, people still needed to eat, so QSRs did well. Our big clients didn’t slow down, but they altered the materials they printed.”

There was a shift in the pandemic to applications like floor graphics and window clings. They also did a lot more on the outside of the buildings and printed coupons. Backstage facilitated orders and let Tukaiz accelerate delivery with a consistent set of services, according to Defino.

LCP has taken a similar approach to the market. “The future of our business is programmatic sales,” Petrulakis explains. “We want clients looking for a partner to manage everything from one source.”

Organizations like a national franchise are a good fit, he adds. “LCP can give them access through an online entry point. We worked with one international account that had four different suppliers and helped them consolidate suppliers. Now, they can order everything (from uniforms to trade show graphics and business cards) from a single site.”

3. Old Truth: Your clients prefer face-to-face communication. New Truth: Customers are embracing the efficiency of digital interactions with suppliers.

As society begins its return to normal, a likely permanent change will be how businesses and organizations communicate with customers. Virtual meetings are here to stay, so improving staff’s digital sales skills will continue.

The loss of sales visits, “live eyeballs,” and events definitely hurts “old school” sellers. The struggle to create compelling reasons to call and provide engaging meetings in the absence of live events and non-verbal communication is real.

Salespeople may get more virtual calls because the customer time commitment is much smaller compared to a face-to-face meeting. The virtual option also means faster follow-up meetings, which could shrink sales cycles. It’s much easier to assemble customer decision-makers and internal subject matter experts on a virtual call. There is efficiency for the sales team in terms of both time savings and money for travel.

The key is that print providers need to invest in mastering the new sales call process. It doesn’t mean face-to-face meetings will go away, but they will be used more judiciously and virtual meetings need to be made more meaningful.

The printing industry has a lot of “old school sellers” that need to adapt to new technology, which ultimately means training. Gammon acknowledges that modernizing one’s sales approach was necessary even before the pandemic.

“As communications evolve, we’ve kept pace by developing the new solutions our clients need, many of which are built on new technologies we’ve had to learn,” he says. “We were fortunate to have had training around the digital channels and virtual selling very early on, allowing us to stay close to our clients during the pandemic. Our new skills and competencies allowed us to respond faster than we would have had we not been prepared.”

Make Customer Meetings a Fun Experience

The sales experience is a critical part of any customer decision. According to Lumoa Research on B2B buying behavior, the sales experience accounts for 25% in a buying decision, and is more important than the product/service and its price. Savvy print providers are using a variety of sales tools ranging from direct mail with integrated augmented reality (AR) demos, to Zoom meetings with virtual lunches — where sales reps arrange to have lunch delivered to the client.

Wells shared a perfect example of delivering a memorable customer experience. When DSG/UW hosted a virtual grand opening of its new facility, it sent prospects invitations for a virtual cocktail hour complete with a Charcuterie board for all of the participants who provided their home addresses. It not only helped them gather more customer data, but provided a meaningful customer experience that won’t quickly be forgotten.

4. Old Truth: Prospecting and cold-calling is hard. New Truth: Prospecting and cold-calling is hard, but more tools are readily available.

“Cold-calling” refers to calling a prospect you haven’t previously made a connection with before. COVID-19 forced printers’ prospects to work from home, which eliminated in-person sales opportunities, such as visiting offices, meetings, and events.

Service providers are leveraging tools like LinkedIn, ZoomInfo, and Competiscan to identify the right prospects and effectively reach them. For example, Johnson and Quin uses LinkedIn to learn more about prospects and leverages Competiscan to see who is mailing what and if it is a fit for the shot’s business model.

Tukaiz’s Defino also recommends asking satisfied customers for referrals. “What has worked best for us is leveraging our customer relationships. Cold calls are difficult. I go through LinkedIn and see who is connected to whom.”

In 2020, SG360° attracted more new customers than in any recent year. According to DiCaprio, SG360° relied on social media to create more networking opportunities. “We also invested in Pardot for marketing automation to continually communicate on multiple channels and to nurture customer relationships.”

Quantum’s Brennan points out the importance of also monitoring customer contacts who changes jobs. “As companies downsize, and employees are displaced, we make sure we stay up-to-date with their job changes using LinkedIn. That way, when our contact gets a new job, we can be proactive and, hopefully, it brings us a new client or customer.”

5. Old Truth: Marketing is important for print service provider growth. New Truth: Marketing across all channels is critical to print service providers for reaching new prospects and driving business. 

Historically, print and marketing service providers have made limited investments in marketing initiatives. The pandemic has forced service providers to develop new go-to-market strategies, customer engagement models, and digital programs. Successful providers are leveraging a myriad of tactics across all channels to reach existing customers, as well as to reach new prospects.

Potential buyers are doing their homework — and making decisions about whether to even reach out — before they pick up the phone. Ensure that you’re giving prospects a steady stream of thought leadership articles, blog posts, and data-driven information they can use to vet the value of doing business with you. Service providers are increasing posts on LinkedIn, publishing monthly newsletters, and enhancing websites.

Virtual events also offer a fresh way to get your team in front of prospects. Identify opportunities to speak at virtual conferences or create your own conference or webinar.

Believing that a company cares about you is also a powerful source of attraction. Sending customers and prospects gifts creates a positive memory, forms a personal connection with your organization, and delivers a lasting impression. Print service providers are creating custom-branded “swag” bundles containing physical gifts; the branded items in these bundles can range from socks and tumblers, to eco-friendly tote bags and reusable straws.

DSG/UW sends out high-value promotional items. “One promotion was called Fire and Ice. It included a DSG/UW-branded mug where the recipient could control the temperature of the mug with an app on their smart phone,”according to Wells.

“The follow-up was a water bottle that integrates with a smart phone to track and remind people to stay hydrated,” he says. “The key message we got across to clients was the importance of integrating physical and digital worlds. It also illustrated DSG/UW capabilities to deliver very creative ideas.”

The Bottom Line

As buyers and sellers continue to be faced with the challenges of the pandemic, business basics still apply. What’s new is finding creative ways to refresh and execute tried-and-true strategies. Targeting the right markets is essential to success, but printers continually need to assess changes and refocus. Clients are looking for more personalization, partners that support an omnichannel experience, and those that offer a full range of services.

Communicating with existing clients is critical. Even though more face-to-face customer interaction will resume, virtual meetings are here to stay. Train your teams to deliver a quality experience. Prospecting has always been a challenge, but there are now more tools available. It has never been more important for print providers to also become effective marketers.

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Ecological contamination concerns taint Oscar Mayer redevelopment plan

Ecological contamination issues taint Oscar Mayer redevelopment strategy

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Beth Sluys, left, and Maria Powell see the north side of the site of the former Oscar Mayer plant along Aberg Opportunity. The North Side locals are among those highlighting issues about soil and groundwater contamination under the former industrial site, which is being targeted for a $300 million redevelopment.

JOHN HART, STATE JOURNAL.

Nearly 4 years and lots of meetings later on, her interest is tempered by what she’s found out about ecological hazards in and around the site.

” I thought it might be something actually terrific for the North Side,” she stated.

With city leaders poised to approve a redevelopment strategy that assures to bring thousands of new jobs and houses to the city’s North and East sides, issues over contamination from a century of industrial use, a lack of greenspace and disenchantment with the procedure has actually turned some people who desire to see the website redeveloped versus the existing vision.

Others fret about who will get stuck with the cost of cleanup, which former Mayor Paul Soglin approximated in 2016 might cost as much as $20 million.

The Midwest Environmental Justice Company last week asked the council to send out the strategy back for more work, pointing out spaces in the city’s knowledge of contamination and a lack of public awareness about those issues.

” Environmental justice, which requires addressing race and class disparities in direct exposures to pollution and meaningful engagement of those most affected, is not served by the existing strategy or the procedure that resulted in it,” said Maria Powell, executive director of the company she established 15 years ago to deal with pollution affecting subsistence anglers.

City officials are seeking to purchase 15 acres of the commercial site nearby to the North Transfer Point, above, for a City Transit bus storage and maintenance center.

JOHN HART, STATE JOURNAL.

However there have actually been lots of documented spills on the former Oscar Mayer site and surrounding residential or commercial properties within the preparation location.

An aerial photo of the Oscar Mayer plant in 1947.

SPECIFY JOURNAL ARCHIVES.

The state Department of Natural Resources considers a lot of the spills remediated, while clean-up and monitoring continues on others. Yet neighborhood and environmental companies are just as worried about what isn’t known: How far underground chemical plumes have actually spread out and what other compounds may remain in the ground, left from a century of industrial activity, that included burning coal and manufacturing plastics and pesticides.

” This was a lot more than Weinerville,” stated Dolores Kester, a North Side resident who worked with an environmental law practice to compile a report on some of the recognized and possible contamination. “It’s a huge advancement from a century earlier when the Mayer bros came up here from Chicago. This community has actually known that.”

No due diligence?

Combined with the redevelopment strategy before the council is the city’s effort to purchase about 15 acres of the former Oscar Mayer site for a Metro Transit bus center.

Website examinations conducted for the current owners, a partnership of companies that concentrate on reselling previous factories, exposed soil and groundwater contaminated with trichloroethylene, an unpredictable natural compound called TCE that has actually been connected to kidney and liver illness, in addition to cancer.

That plan has actually triggered criticism from Ald.

” If the city is going to purchase this, there is an environmental liability,” Abbas said.

Abbas

Tom Lynch, the city’s director of transportation, expects to have something for the council to authorize this fall.

The Openness Project

With a degree in ecological sciences and experience working as a security officer on two Superfund cleanup sites, Sluys knew enough about brownfield redevelopment to presume there would be problems with the Oscar Mayer site.

” The plans are barreling right along,” Sluys stated.

The Madison City Council is set up to vote Tuesday on a plan to redevelop the location around the 72- acre industrial site.

JOHN HART, STATE JOURNAL.

When she inquired about contamination, Dolores Kester said city officials pointed her to the DNR reports, which the retired lawyer discovered incomprehensible.

” I’m not a hydrogeologist. I’m not an engineer,” Kester said. “I remain in a weird land … I require a map. I require a translator. I require a dictionary.”

So Kester employed Midwest Environmental Supporters to evaluate the website history and summarize the ecological threats “in plain English.”

The outcome– called “The Transparency Project”– is a 28- page report and interactive Google map she calls “a good start.”

” The issue is what is not in it,” Kester stated. “If it was a location where no spill happened, or nobody happened to observe, it hasn’t been evaluated. There are locations … where no screening has actually been done.”

Liability and leverage

The current owner of the 72- acre Oscar Mayer website, a partnership of Reich Brothers and Rabin Worldwide referred to as 910 Mayer LLC, is working to clean up three known spills, consisting of at the former Spice Room.

City authorities state they are devoted to additional screening, however do not have the authority to do so on personal property. Rabin did not deal with questions about the legal arrangement with Kraft Heinz, which city authorities have actually not seen.

” That’s something they’re absolutely not showing us,” stated Brynn Bemis, a hydrogeologist with the city’s Engineering Department.

A Rabin spokesperson said the company is “committed to working collaboratively with the WDNR to investigate and remediate the determined releases to safeguard human health and the environment.”

Meanwhile, the city has actually employed an environmental consultant and attorney to craft a purchase arrangement for the City Transit job that officials state will safeguard the city from liability for any extra contamination it finds.

The city has also received a $300,000 brownfield grant from the U.S. Environmental Protection Agency that Bemis stated might pay for extra research studies.

By buying the land the city would not necessarily be on the hook for cleanup, as the DNR might appoint that responsibility to the initial polluter. But typically those looking for to redevelop brownfields wind up doing the work, said Darsi Foss, administrator of the DNR’s environmental management division.

” It tends to work out, even if of individuals’s inspirations,” Foss said. “Oscar Mayer’s still around, but is Oscar going to transfer to the speed that the brand-new developer desires them to?”

While yielding the 910 Mayer contract “isn’t perfect,” Bemis stated moving on is the very best method to guarantee the contamination is tidied up.

” You first have a strategy, then the redevelopment and the clean-up happen at the exact same time,” Bemis stated. “Redevelopment– now you have take advantage of. That’s when the cleanup occurs.”

In a memo sent out to council members Friday, task supervisor Dan McAuliffe rejected any tip that the strategy recommends development without removal.

” There are laws that ensure properties are examined for prospective pollutants and that removal take place if necessary previous to new building and construction and profession of spaces,” McAuliffe wrote.

Mayor Satya Rhodes-Conway stated the Oscar Mayer website is “the most economical alternative” for a bus barn which the city “has a performance history of remediating properties for other uses.”

But Powell said the history of the site illustrates why the state’s environmental remediation rules– called NR 700 policies– are ineffective.

” Oscar Mayer and Kraft Heinz ran there for decades and there are still many open sites,” she said. “These activities ought to have been examined, tidied up, and closed by now. Plainly NR 700 is not working.”

Beth Sluys, who worked on two Superfund remediation sites, says contamination at the commercial website has tempered her enthusiasm for a redevelopment plan that could bring countless new houses and jobs to the location.

JOHN HART, STATE JOURNAL.

Unseen damage

Critics of the strategy stress that the contamination might have spread.

Powell stated TCE fumes coming through the Spice House flooring were determined at levels she has “never ever, ever seen before,” which she believes is indicator of a massive plume of contaminants.

” It’s got to be really bad,” Powell stated. “We require to understand where it ends.”

Bemis said personal wells formerly used by Oscar Mayer likely drew the solvents deep underground where it would not create a threat of leaking into basements. While solvent plumes can take a trip for miles, Bemis said there is no proof of the solvents coming up to a city well.

Abbas has actually asked for extra screening to see if impurities like TCE– but also fluorinated substances known as PFAS– might have moved from the Oscar Mayer site into areas slated for domestic development or nearby communities where residents frequently struggle with water in their basements.

” We understand the source is here,” Abbas said. “The thing we require to figure out is how far it went. … That’s why it is necessary for the city to step in and do detailed testing.”

While challengers say they still wish to see the Oscar Mayer site redeveloped, they want more public discussion before a plan is authorized with guarantees that taxpayers aren’t stuck with the bill while corporate polluters are let off the hook and designers reap the revenues.

” This is a genuine opportunity for the city,” Sluys stated. “However everything is colored by what we do not see under our feet.”

Through the years: Madison’s Oscar Mayer plant in images( tncms-asset) a363038 c-5c3d-11 e7-9201-00163 ec2aa77[11](/ tncms-asset)

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More than 100 years back, Oscar Mayer bought a meat processing plant in Madison and began a long time relationship with the city, which for ma …

The 31- acre tract was leased for many years by Oscar Mayer and has actually been polluted by a minimum of two fuel oil spills and the storage of coal, however in recent years water has recovered low-lying areas where invasive cattails and reed canary yard are flourishing not far from a stand of old development oaks.

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from Job Search Tips https://jobsearchtips.net/ecological-contamination-concerns-taint-oscar-mayer-redevelopment-plan/

Wales are lighting up the World Cup in the same way our football aces sparkled at Euro 2016 – Barry John

Wales are lighting up the nation at this World Cup – very much like their footballing cousins at Euro 2016 – and on the basis of what we saw against Australia, they are definitely in the mix.

They should fear no-one. If anything, it’s one or two of the other teams who will suddenly start to be wary of Wales.

The performance against the Wallabies was  brilliant. Passionate, indeed mesmeric play at times.

Given we have Fiji and Uruguay to come this week, it was a result which means Wales are almost certain to top Pool D which, in turn, gives a smoother path towards the semi-finals.

Whisper this quietly, but Welsh fans will actually be hoping England win their group. That would mean one of France or Argentina in the last eight, a game Wales are obviously more than capable of winning.

And while the southern hemisphere duo of New Zealand and South Africa are setting the benchmark, once you get to the last four anything really can happen. Wales have beaten the Springboks four times on the trot since losing to them at the last World Cup and certainly won’t be lacking in belief.

Wales’ Euro aces lit up a nation, too (Image: Propaganda)

In fact, if anything the Wales display last weekend has shaken up a lot of people in the game – and rightly so.

Read More

  I said immediately after the Grand Slam that Wales would get to the semi-finals at least. Other factors would then come into play at that stage, but this Welsh team have certainly put down a marker.

Warren Gatland, Alun Wyn Jones and Shaun Edwards deserve credit for the way the Wallabies were blown apart in the first half. Clearly a great deal of thought and planning had gone into this game, and had done, I’ve no doubt,  for some time.

But at the end of the day it’s the players who ultimately make any game plan work. The buck stops with them. To a man they were magnificent, not a single player shirking responsibility and the discipline displayed during that hectic finale says everything you need to know about the self belief and bond within this Welsh camp.

Yet even amidst the team plaudits, a few individuals still stood out.

Alun Wyn, again. What an inspiration to an entire nation. The way he continues to lead from the front is extraordinary at times and the staggering stats he produces game after game has already cemented his place in Welsh rugby folklore.

Gareth Davies, a scrum-half who evidently relishes the big stage. Combative throughout, he also has this knack of producing something out of nothing which has a massive influence on the momentum of the match and gives such a lift to his team-mates.

Gareth Davies breaks through for his stunning try (Image: Getty Images)

Read More

  The interception try was a wonderfully timed fillip – to the team, the coaching staff and, indeed, an entire nation.

I also want to give a special mention to Rhys Patchell, thrust into the action far earlier than expected after Dan Biggar had to go off. The loss of their fly-half could have caused problems for Wales, but Patchell ran the show in an awesome manner.

He’s a lovely rugby player and barely put a foot wrong as he helped increase Wales’ lead and then, with the pressure really on, guided them home near the end.

Initially, I had my doubts about Gatland only taking two No.10s to the World Cup, given they have each had concussion issues over the last 12 months.

But here are two fly-halves at the absolute top of their game and, to be truthful, Gatland could pick either of them as his first-choice and it would be the correct decision.

I recall writing after one of the warm-up games that Patchell should be the man to take over from Gareth Anscombe, with Biggar to come on and close games out as he did so expertly during the Six Nations.

That option is still there, but I suspect Gatland will do it the other way around – and who’s to say that is wrong?

Rhys Patchell offers so much. Photo credit should read: David Davies/PA Wire

They have so much in common, real mental strength which you need in that position perhaps more than any other. Biggar displayed his with that early drop goal versus the Wallabies, Patchell did likewise early in the second half.

They’re tall guys, defensively strong for a fly-half and each produce some really big hits. They differ to Anscombe, who has a softer feel on the ball, glides around, possesses such quick hands.

Anscombe had established himself as first-choice. In his absence, personally I would still edge towards Patchell, just, because he has this knack of making things happen.

Read More

  But I’m already noticing the Stephen Jones influence upon Biggar. He’s lining up flatter, I like his lines of running and his distribution seems crisper. As a former Wales 10 himself, Jones has clearly had a quiet word since coming into camp and it is working.

I suspect Gatland will choose Patchell for the Fiji game, opposition who have caused Wales one or two problems down the years, but this time the result should be a formality.

Then Gatland will be able to rest players for the Uruguay group finale, before we focus on the quarter-finals.

As I say, the tournament is up for grabs. Well done Wales, for putting down your own credentials.

Our soccer aces gave us a memorable ride at the Euros. Something magical could be happening at the World Cup, too.

Should Wales reach the final of the 2019 World Cup Final, here are the odds of their possible opponents:

New Zealand v Wales – 8/1

England v Wales – 16/1

Australia v Wales – 20/1

South Africa v Wales – 22/1

Republic of Ireland v Wales – 33/1

Scotland v Wales – 80/1

France v Wales – 100/1

Argentina v Wales – 150/1

18+, T&Cs apply, thepools.com

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6 Email Marketing Newsletter Lessons Learned from Sending 129 Issues of THE LATEST

About seven months ago, we set out on an ambitious, some might say crazy, endeavor at IMPACT. We decided we were going to throw out our three-year-old daily blog notification email in favor of an email newsletter delivered just three days a week, that curated our content and was handwritten (or eh, typed, in this case).

This would dramatically impact our email traffic, shift our workloads, and alter our interaction with our audience -- but we like to live dangerously.

But Wait, Why The Change?

When we first launched THE LATEST, I reflected on our decision saying:

“As we move into our new position as a media company and publisher, we’re sharing even more killer content and news... each day, but we know that can be hard to keep up with and sift through.

The last thing we want to do is give you more information than you can handle or add more noise to your inbox. So, we came up with something that will surface even more value, but without as many emails.”

We developed THE LATEST as a more meaningful and valuable way to share content with our audience, rather than just an automated email.

It goes beyond new articles to incorporate new videos, podcasts, tools and templates, live and on-demand webinars, info and highlights of industry events, and exclusive content only subscribers can have access to.

Plus, all of this is delivered with unique insights and context so readers can grasp the full scope of the story even if they’re just skimming.

We knew this was a risk.

We were pulling back our presence in inboxes and essentially creating a situation where people may not give us their click, but we were okay with this.

THE LATEST was born with the goal of creating a better, more helpful experience for our readers; to delight them; to build a more personal bond with them. Traffic, at this point, was irrelevant.

Flash forward and as of today, our director of web and interactive content, Liz Murphy, and I have sent a total of 129 issues of THE LATEST with this in mind.

In the process, we have learned a great deal about email marketing and newsletters including the six lessons below:

1. Newsletters Have Earned a Bad Rep

While in essence newsletters sound like a no-brainer (fewer emails, only the best content, etc.), we learned that they’re really not everyone’s cup of tea, mainly because of bad experiences in the past.

Last month, I shared a poll in IMPACT Elite and uncovered that 83% of respondents don’t subscribe to newsletters because they already have too much email, while the remainder said they get no value out of them.

Some said:

“I get so much email that unless it's a client....I'm very, very selective now of the newsletters I join.” - Chris B.

“So tired of all of the email….I have gone back to the rule if I don’t know you personally or have received a personal referral I am deleting you.” - Susan G. P.

“I think newsletters, when relevant and well done, are powerful to us as users. Unfortunately, I also get newsletters that aren't great - like some that have 50+ resources in them every week. Give me enough, but not too many, make it readable and engaging.” - Dan M.

Clearly, a few bad newsletters ruined it for the rest of us.

To some, this may have seemed like a red flag to abort our mission, but this feedback actually taught us a lot about what we should and shouldn’t be doing.

Readers only wanted emails that were concise, relatable, and from people, they felt like they knew personally. This brings me to our second big lesson:

2. Get Personal

It’s email marketing best practice to send your messages from an individual, not from a company name, but this lesson goes a bit farther than that.

It’s not enough to put your face and name on an email newsletter, you need to put some of your heart, unique perspective, and voice into it -- perhaps even some of your personal life depending on your brand.

“I feel like once a week I get to sit down and write a personal letter to our subscriber base,” shares my fellow LATEST author, Liz Murphy. “I’ve gotten the most responses to something when I really put myself out there and took a risk sharing stories about my life.”

A kind response to one of Liz's personal intros

And I can say the same.

People don’t want to open emails from cold, robotic organizations.

They want them from people they’d actually enjoy talking to; people like them; individuals who think and feel, both fail and succeed, and aren’t just full of sales pitches.

Our most successful issues of THE LATEST and frankly, the newsletters we love the most, all do this effortlessly.

They connected on a more human, personal level.

3. Don’t Be Shy About Incorporating Humor

Do you know what’s one of the most effective ways to connect with someone on a more human level? Humor.

Everyone loves to laugh, so when it comes to newsletters, humor can be one of your most powerful tools.

Cracking a joke or using playful language creates a sense of comfort and approachability and shows your personality. It, again, humanizes your brand and make people enjoy (and be more willing to listen to) what you have to say.

We usually capitalized on humor using GIFs and hidden easter eggs, but we also try to get playful with our segments.

Take Weekend Nonsense, for example.

In every Saturday issue, we share a random piece of content (not always marketing related) that made us laugh or put a smile on our faces.

Past Nonsense has included spoofs on Fyre Festival, videos of babies trying to eat oversized burritos, and Burger King’s hilarious AI-created commercials:

4. You Can’t Make Everyone Happy

Now, while we’ve won plenty of people over with this humor and of course, our content, there are always some who decide we’re not for them.

Like any company, we have our share of un-subscriptions and, to help us understand why, we ask for feedback on our unsubscribe form.

Some responses are vague saying “the content just wasn’t what I was looking for” or that “they get too much email as is,” but then there are people who go into detail.

For example, one person remarked how, when we first launched the newsletter, we included featured images for each article and that ever since we removed them, he felt like the emails appeared disorganized and hard to digest, so he unsubscribed.

While we never like losing a subscriber and we definitely understood his point, as marketers, we had to let this go. We can’t make everyone happy.

We made this specific change after a long test of including images versus not including them and finding that the variation without images got more engagement from readers.

So, we solved for the majority.

Unfortunately, this has to happen a lot in marketing.

Most businesses are limited in how much personalization and customization they can offer and have to default to what performs best for the majority of their audience and we are no different.

That being said…

5. Test Everything

When we initially created THE LATEST, we had to make a lot of assumptions and decisions based on what we knew about our audience and other successful newsletters, but this kind of approach should only ever be a starting off point.

Once we had a process and template in place, we started testing everything about the email -- images, as mentioned earlier, subject lines, link colors, and headline lengths among other things.

This has and will continue to help us more effectively deliver something our audience enjoys and, likely in turn, improve its performance.

With all of the technology available to us today, via HubSpot, Optimizely, and other tools, there are no excuses not to be experimenting with your email as a marketer.

6. Email Is Not Dead

I know it seems like a lifetime since Tom Hanks and Meg Ryan starred in You’ve Got Mail and email got its first real mainstream exposure (it’s been 21 years, to be exact), but the medium is still alive and well.

While, like blogging and social media, email has become saturated with spam, it can still be effective when done right.

The key is to respect your audiences and their attention.

THE LATEST is not perfect, but by testing, showing a little heart and humor, and overall, respecting our audience’s inboxes, we will get a little bit closer with every issue.

How do you feel about email marketing newsletters? Does your brand or organization say them? Do you enjoy subscribing them? Let us know your thoughts in IMPACT Elite!

from Web Developers World https://www.impactbnd.com/blog/email-marketing-newsletter-lessons

What Occurred To The Waltons After The Waltons Finished?

Child work is actually certainly not as serious an issue as this was actually a centuries back, but it still influences countless kids worldwide. Angel Hair for Kids is one of A Child's Voice Base's numerous plans serving economically deprived Canadian little ones having to deal with a disability or even health problem. Further, little ones that are actually well-bonded as well as really loved by involved fathers, tend to possess a lot less behavioral troubles, and also are relatively injected versus booze as well as drug abuse. ( HealthDay)-- A considerable part of parents who little ones have food items allergy symptoms have worries over the protection from their youngster at school, baseding on a study published on the web May 12 in BMC Pediatric medicines.|Moms and dads are constantly having problem with limitations on their children's tablet computers, mobile phones, pcs, as well as TVs. And also last but not least, I think that the developed caregivers from youngsters under grow older 2 may in some cases experience starved for a bit from communication with various other grown-ups. 2. Understand that the person may appear to be dismissing you, specifically due to the fact that eye get in touch with is actually frequently challenging for folks along with autism, however they are actually most likely paying out even more interest compared to you will ever believe.|When one is quite youthful, researches reveal that the superior age to find out an overseas language is actually. If moms and dads compel their selection on their youngster, which breaks the teacher's tips or capacity examination results, then this mistakes. If 60 percent from stated abuse cases are incorrect, what perform our experts should perform as parents to prevent this coming from happening to our youngsters when they possess youngsters of their personal?|This is actually the cleaver functionality of the hallucinations from Shawn's youth at the start of many episodes. Please find at the very least one other person that is actually additionally dealing with an ODD little one or even has actually resided through it if you are working with a WEIRD child. Support and understanding are actually very tough to come by. The major explanation is that ODD youngsters are actually masters of control and also appeal.|Possessing a pet is a large task given that you need to ensure this has everything that it needs to have, and also you must additionally have opportunity to play with this. Nonetheless, that's nothing compared with this male that copes with concerning 300 felines! Abandonment occurs when a mother literally, mentally or mentally removes herself coming from her little ones. The combined age amount class could be an advantage to both the more mature children and the younger youngsters equally. B. To compute the EDD by Nagele's regulation, include 7 days to the initial day of the last menstrual period and also matter back 3 months, altering the year appropriately.|Children's primary teeth are actually an ever before changing trait, sometimes being shed for no apparent cause. First off, Cara had not been expecting as a young adolescent, thus to bother with just what her parent's next-door neighbors would certainly presume is unreasonable to me. She was actually 25 years old and opted to exist regarding that the daddy was therefore she might get rid of the infant.|Are you the parent from a little one that is actually involved regarding the achievable connection between vaccinations and also autism? People which have actually experienced abuse, disregard and also other negative childhood years experiences (ACEs) including coping with domestic physical violence throughout their childhood are at considerably better threat from mental disorder throughout lifestyle.|There are actually opportunities when a family experiences a crash that trembles the whole area. He likewise claimed that parents like Laura, who feared about her child's care, are actually typically addressed calmly and compassionately by clinical workers. I do possess my ups as well as downs, however at presents, I miss my hubby so much more compared to any sort of little ones I could possess had.|Being thought about an agent is not something to brag about. The article writer of the write-up is a school expert in OnlineSchoolAdmissions as well as delivers free of cost working as a consultant to moms and dads and universities for effortless and also rapid on-line school admissions. Eventually if she feels that this corrected that she be gone back to her biological parents, at that point the DeBoers were actually indeed incorrect to assert that this remained in her benefit to stay with them.|As summer season winds down, moms and dads and youngsters are actually organizing the begin from the academic year, but also for kids with meals allergies, heading to university for the very first time may possess substantial tension as well as stress. That still can be a teacher-student negative fit, however your youngster may be either on the slow-moving end from typical or dealing with a learning impairment. Find Parent Resources Some of the very best manner ins which innovation can help your little one is actually by assisting you discover more about knowing.|, if you are actually a parent moms and dad a guardian you need to know a few moms and dad about the Require Protection Understand and handful of points concerning CPS kid. Sometimes, a WOW's stepson of the age shows a contrary behavior and news becomes controlling from the WOW. Pertaining character-assassinating tales to the youngsters as well as others regarding the other moms and dad. Our experts now know, for instance, that nonreligious little ones of religious moms and dads cast off their opinions for causes that have little bit of to accomplish along with intellectual reasoning. Baseding upon her know-how, mommy is the greatest person in the world, the innovator from the home, the person in charge from cooking, taking care of sick children and hubby, educating the little ones like an educator and also always keeping the property as clean as possible. The psycho therapist observed me instructing all the ladies their homeschool lessons on someday as well as the upcoming opportunity he arrived, the females and I were actually participating in activities. Moms and dads can easily refer their little ones to professional aid such as therapy as well as psychological solutions if the anxious person could certainly not establish healthy and balanced problem management mechanisms to defeat stress and anxiety. . This vacation is actually usually granted to an interested worker by reason of existence of a contagious illness in the family or household of the employee, if such disease is considered to become dangerous to the health and wellness from other people. Little ones are larger right now more than ever, they are actually greater and also much less active compared to youngsters were actually 10 or even 15 years back. I was actually filling in a makeshift space at NewYork-Presbyterian Morgan Stanley Youngster's Healthcare facility with a pair lots folks. Montessori universities usually enlist kids at the onset of development. He tracks me routinely, seeks to love projectile me as well as regret me. I obtain web pages of emails everyday. Obtaining wed to a girl along with youngsters suggests you inherit the happiness and the distress. Having said that, when set up, children are going to appreciate finding out along with it in shaa' Allaah! Because you feel terrified, alone and prone shows that there is actually no interior grownup to like as well as care for your inner little one, which is exactly what develops the immobilization. Therefore, if you are actually certainly not investing the time to perform research along with your kid, feeding, taking a bath, reading, taking them to the bus stopover, you go to a downside in a guardianship instance. She maintained Dan on a brief lead, when he took a trip along with his household to France, Betty in fact recorded her spouse deserting to name his girlfriend on the phone. 5) Participate in an "I Spy" form of activity through creating your kid's title numerous times on a sizable piece of paper. Nevertheless, she highlights the relevance of providing folks with handicaps a vocal, whether with indicator foreign language, a linguist, or modern innovation to enable a nonverbal person to interact. The time Dan married Linda needed to have been awful time in Betty's lifestyle. Thus, truth-telling can be composed a larger container, as well as the stress a parent might believe, is actually reduced, knowing there are actually others which deeply love as well as are actually advisers for your little one. The typical body temperature for a healthy kid is actually 98.6 levels Fahrenheit, yet this temperature is simply an ordinary as well as most kids's body temperature levels fluctuate slightly throughout the day. The American Institute from Pediatric Dentistry makes a suggestion that little ones have their first check out to the dental professional 6 months after the 1st pearly white pops via the periodontals. The fourth stage of growth and also growth encompasses anywhere coming from 6 to 12 years, as youngsters relocate via center childhood and in to very early teenage years.

Gynaecology.

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How the Auschwitz Memorial’s Twitter account ended up being the web’s Holocaust fact-checker

Pawel Sawicki, 39, has been spearheading the Auschwitz Memorial’s social networks given that 2009.

In addition to tweeting individual stories about Auschwitz to raise awareness, Sawicki has utilized Twitter to fact-check numerous media outlets and users.

As Twitter struggles to combat false information, he has actually utilized the organization’s account to combat back versus fringe conspiracy theories.

Sawicki’s objective isn’t to encourage Holocaust deniers or conspiracy theorists. Rather, he wishes to reach people who are susceptible to false information.

Find out more stories like this on Expert.

On December 24 th, Dinesh D’Souza, a far-right conspiracy theorist, took to Twitter to chime in on the latest Rudy Giuliani controversy to his over 1 million followers, commenting that President Trump’s personal lawyer was “more of a Jew” than the Hungarian billionaire George Soros. While CNN’s tweet explained Soros as a Holocaust survivor, D’Souza had a different understanding: “Holocaust survivor? Ho, ho, ho. By his own admission, young Soros helped in the confiscation of Jewish home on behalf of a Hungarian program faithful to the Nazis.” The misinformation post has more than 6,906 retweets and 757 responds.

Though lots of users revealed their outrage at D’Souza for spreading a lie, others agreed or shared a declared photo of Soros as an SS Officer (the photo is in fact of Oskar Gröning, an SS garrison at Auschwitz). 8 hours after D’Souza’s Tweet, the Auschwitz Memorial’s Twitter account responded with two pages of copy resolving regularly flowed rumors that Soros was a Nazi collaborator. The account rapidly responded to a user implicating the museum of defending “ liberals,” stating, “For us whatever that is true, is. Whatever that is a lie or manipulation, is wrong and incorrect. The truth & the realities about complex and challenging history is exactly what we are teaching.”

— Auschwitz Memorial (@AuschwitzMuseum) December 26, 2019

Tweets like these offer a bleak microcosm of the web– a charlatan with a large platform shares a damaging rumor and then a reliable voice of reason steps in, asking users to side with the truth. Unlike numerous social media accounts commemorating the Holocaust, the Auschwitz Memorial’s Twitter account has presumed the role of a fact-checker. However unlike a lot of fact-checkers, the account performs its operate in complete view of the general public, as loudly as possible.

The death camp was the biggest extermination center of the Holocaust: the Nazi regime’s systemic, genocidal murder of 6 million Jews from 1941 to1945 From it’s conversion to a death camp in 1942 to the liberation of its prisoners in 1945, 1.1 million victims were killed in Auschwitz. In addition to highlighting stories about Auschwitz survivors and victims, the account often corrects or includes context to newspapers, reporters, and prominent figures like D’Souza about whatever from extravagant claims to basic errors relating to historic dates and occasions. Despite shooting out lots of posts a day, the account is run by simply one person, Pawel Sawicki.

At first, Auschwitz didn’t know how individuals would react to the subject of genocide on social media

Paul Sawicki runs the Twitter represent the Auschwitz Memorial.

Paul Sawicki

Sawicki, 39, informed Expert that the museum’s social media presence is part of their wider efforts to honor the legacy of the concentration camp’s victims He stated, “Part of our objective is to preserve the history of this place. So, truths are very essential.”

Sawicki, a former reporter, was at first drawn to studying Auschwitz through household history. After The Second World War, his grandparents transferred to Oswiecim, Poland, the town where the Auschwitz Memorial lies. As a journalist, Sawicki established a professional connection with the museum and explored his interests in discovering the history of the Holocaust. He was later used the function of a press officer in the fall of2007 5 years back, he also began working as a tourist guide.

In 2009, the memorial ventured into the world of social media when it developed a Facebook page. In the beginning, his group was worried about how users would respond to seeing posts commemorating a genocide sandwiched between “music videos” and “birthday wishes” on their newsfeed. They were amazed to find that people saw their social accounts “as an extension of the objective that we carry out in the historical sites.” 3 years later, in 2012, Sawicki launched the Twitter account that’s now amassed nearly 1 million followers.

Compared to Facebook, Twitter offered more interactive opportunities for the museum. From the outset, fact-checking belonged to their Twitter technique. Searching for hashtags and crucial search terms like ‘the Holocaust’ and ‘Auschwitz,’ Sawicki states he and his group can keep track of discussions that are developing online.

For his fact-checking, Sawicki draws from Auschwitz’s archive and sometimes requests for support from the institution’s historians. As fact-checking occurs on Twitter, users are provided a glimpse into the correction process that generally has occurred over phone or email. On January 2nd, Sawicki reached out to Renee Ghert-Zand regarding her The Times of Israel article about Heather Dune MacAdam’s book, “999: The Extraordinary Young Women of the First Authorities Jewish Transportation to Auschwitz.” Sawicki disagreed with the initial title, “The very first Auschwitz transport was of 997 young Slovakian Jewish females and teens,” because Auschwitz I was established in 1940 for Polish political prisoners and then in 1942, it broadened as a prisoner-of-war camp for Jews.

— Amanda Borschel-Dan (@AmandaBDan) January 2, 2020

After some back and forth on Twitter, correcting the title twice, Amanda Borschel-Dan, an editor at The Times of Israel, changed the post’s title to “First transport of Jews to Auschwitz was 997 young Slovak ladies and teenagers.” Assessing the exchange with the museum, Borschel-Dan said in an e-mail, “There is no dispute when we are openly fact-checked [by the museum] considering that our goals are the same– accurate accuracy and subtlety when reporting on the Holocaust. Our viewpoints might somewhat differ, but our objectives are the same.” She expressed concerns over being corrected in “a public manner” due to the fact that it “inevitably produces a troll tweetstorm.”

Sawicki said that he isn’t worried about giants because considering that they are inescapable, he can’t let it interfere with his work of trying to educate people about Auschwitz. “We should not manage the method we work and the method we act,” he stated. For the previous reporter, fact-checking publically refers effectiveness. Instead of trying to find an email or telephone number to call, he’s able to get quicker reactions– and corrections– from outlets by engaging on Twitter.

Not everyone takes kindly to Sawicki’s fact-checking process

Sawicki acknowledged to Insider that despite the fact that the majority of his fact-checking interactions are cordial, in some cases he has to obstruct users. Last February, in an opinion piece for Haaretz, Ariel Sobel detailed her hostile exchange with the account that caused her getting blocked(Ariel Sobel has actually faced allegations about her trustworthiness in the past). The exchange started when the museum slammed a The Jewish Voice post entitled “ Auschwitz-Birkenau & Its Polish Roots” Sawicki tweeted: “the title is not just false & ahistorical. It’s disrespectful to the memory of all the victims of Auschwitz: Jews, Poles, Roma, Soviets & others. Absolutely no arguments show the hazardous predisposition & manipulative character of this editorial. Embarassment.” In a tweet, Sobel then implicated the account of attempting to “rewrite history” by eliminating “Polish antisemitism.”

Responding to her jab, Sawicki specified that there were “no ‘Polish roots’ within the history of Auschwitz.” In her scathing post, Sobel contextualized the tweet– and the museum’s fact-checking efforts– with a 2018 law signed by Poland’s right-wing president Andrzej Duda which criminalized tying Poles to Nazis’ criminal offenses. At the time, the law triggered an international backlash and though it was changed in June 2018, the Polish government continues to have a tense relationship with Israel relating to the legacy of the Holocaust.

The Germans were responsible for the building and construction and administration of Auschwitz and they were occupying Poland during The second world war. Sobel’s qualms touched upon something broader: non-Jewish Poles helping Nazis find Jewish Poles and anti-Semitism preceding the Holocaust.

In an e-mail reaction to Expert about Sobel’s claims, Sawicki pointed out the writer’s trustworthiness issues and mentioned:

” Our position is extremely clear: the acts of Poles– brave or terrible– within the context of German profession of Poland must be looked into honestly, fairly and expertly.”

Furthermore, Sawicki told Insider that the concept of “Polish complicity” in Auschwitz is “simply incorrect.” Nevertheless, Sobel’s qualms were less about the uniqueness of Auschwitz’s history and more about attending to the environment in which antisemitism promoted. As Rivka Weinberg, an approach professor at Scripps College, kept in mind in a current New york city Times op-ed, European nations with a richer history in antisemitism, like Poland, had populations that were more complicit in helping Nazis find Jews.

Regardless, disputes over complicity have a geopolitical subtext. Last December, President Vladimir Putin made controversial comments blaming Poland for the start of World War II On January 14 th, a Twitter account representing the State Duma, a Russian legislative branch, posted a tweet demanding that the Polish federal government apologize for “extermination camps.” Sawicki responded with a quote-tweet that advocated for education about the prisoner-of-war camp’s “complex history.”

— Auschwitz Memorial (@AuschwitzMuseum) January 15, 2020

These discussions about the veracity of historical details can rapidly go off the rails and can be difficult to follow and respond to given that Sawicki regularly does not use citations in his correction. On December 30 th, the account publicly fixed Haaretz, “Your basic post about the history of # Auschwitz does not point out Poles who were the first group of victims & for whom the German Nazis established the camp. Listed below you will discover some other accurate information of the text.” (Haaretz didn’t release an action or a correction to their short article and a Haaretz press reporter whose beat is Poland and the Holocaust decreased to comment.) In the reactions to the tweet, some users engaged in a rather harmful discussion about the objected to notion of Polish complicity in the Holocaust.

— Auschwitz Memorial (@AuschwitzMuseum) December 30, 2019

The previous journalist stated that his objective isn’t to convince Holocaust deniers or conspiracy theorists who are encouraged by antisemitic bigotry however rather to “provide details, knowledge, [and] resources to those people who are exposed to such lies.”

In an email to Expert, Dr. Torsten Kathke, a history professor at the Johannes Gutenberg University’s Obama Institute whose knowledge is combating “incorrect stories,” stated that fact-checking on social media is essential since it’s planned not for “the person who is lying, however at those who may have cause to think the lie.” He stressed that though he comprehends issues about platforming “fringe ideas” through engaging with them, it’s crucial to get the reality out when a social media account with thousands or millions of fans is spreading out bigoted rumors. Kathke is doubtful about whether Twitter is comprehending the intensity of the problem and mentioned issues that the new feature to stop responds on Tweets will make it more difficult for users to “unmask lies.”

A representative for Twitter informed Expert that D’Souza’s false information Tweets about Soros didn’t violate the platform’s rules. In a declaration addressing a concern about what actions Twitter is taking to fact-check false information about the Holocaust, the agent said, “As described in the Twitter Rules, we do not tolerate targeted instances of hateful conduct, including referring to violent events or kinds of violence where safeguarded categories were the primary victims, or efforts to reject or diminish such events.”

Therefore, while glorifying or denying the Holocaust is an offense of the platform’s guidelines, spreading misinformation about who was a victim or criminal, as when it comes to D’Souza’s lies about Soros, needs independent fact-checkers to action in and inform the public what’s proper. Despite the implicit credibility of representing a worldwide popular organization, there’s only a lot Sawicki can do with one account. Eventually, unless social networks leviathans want to continue platforming figures like D’Souza, they will have to figure out how to promote freedom of conversation without enabling the proliferation of misinformation.

As the 75 th anniversary of the freedom of Auschwitz techniques, Sawicki is interacting with popular figures on Twitter in hopes of reaching 1 million followers. He’s taken on a righteous objective of trying to inform as numerous users as possible about among the 20 th century’s worst tragedies. This task, sometimes, has actually been analyzed pretty broadly– he regularly reminds users of the historic inaccuracies in works of fiction like Heather Morris’s The Tattooist of Auschwitz and John Boyne’s The Young Boy In The Striped Pajamas

— Auschwitz Memorial (@AuschwitzMuseum) January 4, 2020

Sawicki stressed that the majority of his interactions on Twitter are favorable, mentioning a user who compared his account to a virtual vigil for Auschwitz victims. These historic conversations are progressively taking location on social media, he advises for individuals to get more information from other resources like going to a regional museum or reserving a virtual trip of the Auschwitz Memorial. He remarked, “The knowledge is online, it’s just a question of choosing to learn.”

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Progressive Web Apps versus Android Instant Apps: Which is better for marketers?

Much has been made of the fight between mobile apps and the mobile web, but the line between the two is no longer as clear-cut as it used to be.

Broadly speaking, a mobile-friendly or mobile-responsive website is less costly and time-consuming to develop than a native mobile app, and tends to attract a wider audience – it’s quick to access, with no downloading or storage required.

Native mobile apps, meanwhile, tend to offer a better user experience and see more engagement from a dedicated core of users who are loyal enough to download a company’s app and come back to it time and time again.

But in the last couple of years, two hot new contenders have been added to the mix which aim to combine some of the best features of the mobile web and the app world for a better all-round mobile experience. They are: Progressive Web Apps (PWAs), and Android Instant Apps.

Image via Google Developers

Both Progressive Web Apps and Android Instant Apps are Google initiatives that put a new spin on the traditional mobile app. Both aim to provide a faster-loading, slimmed-down mobile experience; so you can be forgiven for wondering what exactly the difference is between the two.

In this article I’ll sum up the key features of Progressive Web Apps and Instant Apps, look at the differences between the two, and examine which offers a better proposition for businesses who are considering investing in one or the other.

What are Progressive Web Apps?

Andy Favell recently wrote a great piece for Search Engine Watch about the latest developments with Progressive Web Apps in the wake of Google I/O. In it, he explained:

“Progressive Web Apps are a Google innovation designed to combine the best features of mobile apps and the mobile web: speed, app-like interaction, offline usage, and no need to download anything.”

Google’s Developer page about Progressive Web Apps describes PWAs as “user experiences that have the reach of the web and are reliable, fast and engaging”. While at base PWAs are mobile webpages, they are designed to act and feel like apps, with fast loading and offline usage.

This immediately eliminates one of the biggest drawbacks of the mobile web: that mobile web pages depend on an often-shaky data connection that can lead to a poor experience and long, frustrating load times.

Image via Google Developers

Progressive Web Apps can also be saved to a user’s home screen, so that they can be launched with the tap of an icon just like a regular app can.

Google encourages developers to build Progressive Web Apps to an established standard, which when met, will cause Chrome to prompt the user to add the PWA to their home screen.

Brands who have already jumped on the PWA bandwagon include Twitter (whose PWA, Twitter Lite, sees 1 million daily visits from users’ homepage icons), Forbes, Expedia, Alibaba, the Washington Post, and even former native app-only companies like Lyft.

Twitter Lite is a faster, data friendly way for people to use Twitter to see what’s happening in the world.

https://t.co/AIUgyCAFj0 pic.twitter.com/9EIG7pgK6O

— Twitter (@Twitter) April 6, 2017

PWAs already offer many traits that we associate with native apps, including push notifications, geolocation, access to device features like the camera and microphone, and as mentioned above, offline working and icons on the home screen.

At the same time, they give organizations access to the benefits of the mobile web including easy discoverability and shareability (just send a link), universal access regardless of device (no need to release a separate iOS or Android app – although PWAs don’t quite have full functionality on iOS yet; more on that later), and the ability to bookmark individual links.

This sounds like a very compelling proposition for companies who aren’t sure whether to invest in a mobile site or a mobile app, or who want to significantly improve the experience of their mobile site for users.

So why did Google, after already having developed Progressive Web Apps, go on to launch Android Instant Apps in 2016? What is the difference between the two?

What are Android Instant Apps?

Android Instant Apps are fully-fledged native Android apps that are designed to work in a very specific way. Like Progressive Web Apps (or any mobile site, for that matter) they can be shared via a link, which when opened will give the recipient access to a stripped-down version of the app.

So, in the example that Google used at I/O in 2016, one user could send another a link to the recipe section of the Buzzfeed Video app, who would then be able to open it and access the part of the app that was linked to – in this case, recipe videos – without downloading it.

Screencap via Android Developers on YouTube

If they wanted to access the rest of the app, they would need to then download the full version, but this could be done easily without performing an additional search in the Play store.

Android Instant Apps are designed to be effectively the same as using a regular Android app, to the point where users may not even notice that they are using the feature. The only indicator that they are accessing an Instant App is a simplified app interface.

Apart from Buzzfeed, brands known to be using Instant Apps include The New York Times Crossword, Periscope, Viki (a video streaming service for Asian TV and film), football app Onefootball and video hosting service Vimeo.

Some of the brands currently using Android Instant Apps, including Onefootball, Vimeo and The New York Times. Image via Android Developers Blog

Android Instant Apps set out to tackle many of the same problems as Progressive Web Apps: they are designed to launch quickly, provide a user-friendly interface, and avoid cumbersome and data-costly downloads.

The feature is designed as an upgrade to existing Android apps, rather than being an additional app that companies need to develop. This is good news for organizations who already have an Android app, and for those who do, upgrading probably seems like a no-brainer.

But for those who might not have an app yet, do Instant Apps make a persuasive enough case by themselves for developing an Android app? Or might they be better off putting their time into developing a Progressive Web App?

Progressive Web Apps versus Android Instant Apps

On an individual feature basis, here is how Progressive Web Apps and Android Instant Apps compare to one another:

Progressive Web Apps Android Instant Apps ✓ App-like interface ✓ App-like interface ✓ Offline usage ✓ Offline usage ✓ Fast loading ✓ Fast loading ✓ No need to download an app/visit the app store ✓ No need to download an app/visit the app store

✘ Unless you want to access the full version of the app

✓ Shareable via a link ✓ Shareable via a link ✓Icon on the home screen ✓ Icon on the home screen ✘ Lacks integration with some smartphone features (e.g. flashlight, contacts, Bluetooth, NFC) ✓ All the features of a native app ✘ Not yet supported by every OS (PWAs can be used on iOS/Safari and Windows/Microsoft Edge but have no offline functionality or push notifications) ✘ Android only ✓ Can be crawled by search engines ✘ Not discoverable by search engines ✓ No need to develop a fully-fledged app

✘ But you do still need to develop a web app that meets Google’s standards

✘ Need to develop a fully-fledged Android app

✓ Unless you already have one, in which case you can just upgrade

In that list, you may have seen some features which especially appeal to you, some which might be deal-breakers and have put you off one option or the other, or some “cons” which aren’t enough of a deal-breaker to put you off.

Point-for-point, however, the two look about equal. So in the interests of settling the debate: which one is the better option for marketers?

Which is better for marketers: Progressive Web Apps or Android Instant Apps?

Well… Sorry to let you down after you’ve made it this far, but the issue isn’t quite as clear-cut as I’ve framed it to be.

As with the “mobile app versus mobile web” debate, no one option is inherently better than the other (although one can be cheaper or quicker to develop than the other), because it all depends on the needs of your brand and what you want your mobile experience to deliver.

What PWAs and AIAs have done is mitigate some of the biggest drawbacks of the mobile web and mobile apps, respectively, so that it’s possible to almost have the best of both worlds no matter what you decide.

If you’re trying to decide between building a regular mobile site (whether mobile-optimized, mobile-friendly or mobile-first) or a PWA, a Progressive Web App is a no-brainer. And if you already have an Android app (or were going to build one), upgrading to an Instant App would bring a lot of additional benefits.

Image via Android Developers

The lack of iOS support for both is an obvious drawback, although in this respect PWAs just edge out, as Safari is reported to be considering support for Service Workers, the feature that enables PWAs’ offline usage and push notifications. (Chrome, Firefox and Opera all currently support Service Workers, and Microsoft Edge is in the process of developing support).

Ultimately, the best solution might be a combination of several. Google Developer Advocate Dan Dascalescu points out in his article ‘Why Progressive Web Apps vs. native is the wrong question to ask’ that “if you already have a product, you already have an app, a web presence, or both, and you should improve both. If you don’t have a product, then if you have the resources to build native Android + native iOS + web apps, and keep them in sync, go for it.”

If you don’t need Android-specific native features, he reasons, then you can cover your bases with the combination of a PWA and a native iOS app. Though in some cases, building a PWA can lead to increased adoption even on iOS; AliExpress, Alibaba’s answer to eBay, saw an 82% increase in conversion rate on iOS after launching a Progressive Web App.

Progressive Web Apps have been around and available to organizations a little longer than Android Instant Apps, so there are a few more use cases and examples of why they work than there are for Instant Apps. Over the next year or so, I predict that we’ll see wider adoption of Instant Apps, but only from those brands who had already developed Android native apps anyway.

Ultimately, for those companies for whom developing a native Android app makes sense, nothing has really changed. Companies who were undecided between investing in mobile web versus a native app may have more reasons to plump for mobile web now that Progressive Web Apps have come along – especially once PWAs have full support in Safari and Microsoft Edge.

I can see PWAs becoming the more widespread choice for organizations once they work across all devices, as they truly do combine the best features of mobile web and apps, while also being universally accessible. But they’re not going to eliminate the need for apps entirely.

The upshot of it all is that whether organizations adopt Progressive Web Apps or Android Instant Apps, users will get a better experience – and that benefits everyone.

This article was originally published on our sister site, ClickZ, and has been reproduced here for the enjoyment of our audience on Search Engine Watch.

from IM Tips And Tricks https://searchenginewatch.com/2017/06/14/progressive-web-apps-versus-android-instant-apps-which-is-better-for-marketers/ from Rising Phoenix SEO https://risingphxseo.tumblr.com/post/161814921000

6 Tried-and-True Tactics for Effectively Using Video In Your Sales Connect Calls

I don’t have to tell you that video is all the rage; I’m sure you’ve already gathered that.

What I can tell you from first-hand experience, however, is that out of all the teams in your company, your sales team is the one that can benefit the most by using it.

Using video in every stage in the sales process is important, but one of the most important during "Connect."

It's the initial interaction a prospect has with your company and sets the first impression of you and your team.

At IMPACT, it’s my job to connect with people who not only reach out directly wanting to learn more about our services, but also prospecting.

In a nutshell, I handle all inbound leads.

Since taking on this responsibility, I have embraced video with open arms, and encouraged our entire sales team to start using it in their day to day as well.

So far, I've seen great results and also found that it makes interaction with leads more meaningful and time efficient -- which is why I want to share six ways you can effectively use video in the connect stage of your sales process.

1. Break the Ice "Face-to-Face"

The first thing I'd recommend adopting in your connect call process is opting for video calls as your first interaction with prospects.

Now, I know you don't always have the option of video due to time constraints.

In fact, in the instance that someone fills out a form for a consultation, I'd recommend quickly picking up the phone in no more than five minutes to connect with them.

However, if you have the flexibility to schedule a time to speak at a later date, always suggest meeting via video. 

At IMPACT, for instance, website visitors have the option to book a time to speak on my calendar or schedule a meeting with me through Drift, at which point, a calendar invite is sent with my Zoom information for the future call to take place via video.

Why does video for your connect calls make a difference?

Well, for one thing, body language is huge.

It allows you to pick up on certain behaviors and identify where someone is more engaged with what you're saying versus when you might have lost them.

You're able to then tailor your conversation based on these reactions. 

Ultimately, video makes you appear more human.

Sure, the person you're talking to knows you're a human on the other end of the phone line too but seeing someone via video can be as powerful as meeting someone in person.

It establishes trust much quicker which allows your sales conversations to move much faster. 

2. Share Personal Value

Whether you are prospecting or scheduling a connect call with an inbound lead, consider following up through a personalized video email.

This is one of the greatest tips I can give in setting yourself apart from competitors. 

Typically within a follow-up email, I'll do a quick intro about who I am, and then bring up a pain point I know they are facing and offer advice or a tip on how to help begin solving for it. 

I recently completed the HubSpot Pipeline Generation Bootcamp with the incredible Dan Tyre, and let me tell you, it was life-changing.

One of the areas we focused on was how to best utilize video to get a prospect's attention and getting a connect call scheduled.

It's important that your first video interaction doesn't come across too sales-y, so Dan suggested you use your brief video time via email to show the prospect the value you can bring to them in a helpful way.

This initial video should be where you provide some advice and quick wins for the prospect - based on the pain point they might be facing.

This shows your expertise and value that you bring to the table so you can begin building the relationship with them. 

As an example, one of the tips Dan gave our cohort was to do a video screen share of the prospect's website (if you're a marketing agency, for instance) and point out a couple items that stand out, and some quick wins they can implement.

Then, let them know about your company and why you are in the position to give them that advice. 

Another example is to pull up the prospect's LinkedIn.

You have a limited amount of time to keep your lead's attention. With this approach, they'll see you have their page pulled up in the video thumbnail and be intrigued to watch and figure out why. 

It's best if you can accomplish all of this within a minute or less -- Yes, it's doable!

Just keep it to the point and avoid filler words and fluff. 

Another way I like to make my videos stand out is by checking out the prospect's LinkedIn and finding something we have in common, or something I can mention, to show I took the time to learn a little bit about them. 

Lastly, do not forget to give them a call-to-action (CTA) in your video.

You want to make it easy for them to book a meeting on your calendar directly. With Vidyard, Wistia, and other tools, you can include a CTA to ensure you make it a seamless next step.

3. Invest In A White Board 

As you could see with my LinkedIn hack above, one way to really ensure someone watches your video is to make sure the thumbnail stands out. 

To accomplish this, I've also recently started incorporating a white board in my videos.

This shows prospects that I'm not sending out a mass video to a list of contacts, but that I actually took the time to record a video just for them. 

On my white board, I tend to always put the prospect's name. That way they know right away the video was recorded specifically for them.

More recently I've also been including a pain point with it, which shows them I know what they are facing and I'm probably about to talk about it in the video...so they should watch!

You might be thinking...well, how do I fit all of that into a small white board space?

I'd recommend getting a two-sided white board so that you can flip between between the two messages.

This is perfect when you create a giphy with your video thumbnail so right away your lead can see both messages.  

4. Include Video In The Subject Line 

If someone sees a video in an email they are very likely to watch it. In fact, an initial email with a video can see a click-through increase of up to 96%, but how do I get people to open the email in the first place? 

Getting people to open emails, especially when they are bombarded each day, is a science. It's something your marketing team probably tests quite frequently.

That being said, there are also two methods I've personally been testing that have worked well for me. 

One of them I picked up by getting emails from Drift.

They tend to not capitalize the first letter of the subject line so that it appears like this for example: "let's schedule a time to connect this week."

It's a minuscule detail, but it stands out because, at first glance, since it's informal, you think it's coming from someone you might know, or it's an email that you feel you should be expecting. 

The second tip if I'm including a video in an email I always include [video] somewhere in the subject line. Simple as that. Sometimes people just need to know there's something to watch and they will!

5. Turn to LinkedIn

Being in sales, I'm sure you are no stranger to using LinkedIn to prospect.

I've found that, if you aren't able to get through email, sending a connection request to someone on LinkedIn and including the video you recorded in the message if a great way to get noticed. 

Think about the number of messages you get on LinkedIn -- can you count the number of video messages you've received on both hands? Probably not.

This tip will help you stand out significantly from the competition and brings even more meaning to the connection you're making. 

6. Use the Right Video Tool

There are some fantastic video tools out there, but my personal favorite is Vidyard.

Through Vidyard, I'm able to record directly in my browser, share my screen, and drop a video thumbnail right into emails.

It makes recording and sharing video even easier than typing out an email. (Adn what sales person doesn't like efficiency, am I right?)

I also religiously visit my Vidyard dashboard to track analytics of how much of a video people are watching, and how many people are clicking through to my meeting link. 

Another awesome feature of Vidyard is the notification I get when someone watches a video.

The first tip I'd give if you get one is pick up the phone and call them. You know they are probably at their computer, and that at that moment, you are top of mind.

Another tip is to re-engage via email letting them know you noticed they watched the video and wanted to see if they had any questions. 

All-in-all, you want a video tool that is going to make it easy for you to send videos and track your efforts so you can continue to improve your video outreach.

For me, this is Vidyard, but perhaps something else (i.e. Wisita, Biteable, etc.) will better fit your process!

Video Won't Be An Overnight Success, But Don't Give Up 

I would be lying to you if I said the first couple videos I sent ended in automatic connect calls on my calendar.

Rather, it's something I've spent time testing and trying out in order to see what really stuck. 

It truly comes down to how you're able to make your outreach stand out initially, and how you can get the person watching your video intrigued enough to schedule a connect call with you.

The great thing is you won't have to come up with new material to record these videos.

You know your sales conversations, what people find valuable, common pain points and ways you can help.

What will take a little work is figuring out how to capture it in a short video, that will resonate with your audience. 

Video can seem daunting, but it is probably one of the easiest things you can do to drive more business.

It's an approach that is not only going to save you time from the mundane task of writing sales emails, but it will also be the thing that makes you stand out from your competition.

These easy tips once implemented will have you on your way to effectively incorporating video in your prospecting and connect calls. 

from Web Developers World https://www.impactbnd.com/blog/use-video-in-your-sales-connect-call-process

Progressive Web Apps versus Android Instant Apps: Which is better for marketers?

Much has been made of the fight between mobile apps and the mobile web, but the line between the two is no longer as clear-cut as it used to be.

Broadly speaking, a mobile-friendly or mobile-responsive website is less costly and time-consuming to develop than a native mobile app, and tends to attract a wider audience – it’s quick to access, with no downloading or storage required.

Native mobile apps, meanwhile, tend to offer a better user experience and see more engagement from a dedicated core of users who are loyal enough to download a company’s app and come back to it time and time again.

But in the last couple of years, two hot new contenders have been added to the mix which aim to combine some of the best features of the mobile web and the app world for a better all-round mobile experience. They are: Progressive Web Apps (PWAs), and Android Instant Apps.

Image via Google Developers

Both Progressive Web Apps and Android Instant Apps are Google initiatives that put a new spin on the traditional mobile app. Both aim to provide a faster-loading, slimmed-down mobile experience; so you can be forgiven for wondering what exactly the difference is between the two.

In this article I’ll sum up the key features of Progressive Web Apps and Instant Apps, look at the differences between the two, and examine which offers a better proposition for businesses who are considering investing in one or the other.

What are Progressive Web Apps?

Andy Favell recently wrote a great piece for Search Engine Watch about the latest developments with Progressive Web Apps in the wake of Google I/O. In it, he explained:

“Progressive Web Apps are a Google innovation designed to combine the best features of mobile apps and the mobile web: speed, app-like interaction, offline usage, and no need to download anything.”

Google’s Developer page about Progressive Web Apps describes PWAs as “user experiences that have the reach of the web and are reliable, fast and engaging”. While at base PWAs are mobile webpages, they are designed to act and feel like apps, with fast loading and offline usage.

This immediately eliminates one of the biggest drawbacks of the mobile web: that mobile web pages depend on an often-shaky data connection that can lead to a poor experience and long, frustrating load times.

Image via Google Developers

Progressive Web Apps can also be saved to a user’s home screen, so that they can be launched with the tap of an icon just like a regular app can.

Google encourages developers to build Progressive Web Apps to an established standard, which when met, will cause Chrome to prompt the user to add the PWA to their home screen.

Brands who have already jumped on the PWA bandwagon include Twitter (whose PWA, Twitter Lite, sees 1 million daily visits from users’ homepage icons), Forbes, Expedia, Alibaba, the Washington Post, and even former native app-only companies like Lyft.

Twitter Lite is a faster, data friendly way for people to use Twitter to see what’s happening in the world.

https://t.co/AIUgyCAFj0 pic.twitter.com/9EIG7pgK6O

— Twitter (@Twitter) April 6, 2017

PWAs already offer many traits that we associate with native apps, including push notifications, geolocation, access to device features like the camera and microphone, and as mentioned above, offline working and icons on the home screen.

At the same time, they give organizations access to the benefits of the mobile web including easy discoverability and shareability (just send a link), universal access regardless of device (no need to release a separate iOS or Android app – although PWAs don’t quite have full functionality on iOS yet; more on that later), and the ability to bookmark individual links.

This sounds like a very compelling proposition for companies who aren’t sure whether to invest in a mobile site or a mobile app, or who want to significantly improve the experience of their mobile site for users.

So why did Google, after already having developed Progressive Web Apps, go on to launch Android Instant Apps in 2016? What is the difference between the two?

What are Android Instant Apps?

Android Instant Apps are fully-fledged native Android apps that are designed to work in a very specific way. Like Progressive Web Apps (or any mobile site, for that matter) they can be shared via a link, which when opened will give the recipient access to a stripped-down version of the app.

So, in the example that Google used at I/O in 2016, one user could send another a link to the recipe section of the Buzzfeed Video app, who would then be able to open it and access the part of the app that was linked to – in this case, recipe videos – without downloading it.

Screencap via Android Developers on YouTube

If they wanted to access the rest of the app, they would need to then download the full version, but this could be done easily without performing an additional search in the Play store.

Android Instant Apps are designed to be effectively the same as using a regular Android app, to the point where users may not even notice that they are using the feature. The only indicator that they are accessing an Instant App is a simplified app interface.

Apart from Buzzfeed, brands known to be using Instant Apps include The New York Times Crossword, Periscope, Viki (a video streaming service for Asian TV and film), football app Onefootball and video hosting service Vimeo.

Some of the brands currently using Android Instant Apps, including Onefootball, Vimeo and The New York Times. Image via Android Developers Blog

Android Instant Apps set out to tackle many of the same problems as Progressive Web Apps: they are designed to launch quickly, provide a user-friendly interface, and avoid cumbersome and data-costly downloads.

The feature is designed as an upgrade to existing Android apps, rather than being an additional app that companies need to develop. This is good news for organizations who already have an Android app, and for those who do, upgrading probably seems like a no-brainer.

But for those who might not have an app yet, do Instant Apps make a persuasive enough case by themselves for developing an Android app? Or might they be better off putting their time into developing a Progressive Web App?

Progressive Web Apps versus Android Instant Apps

On an individual feature basis, here is how Progressive Web Apps and Android Instant Apps compare to one another:

Progressive Web AppsAndroid Instant Apps✓ App-like interface✓ App-like interface✓ Offline usage✓ Offline usage✓ Fast loading✓ Fast loading✓ No need to download an app/visit the app store✓ No need to download an app/visit the app store

✘ Unless you want to access the full version of the app

✓ Shareable via a link✓ Shareable via a link✓Icon on the home screen✓ Icon on the home screen✘ Lacks integration with some smartphone features (e.g. flashlight, contacts, Bluetooth, NFC)✓ All the features of a native app✘ Not yet supported by every OS (PWAs can be used on iOS/Safari and Windows/Microsoft Edge but have no offline functionality or push notifications)✘ Android only✓ Can be crawled by search engines✘ Not discoverable by search engines✓ No need to develop a fully-fledged app

✘ But you do still need to develop a web app that meets Google’s standards

✘ Need to develop a fully-fledged Android app

✓ Unless you already have one, in which case you can just upgrade

In that list, you may have seen some features which especially appeal to you, some which might be deal-breakers and have put you off one option or the other, or some “cons” which aren’t enough of a deal-breaker to put you off.

Point-for-point, however, the two look about equal. So in the interests of settling the debate: which one is the better option for marketers?

Which is better for marketers: Progressive Web Apps or Android Instant Apps?

Well… Sorry to let you down after you’ve made it this far, but the issue isn’t quite as clear-cut as I’ve framed it to be.

As with the “mobile app versus mobile web” debate, no one option is inherently better than the other (although one can be cheaper or quicker to develop than the other), because it all depends on the needs of your brand and what you want your mobile experience to deliver.

What PWAs and AIAs have done is mitigate some of the biggest drawbacks of the mobile web and mobile apps, respectively, so that it’s possible to almost have the best of both worlds no matter what you decide.

If you’re trying to decide between building a regular mobile site (whether mobile-optimized, mobile-friendly or mobile-first) or a PWA, a Progressive Web App is a no-brainer. And if you already have an Android app (or were going to build one), upgrading to an Instant App would bring a lot of additional benefits.

Image via Android Developers

The lack of iOS support for both is an obvious drawback, although in this respect PWAs just edge out, as Safari is reported to be considering support for Service Workers, the feature that enables PWAs’ offline usage and push notifications. (Chrome, Firefox and Opera all currently support Service Workers, and Microsoft Edge is in the process of developing support).

Ultimately, the best solution might be a combination of several. Google Developer Advocate Dan Dascalescu points out in his article ‘Why Progressive Web Apps vs. native is the wrong question to ask’ that “if you already have a product, you already have an app, a web presence, or both, and you should improve both. If you don’t have a product, then if you have the resources to build native Android + native iOS + web apps, and keep them in sync, go for it.”

If you don’t need Android-specific native features, he reasons, then you can cover your bases with the combination of a PWA and a native iOS app. Though in some cases, building a PWA can lead to increased adoption even on iOS; AliExpress, Alibaba’s answer to eBay, saw an 82% increase in conversion rate on iOS after launching a Progressive Web App.

Progressive Web Apps have been around and available to organizations a little longer than Android Instant Apps, so there are a few more use cases and examples of why they work than there are for Instant Apps. Over the next year or so, I predict that we’ll see wider adoption of Instant Apps, but only from those brands who had already developed Android native apps anyway.

Ultimately, for those companies for whom developing a native Android app makes sense, nothing has really changed. Companies who were undecided between investing in mobile web versus a native app may have more reasons to plump for mobile web now that Progressive Web Apps have come along – especially once PWAs have full support in Safari and Microsoft Edge.

I can see PWAs becoming the more widespread choice for organizations once they work across all devices, as they truly do combine the best features of mobile web and apps, while also being universally accessible. But they’re not going to eliminate the need for apps entirely.

The upshot of it all is that whether organizations adopt Progressive Web Apps or Android Instant Apps, users will get a better experience – and that benefits everyone.

 This article was originally published on our sister site, ClickZ, and has been reproduced here for the enjoyment of our audience on Search Engine Watch.

source https://searchenginewatch.com/2017/06/14/progressive-web-apps-versus-android-instant-apps-which-is-better-for-marketers/ from Rising Phoenix SEO http://risingphoenixseo.blogspot.com/2017/06/progressive-web-apps-versus-android.html

Progressive Web Apps versus Android Instant Apps: Which is better for marketers?

Much has been made of the fight between mobile apps and the mobile web, but the line between the two is no longer as clear-cut as it used to be.

Broadly speaking, a mobile-friendly or mobile-responsive website is less costly and time-consuming to develop than a native mobile app, and tends to attract a wider audience – it’s quick to access, with no downloading or storage required.

Native mobile apps, meanwhile, tend to offer a better user experience and see more engagement from a dedicated core of users who are loyal enough to download a company’s app and come back to it time and time again.

But in the last couple of years, two hot new contenders have been added to the mix which aim to combine some of the best features of the mobile web and the app world for a better all-round mobile experience. They are: Progressive Web Apps (PWAs), and Android Instant Apps.

Image via Google Developers

Both Progressive Web Apps and Android Instant Apps are Google initiatives that put a new spin on the traditional mobile app. Both aim to provide a faster-loading, slimmed-down mobile experience; so you can be forgiven for wondering what exactly the difference is between the two.

In this article I’ll sum up the key features of Progressive Web Apps and Instant Apps, look at the differences between the two, and examine which offers a better proposition for businesses who are considering investing in one or the other.

What are Progressive Web Apps?

Andy Favell recently wrote a great piece for Search Engine Watch about the latest developments with Progressive Web Apps in the wake of Google I/O. In it, he explained:

“Progressive Web Apps are a Google innovation designed to combine the best features of mobile apps and the mobile web: speed, app-like interaction, offline usage, and no need to download anything.”

Google’s Developer page about Progressive Web Apps describes PWAs as “user experiences that have the reach of the web and are reliable, fast and engaging”. While at base PWAs are mobile webpages, they are designed to act and feel like apps, with fast loading and offline usage.

This immediately eliminates one of the biggest drawbacks of the mobile web: that mobile web pages depend on an often-shaky data connection that can lead to a poor experience and long, frustrating load times.

Image via Google Developers

Progressive Web Apps can also be saved to a user’s home screen, so that they can be launched with the tap of an icon just like a regular app can.

Google encourages developers to build Progressive Web Apps to an established standard, which when met, will cause Chrome to prompt the user to add the PWA to their home screen.

Brands who have already jumped on the PWA bandwagon include Twitter (whose PWA, Twitter Lite, sees 1 million daily visits from users’ homepage icons), Forbes, Expedia, Alibaba, the Washington Post, and even former native app-only companies like Lyft.

Twitter Lite is a faster, data friendly way for people to use Twitter to see what’s happening in the world.

https://t.co/AIUgyCAFj0 http://pic.twitter.com/9EIG7pgK6O

— Twitter (@Twitter) April 6, 2017

PWAs already offer many traits that we associate with native apps, including push notifications, geolocation, access to device features like the camera and microphone, and as mentioned above, offline working and icons on the home screen.

At the same time, they give organizations access to the benefits of the mobile web including easy discoverability and shareability (just send a link), universal access regardless of device (no need to release a separate iOS or Android app – although PWAs don’t quite have full functionality on iOS yet; more on that later), and the ability to bookmark individual links.

This sounds like a very compelling proposition for companies who aren’t sure whether to invest in a mobile site or a mobile app, or who want to significantly improve the experience of their mobile site for users.

So why did Google, after already having developed Progressive Web Apps, go on to launch Android Instant Apps in 2016? What is the difference between the two?

What are Android Instant Apps?

Android Instant Apps are fully-fledged native Android apps that are designed to work in a very specific way. Like Progressive Web Apps (or any mobile site, for that matter) they can be shared via a link, which when opened will give the recipient access to a stripped-down version of the app.

So, in the example that Google used at I/O in 2016, one user could send another a link to the recipe section of the Buzzfeed Video app, who would then be able to open it and access the part of the app that was linked to – in this case, recipe videos – without downloading it.

Screencap via Android Developers on YouTube

If they wanted to access the rest of the app, they would need to then download the full version, but this could be done easily without performing an additional search in the Play store.

Android Instant Apps are designed to be effectively the same as using a regular Android app, to the point where users may not even notice that they are using the feature. The only indicator that they are accessing an Instant App is a simplified app interface.

Apart from Buzzfeed, brands known to be using Instant Apps include The New York Times Crossword, Periscope, Viki (a video streaming service for Asian TV and film), football app Onefootball and video hosting service Vimeo.

Some of the brands currently using Android Instant Apps, including Onefootball, Vimeo and The New York Times. Image via Android Developers Blog

Android Instant Apps set out to tackle many of the same problems as Progressive Web Apps: they are designed to launch quickly, provide a user-friendly interface, and avoid cumbersome and data-costly downloads.

The feature is designed as an upgrade to existing Android apps, rather than being an additional app that companies need to develop. This is good news for organizations who already have an Android app, and for those who do, upgrading probably seems like a no-brainer.

But for those who might not have an app yet, do Instant Apps make a persuasive enough case by themselves for developing an Android app? Or might they be better off putting their time into developing a Progressive Web App?

Progressive Web Apps versus Android Instant Apps

On an individual feature basis, here is how Progressive Web Apps and Android Instant Apps compare to one another:

Progressive Web Apps Android Instant Apps ✓ App-like interface ✓ App-like interface ✓ Offline usage ✓ Offline usage ✓ Fast loading ✓ Fast loading ✓ No need to download an app/visit the app store ✓ No need to download an app/visit the app store

✘ Unless you want to access the full version of the app

✓ Shareable via a link ✓ Shareable via a link ✓Icon on the home screen ✓ Icon on the home screen ✘ Lacks integration with some smartphone features (e.g. flashlight, contacts, Bluetooth, NFC) ✓ All the features of a native app ✘ Not yet supported by every OS (PWAs can be used on iOS/Safari and Windows/Microsoft Edge but have no offline functionality or push notifications) ✘ Android only ✓ Can be crawled by search engines ✘ Not discoverable by search engines ✓ No need to develop a fully-fledged app

✘ But you do still need to develop a web app that meets Google’s standards

✘ Need to develop a fully-fledged Android app

✓ Unless you already have one, in which case you can just upgrade

In that list, you may have seen some features which especially appeal to you, some which might be deal-breakers and have put you off one option or the other, or some “cons” which aren’t enough of a deal-breaker to put you off.

Point-for-point, however, the two look about equal. So in the interests of settling the debate: which one is the better option for marketers?

Which is better for marketers: Progressive Web Apps or Android Instant Apps?

Well… Sorry to let you down after you’ve made it this far, but the issue isn’t quite as clear-cut as I’ve framed it to be.

As with the “mobile app versus mobile web” debate, no one option is inherently better than the other (although one can be cheaper or quicker to develop than the other), because it all depends on the needs of your brand and what you want your mobile experience to deliver.

What PWAs and AIAs have done is mitigate some of the biggest drawbacks of the mobile web and mobile apps, respectively, so that it’s possible to almost have the best of both worlds no matter what you decide.

If you’re trying to decide between building a regular mobile site (whether mobile-optimized, mobile-friendly or mobile-first) or a PWA, a Progressive Web App is a no-brainer. And if you already have an Android app (or were going to build one), upgrading to an Instant App would bring a lot of additional benefits.

Image via Android Developers

The lack of iOS support for both is an obvious drawback, although in this respect PWAs just edge out, as Safari is reported to be considering support for Service Workers, the feature that enables PWAs’ offline usage and push notifications. (Chrome, Firefox and Opera all currently support Service Workers, and Microsoft Edge is in the process of developing support).

Ultimately, the best solution might be a combination of several. Google Developer Advocate Dan Dascalescu points out in his article ‘Why Progressive Web Apps vs. native is the wrong question to ask’ that “if you already have a product, you already have an app, a web presence, or both, and you should improve both. If you don’t have a product, then if you have the resources to build native Android + native iOS + web apps, and keep them in sync, go for it.”

If you don’t need Android-specific native features, he reasons, then you can cover your bases with the combination of a PWA and a native iOS app. Though in some cases, building a PWA can lead to increased adoption even on iOS; AliExpress, Alibaba’s answer to eBay, saw an 82% increase in conversion rate on iOS after launching a Progressive Web App.

Progressive Web Apps have been around and available to organizations a little longer than Android Instant Apps, so there are a few more use cases and examples of why they work than there are for Instant Apps. Over the next year or so, I predict that we’ll see wider adoption of Instant Apps, but only from those brands who had already developed Android native apps anyway.

Ultimately, for those companies for whom developing a native Android app makes sense, nothing has really changed. Companies who were undecided between investing in mobile web versus a native app may have more reasons to plump for mobile web now that Progressive Web Apps have come along – especially once PWAs have full support in Safari and Microsoft Edge.

I can see PWAs becoming the more widespread choice for organizations once they work across all devices, as they truly do combine the best features of mobile web and apps, while also being universally accessible. But they’re not going to eliminate the need for apps entirely.

The upshot of it all is that whether organizations adopt Progressive Web Apps or Android Instant Apps, users will get a better experience – and that benefits everyone.

  This article was originally published on our sister site, ClickZ, and has been reproduced here for the enjoyment of our audience on Search Engine Watch.

Progressive Web Apps versus Android Instant Apps: Which is better for marketers? syndicated from http://ift.tt/2maPRjm