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September 14 2011

09:06

AOL Tech expands direct ad sales cooperation with isocket

isocket :: Isocket announces that AOL Tech, the parent group of TechCrunch, is launching additional properties on isocket and buyads.com. As you may recall, popular blog TechCrunch was Isocket's very first publisher. When AOL bought TechCrunch about a year ago some people questioned what would happen with isocket. AOL Tech's decision to expand the cooperation with isocket can be seen an indicator of the success of direct ad sales for TechCrunch. 

Continue to read Ryan Hupfer, blog.isocket.com

December 06 2010

15:00

“An art brand”: Gawker Artists looks at the image beyond the display ad

Five years ago, Chris Batty, until this week Gawker’s vice president of sales and marketing, was looking to fill un-purchased ad space on the site. He wanted to forgo the “horrendous creative” of ad networks that litter sites with penny stocks and would keep his sales teams pushing buttons instead of building relationships. Batty sought something prettier, more intimate, more unique for the company’s growing real estate. At the time, he was living with a woman who worked for Christie’s art house, and he prodded her to find artists to fill the empty space. She didn’t act on Batty’s inspiration, but he did — bringing images of artists’ work to stand alongside Gawker’s blog posts.

The result was a workaround that gave Gawker full control over its pages’ aesthetics. Born as a stopgap to complement blog posts, Gawker Artists is now taking on an unexpected life of its own — it became a standalone site in 2006 — in large part by thinking of art not merely as a pretty placeholder for text but as something that could survive on its own. Something that could be modeled and monetized. “Gawker Artists is an art brand rather than an editorial brand,” Gawker Media’s director of marketing, Erin Pettigrew, points out. That’s a major distinction in an industry that uses the word “art” as shorthand for photos, infographics, cartoons, and any other visual.

G.A. curators — working with more than 1,400 artists with 35,000 images — tailor and export work to media partners like Elle, Curbed, and The Atlantic. They hang pieces at Gawker’s notoriously bit-focused office, and are in talks to curate work for the headquarters of another high-profile startup. G.A. organizes sponsored exhibitions and events and collaborates with brands on creative projects. Soon, it will launch an art shop that sells limited-edition prints.

It’s an experiment that suggests the power of looking beyond text in journalism’s business models. As Ivan Askwith, director of strategy at Big Spaceship and a founding member of MIT’s Convergence Culture Consortium, puts it: “Let go of the idea that content needs to be created in a certain medium.”

“A good karma project” is a good business proposition

In hindsight, Batty says he would have found a simpler solution for the ad space. Networks are more versatile now, and Gawker can collapse un-purchased space, folding the pixels away and making them disappear. That would have been a shame, though, for Jonathan Fasulo, a photographer who shows on artists.gawker.com. A company that builds websites for photogs found Fasulo there, liked his work, and is giving him a free site for two years. Berlin-based Winston Torr started exhibiting on G.A. earlier in 2010 — and within a week of signing on, his Facebook fan page jumped from 175 to 275 followers. That was followed up with a phone call from the curator of a new Berlin gallery, who wants Torr for a show.

Gawker doesn’t represent artists, but it provides free profiles and exposure. “We both want to communicate with as big an audience as possible,” says Liz Dimmitt, drawing a comparison between artists and journalism companies. Liz and her 24-year-old sister, Genevieve, curate Gawker Artists, visiting studios and taking submissions.

Right now, G.A. is a corporate art program: It’s not charged with generating revenue, producing traffic, or breaking news. The site is an endearingly calm space among Gawker’s tumultuous, often cheeky media properties. “We are sort of a good karma project,” says Liz, who interned with JP Morgan Chase’s corporate art program seven years ago and joined G.A. in 2006. Genevieve, fresh out of Savannah College of Art and Design, says, “I didn’t really know what Gawker was,” but adds that it’s “kind of genius for them to be placing art in their ad space.”

That genius is not just about G.A.’s use of ad space; it’s also about their construction of an entirely new community (in this case, artists) that builds an entirely new resource (in this case, art) that is entirely monetizable: exhibits, art-based events, prints, etc. Some of the most promising media organizations are bringing their business models offline: Mashable inaugurated Social Media Day; Vice invited its merry band of hipsters to watch Eastbound and Down; the Economist holds business summits; Vogue brings out the fashionistas; GQ opened a restaurant division; Wired pops up its SoHo store; Tyler Brule’s traveling journalism operation, Monocle, has an office that publishes in the back and sells products in the front. What makes G.A.’s model work is that they move offline by harnessing community-generated content online.

Gawker Media (and Art House)

Since Gawker differentiates between a Torr painting and, say, a picture of Putin, the company can use each resources in different ways. One way they do that is to spread their new resources to visually-based websites. Each month, the Dimmitt sisters cycle new content through Gawker Media properties, and G.A. offers to share the code with anyone who wants it (simply fill out a form with preferred display sizes). More than 200 sites — many of them those of Gawker Artists — feature Gawker’s art on their blogs and Flickr and Etsy profiles. Digital Americana, a literary and culture mag made strictly for the iPad, exhibits Gawker Artists as a footer banner on its site.

For bigger journalism outfits (like Curbed, Elle, and The Atlantic), the Dimmitts hand-curate. Curbed, a real estate-focused network, features art from thematically-related artists in the top-right corner of its site and as banner ads to break up blog posts. General Manager Josh Albertson trusts the Dimmitts to pick images that fit, and if you check out Curbed, there’s a pleasant mix of architectural work co-branded as the “Gawker Artists Curbed collection.” Even though Albertson looks forward to the day when Gawker Artists content is replaced by paying clients, “we’d rather be running this than 25-cent weight-loss CPM ads,” he says. Gawker curates these collections for free, but along the way, they’re building their second brand — and curators are getting to know their community for the time when bigger projects come along.

Gawker Artists also brings a three-dimensional sensibility to Gawker Media sites. Not Avatar 3D, but events, exhibitions, community. “I think Gawker has been somewhat of a pioneer in that respect,” says Erin Smolinski, media planning manager for Diesel USA. As part of Diesel’s Be Stupid campaign earlier this year, she spent $30,000 with Gawker Media, a buy that included run-of-site banners, custom roadblocks, co-branded posts, and a contest moderated by James Frey. Click-throughs were through the roof — 3.8 percent on custom builds, almost five times the industry average — and Diesel’s first-ever online campaign garnered Gawker up to $7 CPMs.

Simultaneously, Gawker Artists was curating its NSFW (“Not Safe For Work”) show featuring artist Justine Lai’s “presidents” series (somewhat SFW). Account exec Meredith Katz told Smolinski about the event, and Diesel put $5,000 of the buy to sponsor NSFW. “I liked the way it made our plan robust,” she says. Smolinski, who partnered with Gawker for its Silent Rave — a dance party with headphones (really) — says NSFW was “a little more intimate and brave” than the rave. It made the campaign resonate more, and Diesel got to wrap party guests in a room full of branded information.

This summer, the Dimmitts helped build an event with $10,000 from smartwater, a Glaceau (Coca-Cola) brand. Artist Ryan Brennan created a multimedia installation that synchronized with music and played well against the setting sun. Infinitely more engaging than a display ad, “the event creates a lot of value, no doubt about that,” says Clotaire Rapaille, author of Culture Code. He likes the fluid nature of Gawker’s creation. “Water is only good when it is in movement. Smartwater is ‘being’ movement, being alive and being in the moment. That reinforces your brand in people’s mind.” Not bad for community-generated content. “I’m actually shocked that more people haven’t done what we’re doing,” Liz says.

Image courtesy Gawker Artists.

April 12 2010

12:28

The future is mobile, and other thoughts from Google CEO Eric Schmidt’s speech at ASNE

Yes, he got the inevitable “shouldn’t you pay content providers?” question from an audience member. And, yes, he gave the inevitable “most news organizations actually want the traffic we provide” answer. But for the most part, though it tread familiar territory, Google CEO Eric Schmidt’s speech last night — delivered to a packed half-ballroom at the American Society of News Editors conference in DC — was an impressive feat of rhetorical tight-rope-walking. (Text: You, news editors, are guardians of democracy. Subtext: You, news editors, should probably rethink your patrol systems.)

So was the speech well-received? My read: the crowd reception to the uber-exec and his thoughts was cordial, but — despite the many, many compliments Schmidt paid to journalism and journalists during the course of the talk — not overly friendly. (Usually, at a speech like this, there’d be a vibrant back-channel conversation, via Twitter, that would allow a more nuanced assessment. Last night’s speech didn’t have that back-talk; relatively few people were tweeting it, though many were taking notes on reporters’ pads.)

Below, I’ve excerpted the sections of the talk that I found most interesting; they’re listed in chronological order to give you an idea of the arc of the speech.

On newspapers and discovery:
I love newspapers. I love of reading them — that when you’re finished, you’re done, and you know what’s going on. I love the notion of discovery that newspapers represent…. Newspapers are fundamental, not just in America, but around the world.

On information and democracy:
We have goals in common. Google believes in the power of information. We believe that it’s better to have more information than less. We also understand that information can annoy governments and annoy people…but that ultimately the world is a better place with more information available to more and more people. And the flow of accurate information, of the diverse views and debate that we’re so used to, is really, really fundamental to a functioning democracy.

On criticism (and sympathy):
You all get criticized all the time. On the left, you get criticized for being too liberal. On the right, you get criticized for being too conservative. In our case, we just get kicked out of China. Same thought.

On journalism as an art form:
We’re not in the news business, and I’m not here to tell you how to run a newspaper. We are computer scientists. And trust me, if we were in charge of the news, it would be incredibly accurate, incredibly organized, and incredibly boring. There is an art to what you do. And if you’re ever confused as to the value of newspaper editors, look at the blog world. That’s all you need to see. So we understand how fundamental tradition and the things you care about are.

On the best of times, the worst of times:
You have more readers than ever; you have more sources than ever, for sure; you have more ways to report. And new forms of making money will develop. And they’re underway now…. So we have a business model problem. We don’t have a news problem. That’s ultimately my view.

On our new emphasis on now-ness:
What do our children know now that our parents did not know when they were the age of our children? They know about now. They know about precisely now, in a way that our parents’ generation did not. That this now-ness drives everything…and what happens is, you experience the reality of the moment in a way that’s much, much more intense.

On the implications of now-ness:
It’s creating a problem which I’m going to call “the ersatz experience problem.” On the one hand, you have a sense of connectedness to everything — literally, every event globally…but you also have a false sense of actual experience, since you’re not really there. So the trade-off is that you know everything, but you’re not physically in any one place. And that shift is actually a pretty profound one in the way society’s going to consume media and news and so forth. And all of us are part of it. And Google is obviously moving it forward.

On Google’s “mobile-first” focus:
It’s important to understand that three things are coming together: the powerful mobile devices that …are paired with the tremendous performance that we can now get on computers…it is the sum of that, and the capabilities and the technologies that will exploit the sum of that, that will define the next ten or twenty years for all of us. So when I say “Internet first,” I mean “mobile first.”

Now, some of the most clever engineers are working on mobile applications ahead of personal computer applications. People are literally moving to that because that’s where the action is, that’s where the growth is, there’s a completely unwashed landscape, you have no idea where folks are going to go.

On news’ mobile/personal/multi-platform future:
Google is making the Android phone, we have the Kindle, of course, and we have the iPad. Each of these form factors with the tablet represent in many ways your future….: they’re personal. They’re personal in a really fundamental way. They know who you are. So imagine that the next version of a news reader will not only know who you are, but it’ll know what you’ve read…and it’ll be more interactive. And it’ll have more video. And it’ll be more real-time. Because of this principle of “now.”

When I go to a news site, I want that site to know me, to know about me: what I care about, and so forth. I don’t want to be treated as a stranger, which is what happens today. So, remember me. Show me what I like. But I also want you to challenge me. I want you to say, “Here’s something new. Here’s something you didn’t know.”

On the sheer volume of information out there today:
The Internet is about scale. I was studying this, because I was trying to figure out how big this thing is. Between the dawn of humanity and 2003, roughly 5 Exabytes of information were created. (An Exabyte is roughly a million gigabytes.) We generate that amount in every two days now…. So there is a data explosion. And the data explosion is overwhelming all of us. Of course, this is good business for Google and others who try to sort all this out.

On the future of display ads:
If you think about it in this context — you have this explosion of mobile devices, you have this connection, and so forth — what does this mean for the business world? Well, it’s obvious that advertising, which is the business Google is in, is going to do very well in this space. Because advertising works well when it’s very targeted. Well, these devices are very targeted. So we can give a personalized ad.

Furthermore, Google — and others — are busy building vertical display ads that look an awful lot like the ads that look an awful lot like the ads that are in traditional newspapers…. In the next few years, you should be able to do very, very successful display advertising against this kind of content. You may not be able to do it against murders, because it’s very difficult to get the right targeted ad in that case — what, are you going to advertise a knife? It’s obviously terrible. I’m not trying to make a joke about it; it’s a real business problem.

On the future of subscriptions:
We and others are working on ubiquitous ways in which subscriptions can be bundled, packaged, and delivered. We’re seeing this today with both the Kindle and the iPad. Both of which have this subscription model which you can test. You can actually find out, “What will people pay for this?” And eventually that model should have higher profitability. Because it has a low cost of goods, right, because you don’t have the newspaper and the printing and distribution costs. So there’s every reason to believe that eventually we’ll solve this and ultimately bring some significant money into this thing.

On the need for experimentation:
A Ralph Waldo Emerson quote is, “Don’t be too timid and squeamish about your actions; life is an experiment.” On the Internet, there is never a single solution…. The fact of the matter is there are no simple solutions to these complex problems. And in order to really find them, we’re going to have to run lots of experiments.

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