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Google has confirmed to Ad Age that an industry trade body tasked with deciding which “annoying” ad formats web browsers should block largely used its data and research methodology to do so. The trade body, known as the Coalition for Better Ads, last year publicly presented the material in full with Google and 18 company employees’ names removed, describing it as “the Coalition’s research.”

By not crediting the search giant for its research, the Coalition had until now effectively insulated Google from potential new unwanted attention to its influence over the web, which could raise questions of transparency at a critical time for the search giant: The company was hit with a $21 million fine last Thursday after the Competition Commission of India said it abused its dominant position in the online ad search market.

And in August, after Google said its Chrome browser would block ads according to Coalition criteria, European Commissioner for Competition Margrethe Vestager said her organization “will follow this new feature and its effects closely.”

After first sourcing its foundational research methodology to unnamed “members,” the Coalition has also confirmed that the work originated at Google. It emphasized that a broad group of members oversees the research and standards it adopts, and that further research has been done by others.

“The Coalition obtained the rights to publish the underlying research methodology from Google and to use it for ongoing research of consumer ad experience preferences in global regions,” the Coalition said in a statement. “This research effort is overseen by the Coalition’s Standards and Research Committee which includes a cross-section of Coalition members.”

Google said in a statement that it conducted research in April 2016 into poor consumer experiences on the web. “In October 2016, the newly formed Coalition for Better Ads asked member companies to share any research that had been conducted,” it said. “Google along with Facebook, Teads, the IAB Tech Lab and Washington Post, submitted their existing research as requested. In late 2017, the Coalition conducted additional research to define which ad experiences online were acceptable and unacceptable. In March 2017, the Coalition announced the initial Better Ads Standards based on this body of research. In addition, the Coalition has a dedicated Standards and Research Committee, which includes both companies and industry trade groups. Google is a member of this committee.”

When asked last week why its name wasn’t on the research on the CBA’s website, a Google spokeswoman said, “The Coalition for Better Ads made the decision as to what to publish and not to publish on their website.”

Chrome will gradually begin enforcing the Coalition standards starting Thursday.

Once enforcement is fully enacted, the browser will block all ads on websites—including those that aren’t “annoying”—should the publication be found in violation of Coalition standards and thresholds. The Coalition will grant publishers that volunteer to participate a period of time to defend themselves or address potential violations before ads are blocked.

Although the Coalition is devising standards for any participating browser to follow, Microsoft is the only other Coalition member that also has a browser. It told Ad Age last week that it has no plans to follow in Chrome’s footsteps. Firefox and Apple are regarded as longshots to join the Coalition, according to several high-level executives familiar with those conversations.

Blocking the blockers

Marketers, ad buyers, publishers and tech companies including Procter & Gamble, GroupM, Facebook, the Washington Post and Google announced the Coalition in September 2016 as a collective effort to undermine consumer demand for ad blockers.

The plan was to eliminate the worst ad experiences for users—like videos that play automatically with the sound on—in order to reduce the siren call of blocking software that lies outside the industry’s control.

“The Coalition’s research identifies the ad experiences in both North America and Europe that ranked lowest across a range of user experience factors, and that are most highly correlated with an increased propensity for consumers to adopt ad blockers,” it said in its initial press release, which did not bring up Google outside a roll call of members in the boilerplate. “These results define initial Better Ads Standards that identify the ad experiences that fall beneath a threshold of consumer acceptability.”

Public eye

Google knows many people are wary of its sway over digital media, says Nick Lee, a professor of marketing at Warwick Business School.

“They are very worried about perception when it comes to that kind of stuff—the perception of not just actual power, but that they are starting to control the data around these issues,” Lee says. “And maybe that is something they don’t want to be necessarily known for.”

Industry members say they embrace the fight against intrusive ads and consider Google’s research approach sound. Before sharing its research with the Coalition, Google sought feedback from the Interactive Advertising Bureau, publishers and ad-tech vendors after making them sign non-disclosure agreements, according to people familiar with the process.

When the Coalition asked members to submit any research they had, not just Google but Facebook, The Washington Post, Teads and the IAB Tech Lab complied. Coalition members ultimately chose to start with Google’s work.

“It’s as if they are caught between a rock and a hard place,” Lee says. “No matter how much of a good job they think they are doing, they don’t want the world to think they are controlling everything.”

Rivals in the digital ad ecosystem could cite Google’s influence as a reason to question the Coalition’s standards.

It remains unclear whether regulators would take an interest in the Coalition, says James Speta, a law professor at Northwestern University who specializes in internet policy and telecommunications.

“If it can be shown that Google manipulated the standard setting process, that would be a concern to the Federal Trade Commission,” Speta says. “The underlying issue in cases like these is how transparent is the trade body, and how fair is it? Was everyone able to see what was going on?”

Feature Image Credit: istock

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Sourced from AdAge

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Boots No7 has launched an interactive “digital education platform” for its skincare products after finding women were baffled by the array on offer.

Dubbed ‘Face Study’, the online hub displays a real human face (which was filed in 4K resolution) with no make-up and no re-touching, to help women understand the signs of skin ageing. Users can zoom and scroll across the face to learn about specific problem areas and what causes ageing, as well as suggestions of products which can help.

It was created for No7 by creative agency Studio of Art & Commerce, which was simply briefed to “to help target our customer at a deeper level than a TV ad could.”

Speaking to The Drum, Kristy McCready, global director of content and engagement at Walgreens Boots Alliance, said the brand initially considered creating a website it could populate with content but quickly ditched the idea in favour of something more interactive.

“There was something inherently more fascinating about the face. [Women] want to see how products look on a face like theirs and that led us to Face Study. It really allows you to get close to the effects of aging on the skin in a way that editorial content couldn’t.”

It took over 18 months of developing the idea for the Face Study to materialise and McCready said early testing with women in the 35 to 55 age bracket (its core demographic) has been encouraging. It also led to a tweak in the platform, with No7 adding a short questionnaire on users’ skin issues to make the advice more personal.

“The feedback was universally positive. They loved the realness of it and the fact there was no retouching or airbrushing and that they could genuinely see the effects of aging on the skin. It gave a level of authenticity they responded to and [gave] us real confidence in using this digital platform to help them understand ageing,” she explained.

“It’s a hugely exciting departure [from our usual digital activity]. We have a big retail footprint, with a number of advisors who are great at educating at the point of sale. But people’s [shopping habits] are changing and we need to respond to it. This is as close to an online experience of in-store advisors as we’ve ever got.”

To get people using the platform, No7 has hired Red Consultancy to devise a PR strategy predominantly focused on engaging with bloggers and influencers, while in-store staff will also use it as part of their consultation with customers.

Boots recently explained to The Drum how women are playing a bigger role in not only the development of its skincare products, but how they are brought to market and promoted.

Last year it launched its first own-brand skincare range in over two-decades to rave reviews after three years working with a group of women – originally found to simply participate in market research – to design the entire marketing strategy.

Studio of Art & Commerce also worked on that project. Its founder, Heide Cohu, , described this latest brief as “a huge task”.

“We did this by working directly with leading skincare scientists and bringing to life the incredible science of both how the skin ages and how No7 Age Defying products work,” she said of the process.

“It is an informative and simple, yet interactive and immersive digital platform, enabling women to tailor the journey according to their needs and find a personalised solution that’s right for them.”

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Sourced from THEDRUM

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Have you ever tried to buy a pair of shoes via the Footlocker website? According to Google retail guru Kiran Mani it takes (or once took, he wasn’t precise on the time frame) 17 clicks to order a pair shoes at the site, not including the in-putting of a 16-digit credit card number. That’s after a 20-plus second wait time for the site to load.

Heck, as a New Yorker I could run over to one of their mid-town stores and buy a pair faster than that!

The point Mani was making—at WPP’s 2018 Checkout conference–is that speed is one of the most important elements to a successful e-commerce practice. (Along with selection and a couple of other components). In today’s world that Footlocker experience is an eternity, particularly when compared to Amazon’s one-click process.

“Speed is currency in today’s landscape,” Kiran noted, in an on-stage discussion with WPP’s head of shopper marketing Carl Hartman.

Somewhat surprisingly, the average website load speed for most American’s is 22 seconds. But for Amazon, the average is more like three seconds, Mani told the Checkout crowd.

Amazon, he said, “is great for retail. They’re doing it well and setting the bar. They’ve taught the industry a lot.”

Asked about the degree of concern regarding Amazon’s rapidly increasing share of search traffic vis-a-vis Google, Mani, replied, “sure we’re concerned.” That said, he added, competition benefits the consumer.

In a separate presentation at the conference, which looks at the future of retail, shopping and technology. Kantar Consulting’s J. Walker Smith made the case that marketers and agencies need to figure out optimal ways of “advertising to algorithms,” which consumers are increasingly relying on to do their shopping.

Smith provided a number of interesting examples, noting consumer use of a growing number of smart gadgets and Internet of Things to make their purchases, like the smart washing machine that automatically reorders detergent.

He also noted the growing “chelfie” phenomenon. A chelfie is a changing-room selfie, used by shoppers to decide which items to purchase in-store based on likes from their Instagram and other social media accounts.

Consumers are bombarded with so many ads these days that they’re relying more and more on tools and technology to help with buying decisions and purchases Smith said. Thus future ad targets will increasing be those tools and tech rather than the consumer using them.

The conference was chockful of insights. Try to score a ticket next year if you need to keep up on the shopper marketing and e-commerce worlds.

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Sourced from MediaPost

Consumers believe a product is more effective when images of the product and its desired outcome are placed closer together in advertisements, according to a study in the Journal of Consumer Research.

By MediaStreet Staff Writers

“Merely changing the spatial proximity between the image of a product and its desired effect in an advertisement influences judgment of product effectiveness. Consumers tend to judge the product to be more effective when the two images are closer versus farther apart,” write authors Boyoun Chae (University of British Columbia), Xiuping Li (National University of Singapore), and Rui (Juliet) Zhu (University of British Columbia).

Advertising done right: The “problem” (wrinkles) and the solution (Wrinkle cream effectiveness) in very close proximity.

Many advertisements promoting the effectiveness of a product show both a product image (anti-wrinkle cream) and an image of the promised results (a face without wrinkles). Objectively, the distance between the two images should not affect how consumers judge the product’s quality.

This advertisement is done so well, the text about the product’s effectiveness is actually touching the face of the model.

In a series of studies, consumers were asked to judge the effectiveness of a variety of products promising specific results (acne cream, pain reliever, nasal allergy spray, bug spray, fabric softener). Consumers tended to assume a product was more effective when its image was placed closer to that of its promised effect. The proximity of the images was more influential when consumers were less knowledgeable about a product category or when the results were expected sooner rather than later.

Here we see there is some distance between the product (a razor that gives a perfect shave) and the outcome (Mourinho’s perfectly shaven face).

Companies should understand the subtle effect that spatial proximity between images has on consumer judgment of product effectiveness. When companies want to promote the immediate effects of their products, images of the product and its desired effect should be put closer to each other in an advertisement.

“The spatial proximity between visual representations of cause and effect in an advertisement can influence consumer judgments of product effectiveness. The closer the distance between an image of a product (an acne treatment) and that of its potential effect (a smooth face), the more effective consumers will judge the product to be,” the authors conclude.

 

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A case study published by OpenX shows that publishers on its platforms using Exchange Bidding Google‘s answer to header bidding – have seen an average yield increase of 48% in the 12 months since the two started working together.

In June, OpenX announced its status as a Google Exchange Bidding beta partner, but the adtech firm says it’s been partnering with Google since 2016 to “build a more transparent programmatic ecosystem.”

According to OpenX, more than 200 premium publishers are now receiving ads from the firm via Google’s Exchange Bidding, all of which it says have experienced higher revenue. OpenX says that the top 20 publishers experienced an average revenue lift of more than 130%.

“We built Exchange Bidding on a foundation of trust and transparency, allowing us to collaborate openly to create an efficient solution that increases publisher revenue and advertiser opportunity,” said Sam Cox, group product manager at Google’s DoubleClick, in a statement. “We understand that every exchange provides different value to publishers and advertisers and that’s why we’ve partnered with leading exchanges like OpenX, who are technically savvy, have a high bar for integrity, and are able to add value to the ecosystem, to help publishers get the most out of every impression.”

“We are thrilled with the progress we made in our partnership with Google in the past year towards bringing high-impact, high quality programmatic demand to publishers globally. Our partnership allows every demand source to compete fairly within the final DFP auction, representing the first truly unified auction capability the market has ever seen,” added Jason Fairchild, co-founder of OpenX.

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Sourced from THEDRUM

It’s all about the reviews, so make sure yours are good.

By MediaStreet Staff Writers

More than three quarters of travellers use review sites such as Yelp and Trip Advisor to conduct research prior to booking services.

This is according to a survey conducted by The GO Group, an international ground transportation provider.

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The respondents were asked about site usage for accommodations, activities, events and ground transportation.

When asked about use of sites for hotels and other accommodations, 13% of respondents said they always check sites; 31% said they do so frequently, 34% said sometimes and 22% said never.

Fifteen percent said they always check sites for reviews about tours and activities; 25% and 34% said they do so frequently and sometimes, respectively. The results for checking on attractions and venues were similar were about the same.

Fewer people use review sites for ground transportation. Only 10% percent said always they did so; 23% said frequently and 40% replied sometimes.

The survey also asked how many people post on review sites. Just three percent said they always posted on the sites, nine percent do so frequently; 40% post sometimes and 26 % responded they have never posted on a review site.

“In addition to or even in lieu of obtaining information and referrals from close friends and family, more people are opting to use content generated by strangers as a guide for booking travel experiences, says John McCarthy, president, GO Group. “As reliance on online review sites continues to grow, it behooves all of us in the travel-related industries industry to regularly review and respond to posts, and monitor them for potential customer services issues.”

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The GO Group LLC is the nation’s largest airport transportation provider, offering shared rides, private vehicles, sedans, charters and tours, serving some 90 airports in North America, Mexico, the Caribbean and Europe and transporting more than 13 million passengers per year.

This study shows just how much babysitting and care you need to put into your online reviews. Like you don’t already have enough to do!

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Brand managers, get on it!

By MediaStreet Staff Writers

Energy companies in the UK are using specific branding approaches instead of product innovation to keep customers, according to new research from the University of East Anglia (UEA).

While previous research has tended to focus on pricing, this study looked at the branding strategies and personalities of the Big Six energy firms – British Gas, SSE, EDF Energy, E.ON UK, npower and Scottish Power. They wanted to find out whether increasing consumer loyalty results in reducing switching behaviour. The Big Six represent more than 90 per cent of all energy supplied in the UK consumer sector.

The researchers looked at the electricity market between 2013 – when the number of customers switching providers reached its lowest level – and 2015. And, the researchers did find that brand personality consistency over time is important.

Consistent brands (such as EDF Energy) performed better, and their customers decreased switching. This was compared to firms like npower and Scottish Energy, who had significantly changed their brand personality position or communicated inconsistently in this period.

Providers that had a significantly different brand personality position between marketing communication channels, such as their website and annual report, also had more switching than those that remained consistent. Interestingly, the majority of the brands studied were inconsistent on this measure.

Lead author Dr Richard Rutter says that this research demonstrates the long-term importance of corporate branding. “Brand personality does have an impact on customer retention. The Big Six energy providers recognise the power of brand identity when attempting to persuade consumers to switch providers. Rather than doing so simply on the basis of superior financial offers, they are increasingly looking to build a long-term brand personality with which consumers will identify.

“These organisations wish to be viewed as customer-focused and as offering a fair deal to consumers. There seem to be subtle but important differences in the ways that each company is choosing to communicate with its domestic audience and some are more effective than others.”

Concentrating on companies’ communication through their websites and annual reports, the researchers examined what brand personality dimensions – defined as sincerity, excitement, competence, sophistication and ruggedness – were communicated most strongly and how consistently each organisation communicated its brand between the website and annual report. They then assessed the organisation’s performance, measured by consumer loyalty or switching behaviour.

They found that brands communicating excitement more strongly, such as EDF Energy, had the lowest levels of switching. The findings also suggest an ideal brand personality for the UK energy sector: low to medium levels of sincerity and competence and high levels of excitement and ruggedness communicated through the website lead to better performance. The authors say the annual report should maintain this, but also communicate a higher level of competence.

Said co-author Prof Konstantinos Chalvatzis, “Under scrutiny from the public and politicians, the energy sector is changing rapidly. Branding within the energy sector has become increasingly important, as energy firms seek to attract and, importantly, retain customers.

“We find that certain energy brands, for example EDF Energy have communicated their personality consistently, while others, such as npower and British Gas, seem to have repositioned themselves. A strong brand personality alone is not enough to prevent consumer switching, rather, particular dimensions of personality are more favourable than others and the relevance of specific personality traits can change.”

The authors recommend that firms should not drastically change their branding each year. Brand managers should also consider how to increase the communication of excitement in relation to their brands without being inauthentic, and ensure that their brand is consistent over time and between different marketing media.

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Now? Fashion brands are meeting with social media influencers directly.

By MediaStreet Staff Writers

Hundreds of NY Fashion Week influencers were invited to a party specifically held to put them in front of brands that want some of the spotlight. The party was held by a company called Influence, which connects brands and influencers. Together, they create social campaigns that expand visibility and engage new audiences for brands. The influencer gets paid, and the brands get to reach audiences that they might not be able to access using other methods. Welcome to the “now” of fashion and brand marketing.

Influence is a sister company to the already-successful operation called Newswire. Newswire currently have an online portal that publishes thousands of press releases every day. Journalists and influencers can go straight to company news, by keyword or subject search. This means that they can get their news directly from the companies, rather than have the interaction brokered through a PR agency. This renders the traditional PR agency almost obsolete.

The way the PR industry is changing is similar to the way that fashion magazines are going. Teen magazines and fashion publications are no longer the huge, powerful entities that brokered deals between brands/fashion houses and their audiences. Now, it is the online fashion influencers who have huge sway with their fans, and brands can contact them directly. This circumvents the hugely expensive fashion magazines, whose circulations are falling dramatically.

As an example, a top YouTube fashion influencer is Chriselle Lim. Her channel is growing at a breakneck pace. Her videos reveal how to transform basic pieces of clothing into stylish apparel. Chriselle has support from global brands such as Target and Estee Lauder.

The change in the way brands and fashion are marketed has been incredibly rapid. Fashion magazines? Pah. Now Facebook, Instagram, Twitter and YouTube are the place to put brand marketing spend.

But back to the party. The event hosted hundreds of NY Fashion Week Influencers at Manhattan’s chic Sixty Soho Hotel. Influencers and brands from across the globe arrived to share in networking and developing opportunities for campaign partnerships that strengthen an Influencer’s channel and widen content reach for brands. The party was also used to promote Influence.com itself. And it worked, because here you are, reading about this new company.

Said Director of Influencer Marketing, Magnolia Sevenler, “Whether you are an influencer or marketer, the Influence by Newswire platform provides a community to build your campaigns.”

According to Sevenler, the platform has been well-received from both marketers and creators for its simplicity and reach. “It’s exciting to see all the positive feedback…as we enter a new era of marketing, where micro-influencers can be rewarded for their passions and brands can reach new untapped audiences.”

The company has plans to expand its network and add additional features to enhance users’ experience. And it is doing this all because the fashion magazine industry is destined for a papery grave. It’s time to move on, people, and bring your marketing spend with you.

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The search by brand marketers for consumer engagement has led to the continued growth and funding of the social media influencer that has made millionaires of some vloggers and online celebrities the world over.

However, as these seemingly normal people have grown their fame, demand by brands for their audiences has similarly grown and the rules and regulations around their ability to promote products became a problem for marketing regulators. And in that time some have developed that relationship to become the face and voice of individual brands they truly connect with. Examples are endless, from Cole LaBrant and Mackenzie Davis to Maia Mitchell, who have used different platforms and shared their own life skills and insights to develop personal fan bases. And as Facebook changes its newsfeed algorithm to drive more personalised content to the fore, over media content, those organic relationships will become more coveted by advertisers.

According to research by blog discovery website Bloglovin’ 32% of marketers saw influencer campaigns as being essential to their strategies, with 41% admitting to seeing more success from their influencer campaigns over their traditional advertising.

“Brands are learning,” states Peter Willems, head of marketing activities and sponsorship for world footballing body, Uefa, while speaking on a panel organized by FCB Inferno about influencers and his experience of working with them through the launch of a new project alongside freestyle soccer skills channel, F2.

“Brands are more and more trying to put the objective first. We believe in data but we struggle a little bit with specific target groups, especially youngsters, and therefore one of the objectives of working with F2 was to grow our database within that specific target group. We believe at the moment that influencers can help us there.” he continues to explain, adding that sharing the objective with the influencers who are involved in the collaboration is now crucial too.

Willems also cites the comparison over the share prices of Adidas and main rival Nike as examples of how powerful the use of influencers can be in delivering sales, with Adidas having spent years now working with online personalities to achieve global growth and product awareness.

“For me, the biggest problem has to be how you measure success, which is still in its infancy to show what it can bring and what it can do,” Willems continues.

That problem around measuring return on investment is definitely to be an issue that brands entering this burgeoning sector face, agrees Laura Visick, head of social for FCB Inferno.

“There are soft and hard metrics that we can put in place such as reach and engagement which can be given to the influencers themselves to benchmark against their own content and to identify how things are resonating. One of the most important things is upfront identifying what the objective is and articulating what success looks like to ensure that everyone is on board.. there are a huge number of ways to work with influencers,” she explains of the clearly maturing marketing strategy, where one celebrity tweet is not seen as success in itself.

“The ASOS model is a good one. They are building a group of influencers that are engaging with and advocating the brand all of the time, and there are a few campaigns that we are seeing coming through that the moment that are very similar. They are building a group of ambassadors who are engaging with the brand and creating a very authentic relationship rather than a ‘one-hit-wonder’,” she continues, adding that that course helps create more robust measurements.

Using tools to help monitor and achieve return on investment is an obvious route. Verena Papik, director of marketing EMEA of Musical.ly, says it is important for brands to understand why each tool is being used and used to meet specific set goals and objectives.

She also advises that brands and influencers set objectives that see both succeed together.

“When brands and influencers really collaborate together, and they include a tool like Musical.ly, it is to add value to each other. Everyone is getting lost in setting goals and achieving data numbers, numbers of posts; but in reality is actually about adding value to each other,” she explains. “For a long term relationship you definitely have to understand what benefit the other party can actually bring to this partnership.”

Influencer, Bangs Carey-Campbell, fitness editor at Elle Magazine and blogger, advises that brands recognise the importance of not just paying online celebrities to pose with one-off products but to agree an ongoing strategy and to really follow through on the partnership for the most successful collaborations. She also advises that influencers understand the brand’s perspective rather than forcing their own ways of working fully, too.

“It’s about finding that middle ground when creating content. Especially if you are being paid to do that. You do have to understand from a brand’s perspective that they have a certain job description and certain markers that they have to achieve even if they are not 100% clear on them. It can be tough from the creative’s point of view as you have a way that you like to produce your content, but that’s why the brand got in touch with you. It can be tough to find that middle ground but as a creator, if that is the direction that you want to take your brand in, and you want to be more involved with other brands, you have got to be willing to meet in the middle somewhere. It’s not compromising your material. It’s finding a way to work together and find a way to be flexible,” she relays but later offers a reminder to brands that they are working and partnering with individual people, and not to forget that and treat them as a soulless commodity.

There is a long way still to go for the brand and influencer model, and the bubble has far from burst judging by the growing numbers offering their services and audiences to brands, however another piece of advice that all contributors agreed with was that influencers were more successful if they offered authentic insights and had achieved success in the fields their audiences held interests in. Otherwise it was likely that such influence would be fleeting and of little long-term commercial value in tandem.

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Sourced from THE DRUM

Academics have identified four distinct personas of social media user that teenagers describe as shaping how they behave on social media.

By MediaStreet Staff Writers

Young social media users are categorised as either acting like the Geek, the Internet Celebrity, the Victim or the Lurker depending on their levels of online activity and visibility, University of Sussex academics say.

The categorisations are based on interviews the researchers conducted with children aged between 10 and 15-years-old for a new book, Researching Everyday Childhoods, published by Bloomsbury last month.

The interviews revealed many youngsters were increasingly savvy about maintaining their privacy online, often being motivated to protect themselves by unpleasant past personal experiences or negative incidents that affected classmates.

Dr Liam Berriman, lecturer in digital humanities at the University of Sussex, said: “Our research found that concerns about staying safe online created an atmosphere of intense anxiety for young people, even if they had not directly experienced any problems themselves. The young people we spoke to felt a great weight of responsibility for their safety online and were often motivated by the concern of being labelled a victim.”

“While there has been a lot of negative media coverage around teenagers’ interaction with social media, our findings are more hopeful that teenagers are responsible users of social media, are very conscious of the dangers and make considerable efforts to protect themselves against those risks.”

Teenagers navigate between the desire to be praised and recognised online and anxieties over the risk of opening themselves up to criticism and trolling. Among the four personas is the Internet Celebrity who is able to best use the latest trends and increasingly values “visibility of the self” through Instagram, Snapchat, the selfie and YouTube vlogging.

The internet celebrity

But academics also identified how young people are experimenting with and enjoying invisibility online. They describe the Lurker as someone able to avoid peer dramas arising through platforms such as Facebook, whilst still engaging in fun peer activities such as stalking their favourite music bands online.

The lurker

The Geek, meanwhile, uses invisibility to anonymously share and promote their amateur media creations online, such as music videos or fan fiction writing. The academics described how the Geeks’ long hours of labour on projects risked parental concern that their behaviour was obsessive or addictive.

The geek

Professor Rachel Thomson, professor of childhood and youth studies at the University of Sussex, said, “What is distinctive about these active social media users was the entrepreneurial character of their practice, with ‘play’ re-envisaged as a form of economically rewarding work. By gaining an audience, young people are aware that they could capture advertising and corporate sponsorship. The dream is to ‘go viral’, establishing a career as a cultural creator.”

The research also highlights the risks contained in a world dominated by personal visibility with the Victim left to suffer personal exposure and shame following the creation and display of intimate material such as sexting and the loss of control of this material.

The victim

The Victim’s high visibility is often out of their control with their presence and heightened without their consent as private material is extracted from them and exchanged under false premises.

This can vary from the frustration of being tagged in photographs and the creation of an unflattering digital footprint through the activities of others to the more invasive techniques of fraping, where a person’s online identity is hijacked without their permission, or sharing of intimate photographs.

Dr Berriman said, “These examples reveal the impossibility of non- participation in the world of social media. A teenager does not necessarily have to create an online persona, it is something that can be created by others.”

This is great food for thought for anyone trying to catch the attention of teenagers online. You may even need to consider four different approaches when targeting the teen market. Thanks, science!

 

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