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Edelman's Six Digital Trends to Watch

From “marketing in the age of streams” to the “Googlization of media” to “situational awareness” to “location, location, locaton” to “business becomes social” to “private becomes public” – in their latest report, Edelman’s digital mavens Steve Rubel and David Armano provide a solid overview of the six key digital trends to watch.

Six Digital Trends To Watch by Steve Rubel and David Armano

 

On the Eve of Marketing 2.0, the Dawn of Marketing 3.0?

I’m en route to the Marketing 2.0 conference in Paris, one of the most respected gatherings of marketing executives presenting and discussing the latest trends in their field. In a way, the story of the conference is the story of marketing itself. The somewhat yesteryear name indicates that a few years ago, when Marketing 2.0 premiered, it was conceived as a forum for pioneers who were early on embracing digital marketing and social media. Times have changed. What used to be at the fringes of the profession has moved into the mainstream, and both program and attendees of Marketing 2.0 reflect that. That’s not a bad thing. Digital marketing IS marketing, social media IS media. You would think..

According to data from eROI and eMarketing & Commerce (eM+C), US marketers spent 13% of their online marketing time on social media in 2009, the second-largest share of any tactic. And yet, a recent eMarketer article claims that social media is still not fully integrated into the marketing mix and in many cases remains an ad-hoc activity that is siloed in the organization and under-budgeted. The level of integration varies vastly depending on the tactic. The publication cites research from marketing management firm Unica suggesting that a majority of voting features, product reviews, user-generated content and RSS feeds are integrated with other campaigns, however, less so social networking sites, blogs, or micro-blogs. Paul Verna, eMarketer senior analyst, suspects (in an earlier report called “Five Reasons Why Marketers Need to Have a Social Media Strategy”) that marketers often neglect an integrated strategy because they – mistakenly – believe that social media is easy and cheap, ignoring that “much of the real cost of social campaigns is in the people-hours spent fostering and maintaining social conversations.”

The full integration of social media is only a matter of time, but the next frontier of marketing innovation is not yet on the horizon. In many ways, we still live in a marketing 2.0 world: marketing programs that leverage social networks, blogs, mobile, Twitter, real-time conversations, social content, viral memes, crowdsourcing, and so forth have become the norm. Just this week, I had a meeting with the online marketing team of a leading German automaker, and it is hard to imagine anything that would be news to them. They have it all figured out, really, as have almost all big-brand marketing departments. Most of the conversations I have with marketing professionals these days are around tactical issues – budgeting, staffing, monitoring, and, of course, measurement, which is a sure sign of a market-wide saturation. In Gartner Hype-Cycle speak: social media has reached a plateau, and it will soon reach the trope of productivity, as the enterprise-wide implementation of social media collaboration tools is on the rise. You will be hard pressed to find anyone these days who would deny the profound change social media presents for all customer relations; the new need for openness, agility, and hyper-sociality; as well as the call for “networked” (or “federated,” as Forrester calls it) organizations. David Armano (with Edelman), Francois Goisseaux from Beeline Labs (and his upcoming book on The Hyper-Social Organization), or Charlene Li and her Altimeter Group are just some of the pundits who have very succinctly articulated these themes.

But where’s the next hype? Looking at the usual industry augurs, Forrester has produced some good thinking on interactive marketing (with its ‘new 4 Ps of Marketing’: permission, proximity, perception, and participation), and BBH Labs clearly is the thought leader when it comes to the confluence of advertising, social media, and digital storytelling. But all that is an apt description of state-of-the-art practices rather than breaking new ground Augmented Reality and Transmedia may rise to the occasion, and there is the exciting possibility that the iPad finally enables brands to become full-blown publishers. And the whole notion of “Marketing with Meaning” has certainly introduced a new perspective, injecting the dusty CSR model with a more tangible and Millennial-friendly proposition of cause-driven social innovation. Chief Culture, Chief Experience, Chief Meaning, and Chief Convergence Officers and other variations are heralded as the manifestations of innovative marketing models, but at the end of the day all they represent was already stated – loud and clear – by the Clue Train Manifesto in 1999.

Notwithstanding the lack of new paradigms, the marketing function is definitely better positioned than it was a few years ago. It has benefited from the growing convergence of disciplines, media, and formats that shape today’s company-customer interactions: Product design firms are moving into advertising. Advertisers are launching product innovation offerings. Marketers employ design thinking. Design firms are adding go-to-market services. Innovation consultancies are selling iPhone apps. Interactive agencies take on mobile advertising. PR firms are offering branding services. And so on. While creative disciplines are converging, the modes of effective (digital) interactions are converging as well: the combination of real-time, social, mobile, location-based, augmented, and gaming elements are the secret sauce of almost every integrated program these days. Campaigns are becoming products (as just one example, look at AKQA’s recent launch of its Digital Products Group), and marketing innovation is evolving into marketing IT. Marketers, as the renaissance men of 21st century business, can be at the heart of this all, if they’re smart.

Fig. The Great Marketing Convergence

BBH Labs describes the tremendous opportunity ahead: “It’s not just the marketing organization that needs to reorient itself given the now normal digital age, but the company itself should consider how it reorients itself around its marketing organization. In most progressive companies, it is the marketing function that has most quickly and deeply engaged with the new interactive toolkit.”

Marketing is back at the table. Now it needs to demonstrate that it has the chops to innovate and really drive change in organizations.

Edelman: 10 Ideas for the New Decade

Good deck from David Armano.

10 Ideas For The New Decade

View more documents from David Armano.

Brands in Public: The End of the Conversation?

It was just a matter of time: “With brands turning into curators of conversations about them and brand value increasingly determined by the value of aggregated content, third parties might be inspired to hijack these very brands by offering curated conversations on their behalf,” I wrote in early July.

And now Seth Godin and BzzAgent have done exactly this. The marketing guru and the marketing agency have launched a portal that aggregates conversations about brands and presents them in a unified public-facing dashboard that gives brands the chance to lead the discussion. Brands in Public translates the Get Satisfaction business model (a portal for public-facing aggregated customer support) into the broader realm of brand management. It aggregates the aggregation, if you will, and centralizes what Modernista, Skittles, and Crispin Porter Bogusky did on their own sites.

The cost of participation for a brand is US$400 per month, and the incentives are threefold: First, brands can publicly demonstrate their commitment to transparency. Secondly, because the portal presents branded conversations just one click away from each other, brands might benefit from an attention spill-over (while of course also having to fear a cannibalization of their feed). Finally, the aggregated conversation tracking comes with some metrics, kind of like FriendFeed and Google Analytics combined. The dashboard view puts brands in control of the conversation, or at least suggests as much.

However, I have a feeling that Brands in Public will fall flat. As with the new Google Sidewiki, one could argue that community dies in the very moment someone tries to “own” it. If it’s true that 'your brand is what other people say about you when you’re not in the room,' how interesting then is what these people say when you’re not only in the same room (any social network feed, i.e. Twitter, Facebook) but actually on the same stage with them (Brands in Public)? The outcome of Godin’s and BuzzAgent’s experiment remains to be seen: It may mark the next stage of the 'conversation economy.' Or the end of the conversation.

(Hat tip to Kristina Loring)

Are Writers Selling Out to Marketers? Alain de Botton’s “Heathrow Diary”

For one week, Swiss author Alain de Botton was living the life I’ve always wanted to live. As the first-ever writer-in-residence of London’s Heathrow Airport, he was working on his new book on site, observing, documenting, and philosophically charging the emotions and motions of the two arguably most interesting things in life – people and planes – in transit, in situ.

My own fascination with airports started at an early age thanks to the location of my parents' house. I grew up with planes taking off and landing at the nearby airport, and as a student I spent one summer vacation working as a baggage handler on the tarmac. Ever since, aircraft noise makes me feel at ease, and if I could, I would become a permanent tenant of Narita’s Star Alliance lounge, where I would watch planes all day.

Airports have also long piqued the interest of artists of course – from Brian Eno’s "Music for Airports," to Steven Spielberg’s "The Terminal," to 747-turned-designer hotels. Exhibiting equally the technical routines and the emotional excesses of 21st century civilization, airports serve as mundane settings for the dramatic and dramatic settings for the mundane – de Botton, as Heathrow’s writer-in-residence, set out to capture both.

The assignment was simple: De Botton was commissioned by the British Airports Authority (BAA) to spend a week in the middle of Heathrow’s bustling Terminal 5 and write about life at the airport. He got his own desk, was awakened by Air Canada every morning, and immersed himself into the airport logistics while living his usual ascetic life (judging from all photos, he wore his signature blue shirt all week). Most of the time he observed and conducted what design researchers would call ethnographic research – knowing that you can best study human behavior, on any given scale, when you’re close enough to the action but not part of the commotion. The personal union of researcher and writer raises some interesting questions: Where exactly do you draw the line between observation and interpretation? Where does research end and authorship start? Is research even possible without storytelling?

But these are technicalities. Of bigger concern for reviewers appears to be the “precarious line between creative independence and commerce,” as the Guardian calls it. Blog site Gawker, among others, was fast in chastising the unconventional book deal as a shameless and rather desperate PR stunt, but the alleged cynicism reflects more poorly on the critics themselves: Isn’t the greatest cynicism of all to look for the cynical in all things? For the record, de Botton insists that BAA gave him complete editorial freedom and that his writing was thoroughly subjective and as unbiased as it can possibly be. He is not the first writer to experiment with commercial book mandates (bestselling author Fay Weldon shocked the arts world in 2001 when it emerged that her latest novel had been sponsored by Bulgari) and smart enough to know that his "Heathrow Diary" project might stir up a controversy. It would have been much safer, from his PR point-of-view, to not pursue it.

Yet de Botton's interest in airports seems genuine: “There are many places in the modern world that we do not understand because we cannot get inside them," he told the Guardian. Moreover, he believes the project is philosophically sound and in fact truly innovative as it revives an old tradition of underwriting: “That one of the largest organizations in the UK should take an interest in a book is almost quaint, like sponsoring a poet,” he said. “On behalf of my fellow beleaguered writers, it’s nice that writers seem to matter.”De Botton already has plans for the next underwritten project: “I’d like to be a writer in residence at a nuclear power station.”

And sure – why not? I think we have to overcome the notion that a distinction between marketing and publishing is still possible. Herman Miller’s See magazine was one of the most artful and best-curated print magazines out there, Strategy + Business by Booz is one of the sharpest business publications, and there are countless other examples of high-quality corporate publishing. What is wrong with the idea that not only marketers need to be good writers, but writers can be good marketers, too – for the common good of public life? Brands, advertisers, and PR agencies shape the cultural fabric of our societies as much as museums, galleries, artists, and writers do – if the mechanics of their complex interactions are more exposed these days, this can only be a good thing. As long as the involved parties’ agendas are transparent – as they were in De Botton’s airport project – readers can judge for themselves how valuable they find the products of such collaborations: there is no free lunch, there is no free content, after all.

Aside from that, it is naïve to assume that PR agencies and brand marketers are all evil and unconditionally push for a lopsided, overwhelmingly positive expression of their brands. By now, most of them are happy to tune into the choir of conversational marketing evangelists who understand that authenticity trumps news which may be good but lacks credibility. In this vein, Dan Glover, creative director at Mischief, BAA’s PR agency, told the NY Times that “If we funded a brochure that said how wonderful the airport was, people would switch off because they’d think they’re being marketed to.” Instead, he added, the Heathrow Diary campaign sought to stimulate “branded conversations” among travelers “through the experience of seeing a top literary figure at the airport — and potentially being a character in the book — and by receiving an exclusive copy to read on your travels. The overarching objective is to make a passenger’s time at Heathrow the best memory of the trip.”

It all goes back to the pillars of "meaningful marketing": Add value, create a (social) event, be a change agent, engage the audience, don’t market products, produce! Clients turning to artists and storytellers to create “meaning” for their brands intend that the return-on-meaning transcends the original assignment – the wealth spreads and generates a “meaning surplus.”

In this case, De Botton wasn’t hired to write an image brochure for an airport whose bad reputation is well known. The “Art of Travel” author took advantage of the opportunity to study one of his favorite subjects first-hand, and rather than just bitching and moaning about the notoriously inhumane experience of having to spend time at Heathrow, he and his client actually did something to make the experience better for travelers. The result of his work, "A Week at the Airport: A Heathrow Diary," was published on September 24, and BAA is distributing 10,000 free copies of the book to Heathrow passengers (it is not devoid of irony to create artificial scarcity by limiting the book’s free distribution to one of the world’s most frequented travel hubs). Afterwards the book will be available for sale through Amazon’s British Web site and traditional bookstores. De Botton’s "Heathrow Diary" benefits the publisher, the writer, BAA, and travelers – a win-win-win-win and a story with a happy landing.

Read excerpts from “Heathrow Diary”

[Image credit: LA Times]

The Science of Re-tweeting

Hubspot viral marketing scientist Dan Zarrella has examined 5 million tweets and 40 million re-tweets over the course of nine months and just published his study on the factors of re-tweeting success: What does/does not get re-tweeted, and for what reasons?

Some insights: We learn that semicolons are the "the only unretweetable punctuation mark," which I, as an avid semi-colon fan, find deeply disturbing. Speaking of which, emotions and ego-mania are not so popular. Tweets about work, religion, money and media/celebrities are far more re-tweetable than negative emotions, sensations, swear words, and self-reference. The least re-tweetable word is "game," and the most re-tweetable is "you." Time of day matters, and breaking news works, both of which are not too surprising. But "please retweet"? - please... 

Read Zarella's Nine Scientifically Proven Ways to Get Retweeted on Twitter on Fast Company or download the full report.

The Great Healthcare Debate

While the rest of the developed world looks at the controversy over healthcare reform in the US with a mix of embarrassment and disbelief, Americans have experienced a raging debate this summer that was to a large part driven by word-of-mouth online.

MotiveQuest, a research firm, has evaluated the healthcare chatter bouncing around the Internet. It pulled data from more than 100 health and political forums and blogs, representing more than 2,000,000 posts and 110,000 people in the average month. Categorizing the debate’s language into thematic groups (treatments, payment methods, doctors/patients, and the uninsured), it has tracked how the online conversation evolved over time.

View the results

(via WOMMA)

The Future of News: Hyper-Distribution or Hyper-Branding?

Jeff Jarvis, who’s admirably trying to prevent the news industry from becoming the next music industry, recently wrote an interesting blog post in which he heralded “hyper-distribution” as a valuable new business model for news organizations. Responding to some industry pundits who propose embracing shrinking audiences as an effective means of consolidation and audience loyalty, Jarvis argued:

“Since when did it become OK for media people to shrink their audiences? Since they gave up on the ad model, that’s when. But I am not ready to surrender to the idea that advertising, which has supported mass media since its creation, is over. Yes, ad rates are lower; welcome to competition. That’s all the more reason why publishers must attract larger audiences publics – make it up on volume – as well as more targeted and valuable communities.”

To grow audiences through hyper-distribution, Jarvis proposes that news outlets utilize readers as distributors and embrace the very hyper-fragmented forces of the social web that might pose the most existential threat to them: reverse-syndication, “embeddable paper” formats, APIs, specialization, and engagement on social networks.

These are viable concepts (and some of them are already used, i.e. by the New York Times, the Silicon Insider, and others) but, if you were to be cynical, you could also view them as belated means of catching up to a new media reality in which the traditional notion of an advertising- funded news market is no longer valid. While hyper-distribution may provide formats for the post-article era, it still clings to the idealistic assumption that the world needs professional news organizations. But what if it doesn’t? What if the student who famously told the New York Times a year ago, “If the news is that important, it will find me,” doesn’t really consider news media to be trusted sources of news anymore, no matter how good they are in deploying social distribution channels to push them to him? What, in fact, if news brands don’t really matter anymore to Gen Y – as sources of news, trusted or not?

Arguably, CNN has lost some cachet through its #CNNfail debacle during the Iranian election (and similar defining news moments that seem to have shifted the intertwined powers of authority and attention to Twitter, i.e. the Hudson River plane crash and so on), and already, individual experts manage to establish themselves as the nimbler news aggregators on Twitter, cultivating individual audiences (of followers). What if the new news brand is @name? Or newsrooms, dispersed online, that converge amateurs, professionals, and experts? Google’s Marissa Mayer has hinted at what this scenario might look like: "hyperpersonal news streams," in which stories break like (Google) “Waves” and become the publication of collaborative processes rather than finished articles – constant iterations instead of interpretations.

Hyper-distribution may indeed overestimate the demand for trusted commercial news providers. As long as NPR, BBC, and other public services provide first-hand news coverage for free, chances are that the blogo-and Twittersphere will self-aggregate and hyper-distribute news without the mediation of commercial hyper-distributors. For them, innovating their distribution formats to catch up with social media may not be enough – they may want to innovate the very meaning of news. Rather than trying to generate incremental value against over-supply, they could generate disruptive value by creating a new kind of demand – pursuing a “reconstructionist” approach and yielding the type of “value innovation” that is commonly labeled under the sticky metaphor Blue Ocean Strategy.

And yet, two of the venerable US news weeklies, Time and, recently, Newsweek, are pursuing a third way out of the industry misery. They are neither adapting to the new rules of competition in a ‘red ocean’ nor are they creating a ‘blue ocean’ – instead, they are carving out a blue ocean within the red ocean, so to speak, by increasing their publications’ exclusivity. Both are deliberately reducing circulation to create a more loyal and targeted readership, and shifting their positioning from mere news engine to high-end background reportage and political commentary; and both are diametrically opposed to Jarvis’ hyper-distribution paradigm. Newsweek, 76 years old, is determined to shrink its circulation from 2.7 million to little more than half of that. Time’s circulation, which 20 years ago was close to five million, is now at 3.4 million.

Interestingly, it is another renowned weekly that presents the exception from this trend, and boasts surging circulation and ad revenue numbers: The Economist. According to the Publishers Information Bureau, the magazine’s revenues increased last year by a whopping 25 percent, whereas Newsweek’s and Time’s dropped 27 percent and 14 percent, respectively. With its US circulation nearing 800,000, The Economist may ultimately even overtake Newsweek in the States. Given that this growth trajectory has been consistent in the past few years, what is it that makes The Economist thrive while others are drowning in red ink? Michael Hirschorn, in a recent article in The Atlantic, opines that “The real value of The Economist lies in its smart analysis of everything it deems worth knowing – and smart packaging, which may be the last truly unique attribute in the digital age.”

Smart packaging of course means smart branding. The Economist has successfully branded itself as the de-facto print magazine for the global elite. “The secret to The Economist’s success is not its brilliance, or its hauteur, or its typeface,” Hirschorn contends, “The writing in Time and Newsweek may be every bit as smart, as assured, as the writing in The Economist. But neither one feels like the only magazine you need to read. You may like the new Time and Newsweek. But you must – or at least, brilliant marketing has convinced you that you must – subscribe to The Economist.”

Similar value is associated with Tyler Brule’s Monocle, a “briefing on world affairs,” as the monthly describes itself, delightfully packaged and suavely combined with fashion features, frequent traveler tips, and stylish gizmos – plus, online, a truly earnest old school radio podcast. The Economist and Monocle are both examples of the power of niche positioning, as Michael Hirschorn points out: “In the digital age, razor-sharp clarity and definition are the keys to success. Knowing what and who you are, and conveying that idea to an audience, is the only way to break through to readers ADD’ed out on an infinitude of choices. General-interest is out; niche is in. The irony, as restaurateurs and club-owners and sneaker companies and Facebook and Martha Stewart know – and as The Economist demonstrates, week in and week out – is that niche is sometimes the smartest way to take over the world.”

“News doesn’t build a brand anymore,” says serial German Web entrepreneur Alexander Görlach, who is poised to fill a niche with his new online magazine The European, which will launch at the end of September. Görlach believes that “To date, online formats have been designed as extensions of print outlet. But [in Germany], there is no autonomous online news brand that focuses exclusively on commentary and opinion.” The European will give experts and authors a voice, and cherish a culture of debate without violating the principles of the web by offering text-heavy articles. “Strong opinions. Journalism for the Web. No perks,” the tagline provides cues for what to expect. For US audiences, this formula may sound familiar: When Görlach promises rich multimedia programming and a departure from conventional section structures, one can’t help think that the Huffington Post is coming to Germany. In any event, The European, targeting 25-60 year old web users who earn more than 2,500 Euro per month, is one to watch, especially with a classy title like this that indicates that the publisher seems to have a good hand with branding and a confident, somewhat ironic grasp on history: "The European" was also the name of a British weekly newspaper in the 90s, billed as “Europe’s first national newspaper,” as well as that of a privately circulated cultural and political magazine that was published in the 50s. Obviously, neither lasted long.

The main lesson to be learned from the success of The Economist and Monocle and (quite possibly) The European: Culture beats economies of scale. Hyper-distribution (and hyper-localization) might be a (controversial) option for newspapers; it is certainly not an option at all for distinct magazine titles. For them, creating artificial scarcity in a sea of abundance – the essence of branding – remains the main imperative. I’m not saying that all outlets in the high-end category – The Economist, Monocle, Vogue, Vanity Fair, the New Yorker, and others – can survive simply because of their strong brands, but they stand much better chances of maintaining loyal audiences because of it. Access to information is important, sure, and innovative distribution models are to be explored, too, but it all comes down to the power of branding, the power of your voice. Distinction saves you from extinction. What do you stand for? What do you know? What do you have to offer as a handle on the world, a firm point of view in a world that is increasingly complex and full of ambiguity?

If brand is so important, then why is BusinessWeek up for sale, a supposedly strong name? Well, maybe precisely because its brand has suffered. By pioneering a compelling, state-of-the-art web presence – one of the best among business publications – BusinessWeek may not have done itself a favor; rather, it inadvertently over-extended its brand and diluted its editorial voice. It has experimented a lot but not really carved out a new identity: Is it a business magazine, a news portal, a blog network, or a social network?

While BusinessWeek expanded into digital formats and gradually blurred the boundaries between its print and online offerings, The Economist succeeded by sticking to it guns. It was very late to the web game and in fact never really caught up to the latest trends (and fads) of online journalism. It did not embrace the principles of the “link economy” as BusinessWeek did so fervently, and if you ask anyone about The Economist, you will certainly hear that it’s a weekly print publication. That’s all. Similarly, German business monthly Brand Eins, an award-winning collection of philosophical essays and reportages on the people behind the numbers, has never really hidden its disdain for the web – and its print circulation keeps growing. Both Brand Eins and The Economist have never compromised their print brands, never open-sourced their content to anyone, and are now in the most enviable position to defy Jarvis’ calls for “hyper-distribution.”

Perhaps, the most innovative thing you can do if you’re a publisher these days is to ignore the action bias – and not innovate.

[image credit: AdSoftWorld]

SOCAP09 (Social Capital Markets) Conference Brings Together Social Innovators from Government and Business

The Social Capital Markets (SOCAP) Conference, a landmark gathering of top business and government leaders creating market-based solutions for social impact, is taking place September 1-3, at San Francisco’s Fort Mason Center.

SOCAP brings together a unique mix of the world’s leading social innovators – traditional investors, impact investors, social entrepreneurs, philanthropists, new media, NGO’s and non-profits, wealth managers, development agencies, venture capitalists, MBA students and other groups interested in the growing opportunities of social capital — who are catalysts of change across the globe.

Last year’s conference gathered more than 650 leading global investors and entrepreneurs from 26 countries. This year’s conference from September 1-3 in San Francisco is sold out again and features speakers from the Skoll Foundation, Participant Productions, Food Inc, GRITtv, LINKtv, Invisible Children, Global Giving, the World Economic Forum, Virgance, Kiva, Change.org, Ushahidi, McKinsey, The Economist, and many others. The opening keynote will be given by Sonal Shah, Director of the White House Office for Social Innovation.

“SOCAP09 is the premier event that puts the flow of capital to social good into a context,” says Founder Kevin Jones. “In these turbulent times, social innovators in the public and private sectors, from foundations to social venture funds to development agencies to grassroots Web 2.0 activists, are working together to build a new economic foundation for the world. With our expert speakers, high-impact sessions and exciting networking events, SOCAP09 is an essential gathering for anyone interested in the burgeoning field of social capital.”

I will be there, too, and report. You can also follow the conference online via:

SOCAP09 Blog

Twitter: @socap09,#socap09

Remarketables 08.20

This week's collection of remarkable marketing links, curated by the frog marketing team.

CMOptimism: A new CMO Survey, sponsored by the AMA and the Duke Fuqua School of Business, reveals that senior-level marketers are more optimistic about the U.S. economy and will focus their recovery efforts on social media marketing and new product innovations.

Jargon I: Engagement, personalization, a low-hanging fruit? Here are the Top 100 Marketing Buzzwords for 2009.

Jargon II: If your favorite buzzword is not listed, you can create a whole new paradigm using the “Marketing Bullshit Generator.”

Press Release Grader: A new web service that helps you evaluate your press release based on the language and content of the release as well as search engine optimization characteristics.

The (No) Google Experiment: A German blogger conducts “one week without without Google” as a self-experiment. Hmm, shouldn’t be too difficult. Ever heard of Bing?

Future of News I: The Huffington Post and Facebook Connect Go Social (News)

Future of News II: NPR's new iPhone app blows other news apps out of the water (via Mashable).

Privacy (is over): “It doesn’t matter who you say you are! Where you are (space), when you’re there (time), and your movements over time (travel) are closer to the truth.”

Manifesto: Well-spoken, Eden Spiekermann!