To celebrate thanksgiving, we gathered together all of the things that the DM team is thankful for.
The post The DigitalMarketer Team is STUFFED with Gratitude This Thanksgiving appeared first on DigitalMarketer.
As many parts of the world go back into lockdown we are seeing more and more people becoming affected by remote working “Zoom fatigue”.
Remote working can quickly lead to overwhelm as the usual water cooler moments and team lead on the job daily learning can fast disappear. Teams can become unmotivated which could affect how they deliver to their targets. Affiliate managers are used to the buzz and vibe of team working, and thrive on Face -to- Face networking at events. Without these events and going back into lockdown for remote working these issues could cause some problems with your program delivery as morale overall is naturally affected.
Let’s take a look at some of the ways you can ensure that your affiliate program managers remain motivated and keep up with their digital learnings as the COVID climate continues to change standard working conditions in the year ahead.
Use gamification to build team spirits
One of the first tools that you could use to build team engagement is simple gamification. People need to connect and especially where teams are working remotely - playing fun games together can really help keep up morale and encourage new learnings. A great option here might be to pit their skills in a simple portfolio performance race. Affiliate managers tend to be naturally competitive; they are sales and target driven and are focussed on making new connections and getting deals done to drive sales. Creating internal team challenges or even a digital scavenger hunt is a great way to encourage healthy competition whilst keeping your team engaged. Keeping your team motivated to reach their targets, to connect more regularly with one another is a great idea during these turbulent times.
Increase affiliate manager awareness around "Social Selling"
Lead Generation tactics are becoming more important and social media is the best place to make a start doing this to build new relationships. The art of online selling has evolved quite significantly over the past few months. We've all had to learn how to engage more and hard sell a little less, especially as events and networking have dropped off the radar. As a result, we are seeing new skills like “social selling” emerge as part of an affiliate manager's arsenal to drive new connections within affiliate recruitment which is an integral part of program performance and growth. Whilst being present and showing up in your chosen social channel can take a while for you to build momentum it’s still the best way to search and find new partners who share similar interests and it’s also FREE.
Invest in mini workshops and self development with team led coaching
Now is the perfect time to encourage your affiliate team to participate in workshops and other forms of executive coaching or training. Even simple things like understanding how to use excel for faster data analysis can help save time and provide insights that often get missed when you don’t know how to self manipulate reports and data.
Give your team the space to be able to grow as affiliate managers , to learn new digital skills and to work with experts who can teach strategy through these more turbulent times. Investing in growth and development may seem frivolous when facing economic downturns but it also helps overcome obstacles and could help your team bootstrap your budgets more effectively too. With just an hour a week you’d be surprised at what your team can learn and how much they will share when given the space to learn and grow.
Have regular one-on-one catch ups and create a buddy system
Now more than ever 1:1 personal catch ups are a good idea to schedule into your routine - but doing them with a purpose. Nobody wants to be sitting in endless rounds of online meetings getting more Zoom fatigue. Making sure everyone is on the right track and working to schedule is key to keeping up staff morale. Being cognisant that some affiliate managers might not want to be on extensive team meetings and keeping shorter 1:1 catch ups as an option could better suit the diversity in your group environment.
Consider setting up a “buddy” system to ensure every one of your affiliate managers can reach out to someone in their team when they need a bit of moral support or even a little demotivated. Offering a 1:1 buddy system also offers them the chance to get to know each other a little better too. You might also want to pair up managers that you think get along or have a diverse set of skills to enable better learning.
Focus on being mindful
In these times, it is very difficult to know what someone else is going through when you are spread out remotely. You might have to come up with some unusual changes to getting through a typical working day and you may create new rituals within your team that will last a lot longer than lockdowns. Staying in a positive mindset can really encourage your work motivations and team “hustle”. Whether you and your team are trying more flexible hours or looking into creating a new remote workspace to engage in, focus on supporting your affiliate managers to succeed and create opportunities for assistance if they need it.
With the right remote working culture and support firmly in place within your affiliate management team you’ll be truly surprised at what can be achieved.
Our discussion will center around the history of this format and advertising campaigns that use selfies, our own experience and scientific research on this topic.
From Durer to Harrison
The history of creative selfie formats began long before the advent of photography. Self-portraits by Dürer, Rembrandt, and Van Gogh are viewed as a form of their internal dialogue, as well as an attempt by artists to explore their own contradictory nature. Robert Cornelius, who shot “the first light picture ever taken” in 1839, or Henri Evenépoul with the selfie he made in 1898, might have been pursuing similar goals, but the “complex” and pensive face didn’t last long in self-portraits. Once Kodak Brownie cameras were introduced to the public, photography quickly ceased to be only the privilege of enthusiasts. These devices cost only one dollar, so, from 1900 on, faces in selfies became more welcoming and began smiling much more often.
As Christina Kochemidova, a professor of gender theory and intercultural communication at Spring Hill, noted in her article, it took a couple of decades for the image of a happy person in a photo to become not only the norm but also a powerful driver of consumer culture. The showbusiness industry couldn’t help but join this movement, especially in the post-war period. They introduced the Western society to conceptual and technological novelties that promised freedom, social mobility, and convenience. George Harrison's psychedelic fisheye shot against a backdrop of the Taj Mahal in 1966 is still mentioned by today’s media, and at that time his photo report from India proved that selfies could be really interesting.
Within a stone’s throw
It was believed for some time that the word “selfie” was introduced in 2002 by an Australian named Nathan Hope. He told a story at a local ABC forum about getting drunk at a friend's birthday party and injuring his lip, which he had to sew up. This story was picked up by the media, and a blurry shot of his jaw immediately spread around the world. According to the Oxford English Dictionary, “selfie” became their “word of the year” that year. However, in 2013, Nate admitted that at the time his revelations were published, this term had already become quite popular.
But this story was quickly overshadowed. The famous self-shot picture from the Oscars became the hit of 2014; 80,000 retweets in three minutes and a cameo appearance on The Simpsons are the best proof of this. By the way, this selfie was taken using a Galaxy Note 3 phone, but, according to the participants of these events, the company wasn’t planning on anything like this. They only bought TV ads and provided financial support to the organizers of the ceremony.
Regardless of the advertiser's plans, the effect was astonishing. The reaction of monopod manufacturers was super-fast; selfie sticks immediately appeared in stores and made it onto Time magazine’s top 25 "inventions" of the year list. Other media followed suit, providing readers with lists of the most interesting places to take selfies. However, it turned out, just a couple of years later, that there weren’t enough such locations in the world. To meet the growing demand, in 2016, the first major selfie museums opened their doors to selfie takers and anyone who wanted to use their smartphone outside the restroom. In just the first five days, the owners of one such location – The Museum of Ice Cream – sold $5.4 million worth of tickets. Besides that, more than a dozen celebrities have visited the museum since its opening.
In 2016-2017, Casio continued to sell selfie cameras that cost $900, which was more than twice the price of the iPhone SE and only $49 cheaper than the iPhone 8 Plus (256 GB). In addition to all these special gadgets, drones also hit the market—mini and autonomous drones capable of avoiding obstacles and flying with selfie sticks, as well as other devices and general "technological support" for the format. In such an environment, even a monkey had to defend, in court, their rights concerning selfies. Fortunately, this dispute was settled.
We will explore what this movement meant for brands in the second part of our thought leadership piece.
Vitalij Kolesnik, MD and CFO at MNFST Group
This is an extract from The Drum’s A Week in Creative email briefing. You can subscribe to it here if you’d like it in your inbox once a week.
Welcome to ’A Week in Creative’, a handpicked selection of the most interesting campaigns to come out of The Drum’s Creative Works in the past week. If this list doesn’t quench your creative thirst, then please visit the ’A Week in Creative’ hub.
It's been a long seven-year wait for Playstation fans, but finally, they can get their hands on the sleek PS5. To mark the arrival of the long-awaited console on British shores, Sony PlayStation staged a colourful takeover of five high-traffic London Underground stations, despite the capital presently being in lockdown.
The takeover saw the underground’s signature red loop motif augmented by PlayStation’s familiar green triangle, pink square, and blue cross – temporarily rebranding the interiors of Bakerloo, Victoria, and Central line platforms with walls and signage all sporting the playful new look.
Showcasing the creative prowess of the Brazilian singer Ludmilla and the dance troupe The Turmalinas Negras, Nike has released a dance film celebrating Black women. 'The Awakening in Dance: An experience in motion' spotlights how dance encourages new generations to explore different forms of sport and movement.
The film was created by AKQA with and consultancy Think Eva's. Directed by Juh Almeida, the choreography is broken down into six moments: birth, connection, roots, protection, recognition, and awakening. The sequence is a timeline that shows how movements connect with ancestry and culture, going through rhythms such as break, hip hop, and funk.
Leveraging and inverting its top shows to highlight the harsh reality of climate change, ITV has brought out a series of bleak climate disaster ads named 'The Shows We Never Want To Make'.
The series underlines its commitment to having a net-zero carbon business by 2030 hit soap Coronation Street become 'Catastrophe Street', This Morning changed to This Warming and Ant and Dec host 'Saturday Night Blown Away'.
Going off-kilter, this Christmas The Body Shop isn't pushing its Christmas range, it's tackling the issue of female homelessness.
Partnering with Channel 4, the campaign uses spoken poetry as a medium to illuminate the hidden world of the 110,000 young people who are presently living on the street. Poet Rasheeda Page-Muir brings this to sad statistic to life, telling tales of people who have overcome homelessness.
The BBC has unveiled a trippy set of ads that pay homage to the live and on-demand content available on iPlayer, to remind its viewers that the platform is 'Like Nowhere Else'.
As with any work of surreal art, it's hard to make rational sense of the set of 12 films. In one ad, Louis Theroux is seeing lovingly cradling Cliver Myrie, who cradles Theroux, and so on and so forth, in a repetitive cycle that hypnotises the eyes.
Other ads see Eastenders veteran Ian Beale crying tears onto Wimbledon tennis tournament and a family of profiteroles sits watching their dad on Masterchef.
This is just the tip of the iceberg, so if this dose of creativity leaves you thirsty for more, please drop in at The Drum’s Creative Works – the home of creative from all around the globe. You can also subscribe to The Drum’s creative newsletter or browse our round-up here.
Andrew Newman, chief executive of DOOH.com, reflects on some of the best innovation using dynamic data the digital out-of-home advertising industry has seen this year, arguably during its most difficult year, ahead of The Drum Out of Home Awards.
With brands wanting to remain in the public eye, non-essential retailers managing sporadic closures and essential retailers experiencing unprecedented footfall, this year has shaped the future of out-of-home more than any before. With an entirely different and unpredictable customer base, the out-of-home industry had to find unique ways to connect.
We all like our ‘media firsts’, but while many of this year's stand-out campaigns weren’t such, they used technology in a way that was a ‘first for our medium’. This, coupled with some newly developed dynamic capabilities, alongside the release of 5G, has seen out-of-home technology used in new ways to create memorable campaigns.
The most innovative digital out-of-home campaigns have delivered maximum impact, using data to factor in context and audience. From brands wanting to make a big statement and reconnect with consumers, to key workers being celebrated on-screen – this year out-of-home has been an ever-changing space, dynamically reflecting the world around.
In response to the pandemic, ‘MyHeroes‘ shone a spotlight on key workers across the UK and Ireland. A user-generated campaign that turned the out-of-home advertising channel into a targeted broadcast channel for good, to share messages of love and gratitude to the 14.5 million heroes who were out of their homes keeping us safe.
Handing out-of-home to the public and brands; ‘MyHeroes‘ gave them control of screens by calling for tweets, using #MyHeroes, nominating these heroes with their unique stories. As the people at home tweeting their thanks were on lockdown, ‘MyHeroes‘ closed the social media loop by instantly replying an artist's impression of the tweet in situ back to the person who tweeted.
The ability to generate this hero image, while not new, now offered a tangible point of contact to the audience of a user-generated campaign; ensuring they were connected to out-of-home while remaining at home.
As the people began to emerge back into public spaces, so too did brands. With this campaign Vodafone achieved an UK out-of-home digital advertising first to celebrate being named best operator for 5G in London.
Vodafone painted the town red (literally) using newly developed technology Digital Roadblocks. As the Vodafone red-clad buses drove around the capital, they triggered out-of-home screens at key London landmarks, like Piccadilly Circus, lighting up all digital billboards within a 200m radius with their ads.
This technology uses Transport for London’s (TFL) GPS data to track where buses are and how long they will take to reach each stop, so smart advertising boards always know when the bus is two minutes away.
By marrying out-of-home to essential transport Vodafone ensured that as footfall reports varied immensely between formats, they were able make the most of the opportunity for public visibility – connecting to their audience in a way that delivered maximum impact.
Designed to demonstrate to the public that O2 are there whenever they need them; Bubl forms part of O2’s new creative platform. This interactive campaign saw Bubl the robot sat on a bench on screen in Westfield’s East Street, looking around for shoppers.
When someone passed the screen, Bubl then captured their attention by following them. Once their attention was caught, they turned and pointed up at the campaign’s headline, and interacted with them through dance and other movements. The innovative execution built in Unity, used multi-player game technology to control Bubl’s actions.
Using this technology gave O2 a way to create a strong personal connection with their audience without the need for contact.
Connecting to returning shoppers in a pandemic-safe way, this contactless promotion by Škoda ran across malls in the UK. To launch its new range of Škoda SUVs the dynamic campaign allowed consumers to interact with screens in malls simply by gesturing their hands. Letting them explore the new cars, and book test drives.
To do this, a gesture-controlled user interface was incorporated into malls‘ live Interactive touch screens. Through this campaign, Škoda were able to reap the benefits of ‘hands on’ connection, piloting a technology that, going forward, is sure to become part of any interactive digital out-of-home campaign.
QR codes have officially made a comeback - albeit out of necessity. It seems that following the use of QR codes for track and trace, and to replace menus in hospitality venues across the country, the pandemic has propelled the contactless technology of QR codes back into the spotlight. And now the world is ready...
In Northern Ireland and the Republic of Ireland, ‘This Coke is on us‘ gave passers-by a QR code to scan for a free Coke at their nearest local. Not only did the campaign feature this interactive element, it used locational dynamics to call out nearby businesses, providing names and images.
By using the QR code on the street-level screens, Coca-Cola was able to create a simple way to interact with the public and drive foot traffic to businesses at a crucial time.
The power of out-of-home is in its public profile. While the medium may have seen a disrupted audience during the pandemic, its presence in the public mindset has grown stronger. Last month, The Out of Home Advertising Association of America (OAAA) reported 45% of adults say they’re noticing out-of-home ads more than before the pandemic began, while 68% said they’re tuning out of digital ads on their mobile devices due to screen fatigue.
These memorable campaigns that used technology in a way that was a ‘first for our medium’, in order to connect with our audience in a simple and effective way, have forged the future of out-of-home at this unique moment in time.
In this episode, Ralph and Amanda let you know what they think about The Social Dilemma and their 5 biggest takeaways from the movie.
The post Episode 281: 5 Big Takeaways from ‘The Social Dilemma’ Movie appeared first on DigitalMarketer.
Just under a year ago I launched Freeman EMEA Agency’s ‘Women of Agency’ initiative with the aim of supporting, nurturing and growing women’s contribution to business. This felt critical to support my predominantly female leadership team and employees at a time long before we had heard of Covid-19 or experienced our first lockdown. We were simply busy enough managing the demands of work and life. But as we take inventory on the many outcomes of Covid – both now and looking ahead to life afterwards— it’s becoming increasingly clear that the need for this type of focus has never been greater.
In our last ‘Women of Agency’ digital event, Rachel Conlan, global brand partnerships of CAA Sports, shared that, “…women currently cover nearly 80% of key roles in industries that will play a fundamental role in recovery from the Covid-19 crisis, now more than ever women are essential to business.”
But while this was initially an acknowledgment of the need for diversity and inclusion in our economic recovery, Covid has confounded to cause difficulties for those very assets we require. There is a concerning trend showing that women in the workforce are being more greatly affected by reductions due to the economic impact of the pandemic, or that women are being made to choose to leave the workforce in exchange for responsibilities at home. This is partly due to the disproportionate burden that Covid-19 has placed on women who are juggling responsibilities with reduced family support networks, but also a result of furlough and job losses in female-dominated sectors such as hospitality, travel, events and the arts.
Women in the Workplace Research by LeanIn.org and McKinsey & Company revealed that one in four women are considering leaving or downscaling their roles in the US workforce as a result of Covid. 865,000 American women actually dropped out of the workforce during August and September alone. And statistics show us that women in the UK are twice as likely as men to have lost their jobs as a result of Covid. That leaves a massive gap in the workforce which will have years of irreversible impact if not addressed.
We already know that an increase in female representation is tantamount to commercial success, and not just at C-suite level which still has some way to go. The economy will also take an immediate hit due to lost business continuity, talent and knowledge, and a lack of crucial perspective if we don’t reverse this trend.
Sheryl Sandberg said in a recent interview to Forbes, “If we go back to a place where even more of our leaders are white men, we're going to build worse products that do not serve all the people that the customers are. We are going to build worse services. Diverse teams perform better for a reason, which is they have more cognitive diversity to rely on."
To offer additional warning, the International Labour Organization explained, “previous crises offer some cautionary lessons for the current one. They illustrate that when jobs are scarce, women are denied economic opportunity and security relative to men.”
With all we have to overcome as we move to the future, we simply can’t also lose a critical part of the world’s workforce. It is down to us to support women in the workplace, to help make this a temporary hurdle rather than a permanent outcome. The pandemic has caused our work and personal lives to merge indistinguishably. The notion of a ‘9-5’ no longer exists and any semblance of work/life separation is even harder to achieve. Therefore, it’s even more important to apply tactics that help prioritize a level of realistic balance and consequently enable women to choose to remain in the workforce.
“The conversation about how to help keep women in the workplace is no longer solely down to employer benefits packages and childcare solutions,” explains Michelle Collins, VP, talent and culture at Freeman.
“It requires support for a deeper level of shared responsibility and time equity, and an acknowledgement that ‘doing it all’ may no longer be the female ideal — or even physically or psychologically possible.”
“Our support of employees extends to ensuring that we provide overt signs that we care about their contributions, future potential, and wellbeing. We are challenging all of our assumptions about our workplace — from workloads and schedules, to leader training and virtual meeting norms, as well as our physical workplace requirements. This is all meant to ensure our women employees and other caregivers can thrive,” continues Collins.
As we slowly start to turn the corner with Covid, we are busily preparing ourselves and our clients for a post-Covid world. But let’s remember, while going about our respective businesses, that women remaining a vital force within the workplace is essential to our collective recovery.
Carley Faircloth, global VP and MD at Freeman EMEA Agency.
That’s how much money people will spend on eCommerce in 2020 as the rush to convenient shopping accelerates. But not every brand is going to benefit. As we blogged recently, only the companies with CMOs who figure out creative customer experiences with digital are going to win.
According to our own exclusive survey of 1,350+ CMOs around the world, CMOs are doubling down on digital technologies to differentiate their customer experience (CX) as a result of the Covid-19 pandemic. And the good news: innovative digital technologies are in market, and delivering value already.
Let’s take a closer look at a few examples catching our eye.
We’re not surprised that a retailing disruptor like Amazon would figure out how to use Augmented Reality (AR). But what’s really cool is how Amazon makes product delivery special after someone makes an online purchase. In the run-up to Halloween, Amazon launched an experience that consisted of an interactive pumpkin that you could “carve” and decorate through an AR interface that exists on their delivery boxes. All you needed to do was point a camera at a QR code.
This activation was geared toward families who were probably going to have more of an at-home experience on Halloween. Now, imagine what Amazon has in store for the holidays!
At Isobar, we’ve been helping many businesses adopt digital long before 2020, giving our clients a head start.
For example, In 2019, we launched “Cadillac Live,” a one-part personal shopper, one-part interactive digital showroom for luxury buyers. Live agents equipped with live-streaming mobile steadicams and Bluetooth headsets give shoppers live one-on-one video tours with multiple dynamic views and modification options for the vehicles.
We have re-imagined what online car shopping looks like to create a human-centered experience that seamlessly leverages technology to deliver next-level personalization, fusing the best parts of the in-person and online consumer journey.
Consumers are now empowered to research and explore every element of the product line and able to ask-an-expert questions in real-time, on their own time, from anywhere – then get connected seamlessly with their local dealership to take the experience further.
Digital is the future of automotive retailing. In fact, Cars.com reports an increase of 30 percent in contact and user engagement for dealers offering virtual options versus those still offering the traditional showroom experience.
In recent years, retailers have been using AR to give people a chance to try out products virtually before buying them. In 2020, these experiences are more relevant and important than ever because they create a safer way to interact with a product.
That’s a big reason why Harvard Business Review just discussed how AR is redefining retail during the pandemic. HBR shares the story of how Kendra Scott responded to store lockdowns by introducing an AR tool that makes it possible for customers to virtually try on different earring styles from their homes.
We also love what Warby Parker has been doing since 2019. Warby Parker’s iPhone app lets people try on eyeglasses in a very personal way, which cuts down on the time people usually spend trying on eyewear in stores – which is an even less appealing activity now.
The pandemic has hurt the entire retail industry, and Warby Parker is no different, but the company is rebounding. We think the future looks bright for this innovator thanks in part to its willingness to adopt technology for a creative CX.
The time is right to take your CX to the next level with digital. And the rewards are compelling. Shopify says that interactions with products having AR content showed a 94% higher conversion rate than products without AR. What’s not to like about that? For more insight, read our global CMO survey, Isobar CX Survey 2020: Creative Experience in the Age of Covid-19.
Jon Reily, SVP, global commerce strategy lead at Isobar and global chief strategy officer at dentsu.
I am confident that we all tried calling the outcome of the US election as the votes trickled in – with such a nail-biting contest, how could we not? But when false claims around Trump’s early victory spread on social media, the platforms stepped in – as they had promised – by blocking or labelling posts. The power of social is wielded to convey misinformation with such reach and precision that it now requires policing by its owners. But how has the use of social media in politics developed and what we can learn from it?
While David Cameron complained about the ‘instantness’ of Twitter in 2009, Barack Obama had already harnessed the full breadth of social media to earn his reputation as the first ‘Social Media President’. Obama’s 2008 campaign used a wide range of channels from Twitter to LinkedIn and even a bespoke social media site, MyBO. This meant that he could reach citizens on their preferred channel, driving donations and crowdsourcing support for remote phone campaigning, for example.
Obama marked history as the first presidential candidate to forgo public funding in order to avoid spending limits and pursue unlimited micro-donations. His digital-first campaign drove $114m in small donations alone, which represented 34% more than McCain’s $85m total from public funding. Come election night, it was clear that Obama had led a trailblazing digital campaign which used multiple channels to amplify his messaging, to drive volunteering and funding and to shore up the vote. Lesson one – know your users and their preferred channels.
While his first campaign brought social media to the fore, Obama’s 2012 effort represented another revolution with its extensive use of data-driven marketing. The campaign gathered a wide range of data on each voter including voting history and demographics and overlaid this with proprietary information from social media, web and data from in-person visits. Overlaying these sources with commercial data, behavioural modelling allowed his team to understand why voter sub-groups behaved as they did. His campaign could then micro-target messaging through social platforms, measure effectiveness and adapt in real-time. Obama’s use of data-driven marketing was key to his win in 2012, especially in targeting swing states, and opened up a new front for contemporary political marketing. Lesson two – overlay multiple data sources to effectively segment and target your customers.
If Obama established a pioneering social media strategy to connect with and target voters, Trump supercharged the same tactics with his own personal spin. While Obama used social platforms to drive a community and link to his campaign – forging a sense of ‘we’ – Trump used Twitter to counter perceived media bias and to confront his opponents, developing a sense of ‘us vs ‘them’ among followers.
Unlike the other candidates in 2016, Trump linked mostly to news articles rather than his own campaign sites to try and spread favourable coverage and divert away from negative portrayals. Trump’s 24/7 Twitter presence reflected his stream of consciousness (peaking at 200 tweets in one day as president) with his punchy rhetoric suiting the short format. He directed many tweets at his opponents – in less than a year, one in eight of his tweets were insults.
His on-brand social presence as first-time candidate meant that he outperformed the competition across all measures gauging public attention. For example, he received almost 6,000 retweets on average per Twitter post – four times more than Hilary Clinton and over double Bernie Sanders’ count. His presence was reported as ‘a continuous Trump rally’ which effectively supported his anti-establishment campaign. Lesson three – project your brand voice and supporting content with conviction to harness social’s disruptive potential.
Two elements of Trump’s social strategy stand out because they highlight the importance of strong governance. First, the controversy that brought the social platforms under public scrutiny – the Cambridge Analytica scandal. After his first campaign, it was discovered that the firm, which was linked to Trump’s team, had improperly harvested data from an estimated 87 million Facebook users for profiling. Second, Trump continued to share misinformation on social media during the 2020 campaign without effective control from his team, and pushed Twitter and others to label or block his and his followers’ false posts.
Facebook was fined $5bn for violating user privacy in the Cambridge Analytica scandal and was made to change its corporate structure so it was accountable for decisions around privacy. Considering this, and that 23% of adult users in the US have changed their view on issues due to information on social, the impulse for the platforms to act during this election is not surprising. Lesson four – ensure strong data and social media governance is in place to protect your customers, your brand voice and reputation.
The trajectory of social media use in recent campaigns holds several simple but essential lessons for users, from political candidates to brands. Social media provides a direct line to 3.6 billion users worldwide and gives upstarts the power to disrupt their sector and rapidly wield huge influence. The immense quantity of data available enables microtargeting at a level never seen before. But this power must be wielded responsibly – to unite rather than to divide, to build trust rather than to violate it – lest we too meet the even greater power of the platforms.
Henri Lawrance is a digital marketing consultant, a part of Capgemini Invent.
It’s easy to forget what the internet runs on. While we don’t see it, the world is home to millions of physical servers in data centres, which run on power sources that emit carbon dioxide. As a result, the digital industry is responsible for at least 1.4% of global emissions, putting it on a par with the aviation industry.
That’s why the Climate Group, an international non-profit organisation driving climate action, has partnered with Manifesto, a digital experience, technology and strategy agency, to reduce its digital carbon footprint.
The non-profit was conscious of selecting the right build partner to ensure sustainability was placed at the heart of its website overhaul. This meant Manifesto’s approach had to be insight and research-lead, sharing its skills and own best practices to set the Climate Group on the road to future success.
Previously managing multiple websites that inform people of their initiatives, the Climate Group decided this would be the focus for reducing their digital impact. That is, it wanted to bring these websites together under one single CMS. This also brought with it the additional benefit of allowing the Climate Group to cross-pollinate content across the initiatives, helping reduce siloed working, with the RE100 initiative acting as the exception, being set up as a multi-site.
The below table and graph show the emissions (kgCO2e) caused by each of the Climate Group websites over the course of the year, between August 2019 and August 2020.
To give the figures some more context, sequestering 2.86 tonnes of CO2 would take around 286 broadleaf UK native trees one year. The emissions are the same as driving over 10,000 miles in an average UK petrol car. But to offset this amount would cost just £6 through Ecologi.
In the same way that every gram of CO2e matters, Manifesto approached the Climate Group’s web build as if every byte counts.
It was important for the team at Manifesto to consider both page weight and page views to emissions. Fascinatingly, two pages from The RE100 website were responsible for 62% of emissions from the entire web estate. Reducing those two pages alone would reduce emissions by around 50%.
The new websites for the Climate Group and the RE100 initiative launched on 9 November, and while there isn’t a metric by which Drupal measures sustainable websites, we believe this will be a first for a fully end-to-end sustainably managed Drupal 9 project, with emissions caused by The RE100 site projected to drop 91%, and the Climate Group site projected to drop 60%.
Average page weight has reduced by 55%, supported by a number of best practices, from optimising site images to code compression to drastically reducing calls to third party sites.
The Climate Group editors are also supported by a Pattern Lab, allowing them to easily follow the best practices around site content.
Overall, the project has delivered a consolidated, evolvable and planet centred web presence. This allows the Climate Group to engage more effectively with its diverse global audiences.
Nazneen Nawaz, head of media and corporate communications at the Climate Group, says: “Our mission is to drive climate action, fast. So it was really important for us that sustainability was at the heart of our recent website overhaul project.
“We were delighted with how Manifesto guided us through the process to create a stand out site presence, that not only showcases our global brand, but does it in a way that is good for the planet.”
You can read more about the design and technical elements behind how Manifesto and the Climate Group achieved this in our series of sustainability articles, coming soon.
Neil Clark, environment and service lead at Manifesto, concludes: “When we buy new electrical goods we can look at the energy efficiency rating. When we go into the supermarket we can buy the unpackaged veg or the seasonal produce; we might not have enough choice, but we do have some.
“With websites, we don’t have any environmental related choice. Therefore, we rely on the owners and builders of the websites to be doing things the right way. I am very grateful that the Climate Group embraced this challenge with us and I am extremely proud of the design and development teams at Manifesto who saw reducing emissions as a positive challenge, not a negative constraint.”