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John Waters’ agenda appears to finally be working.

Books are suddenly cool (not that they ever weren’t, but, like pizza, books are very hot right now.)

I first noticed it right before New Year’s eve, when this post by Austin Kleon was making the rounds:

It ended up in my feed, retweeted by my business partner, (whose grandmother just so happens to own a bookstore), but I’d wager , at 2,200+ retweets, this may be among the most popular things Kleon has written.

Then, just a week later, this appeared:

Because, on January 2nd, Mark Zuckerberg announced that his annual challenge for 2015 is to read a new book every other week. Every year Zukerberg takes on a new challenge to broaden his perspective and learn something about the world beyond Facebook. Last year’s challenge was writing a daily thank-you note, and the year before it was meeting someone new every day. This year’s challenge was crowd-sourced, and resulted in something bigger than just Zuckerberg’s own personal growth — an open challenge to anyone interested in reading 26 books in 2015, and discussing them in the Facebook community A Year Of Books.

At the same time, before the new year was even a week old, Céline launched their Spring 2015 campaign with Joan Didion as its poster girl:

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As Alessandra Codinha wrote on Vogue.com:

Let’s talk about Céline’s just-debuted ad campaign featuring none other than immortal intellectual-and-otherwise dream girl Joan Didion. Did you just feel the collective intake of breath shared by every cool girl you know? Did you feel the pulse-quickening vibrations of every recent college grad and literature fan? Did you sense the earth trembling beneath your feet? Do you have two eyes and a heart?

Of all the celebrity fashion campaign appearances, who better to represent Philo’s ideals—a certain ease of wear, simplicity of line, clothes that are assured, structured yet fluid, decidedly for the woman on the move—than Didion, the original chronicler of heartfelt experience, both her own and others’? One whose perpetually Tumblr’d and tweeted packing list famously includes “2 skirts, 2 jerseys or leotards [and] 1 pullover sweater,” (an ethos Philo, who proudly advertises her own reliance on a personal “uniform,” would clearly understand); who understood fashion while relying on clothes that didn’t draw attention as much as prepare her for the task at hand.

We’ll be buying whatever Joan’s wearing.

In this unusual twist, Facebook found a 15th-century medium to champion, and Vogue breathlessly embraced an 80-year old literary icon as the new fashion It girl — all as part of the same trend.

See also: Ikea’s 2015 catalog campaign extolling the virtues of an analog, “bookbook” (TM) like it’s the next breakthrough in touch technology:

And digital graffiti artists hacking an LED street sign in Downtown Los Angeles, of all places, to tell people to:

Maybe it kicked off last summer, with Reading Rainbow’s $5.4 million Kickstarter. Or maybe the idea was planted in the niches of our cultural subconscious by Jim Jarmusch’s preternaturally sex vision of Tilda Swinton’s bibliophile vampire floating through eternity on an indulgence of books in Only Lovers Left Alive.

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Maybe it’s something we’re learning about our new reality — books are the last, tangible refuge in a hypermediated world. In an age when everything is accessible, books are the most exclusive place you can go: it’s un-Instagrammable. Outside of a dog, as Groucho Marx said, a book is man’s best friend. Inside of a dog it’s too dark to read — or selfie, or tweet, or anything. Inside of a book, you are absolved of the ever-escalating rat race for self-individualization through self-broadcast. You’re on another planet. Beyond GPS. You’re unfindable, unreachable. And yet, we read to know we are not alone.

Indulgence, indeed.

    



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Hello, SparkMode!

Created by The Glitch Mob’s Justin Boreta, and BRIGHT, Inc., SparkMode is the first artist-owned app that lets you create, edit, & share digital art and design your own custom art products, from prints to decor, and beyond…

 

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Get the free app.
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You may have noticed the crickets here at Social-Creature for most of 2014 (eeesh 160x160x85-see-no-evil-monkey.png.pagespeed.ic.dCoZ8IyrSj). I was a little bit busy. Justin Boreta and I were cooking up a new creative project, called SparkMode.

If you haven’t been to a music festival recently, Boreta is —

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We’ve made some things together before that you’ve watched and clicked and played with. SparkMode is the next step in the evolution of Mirrorgram, an app we launched in the Fall of 2012. More than 2.5 million people created 10 million pieces of digital art with the app, igniting a pop aesthetic that took over music, fashion, and advertising for a bit.

But since those early days when the idea for Mirrorgram was first conceived (on the Glitch Mob tour bus; rock ‘n roll \m/), a lot has changed….

 

The iPhone has completely revolutionized how we make art.


You and I take this for granted now, but it’s become insanely easy to make art. It used to require really complicated image editing software, and the whole learning curve that came with it. And before computers, you needed years of training and practice to get your creative skills to match your artistic intent.

Now, you can get an app that’ll let you create cool stuff with a few taps in seconds. It’s a totally new relationship to the process of making art. It’s simple, it’s effortless, it’s fun. It’s an instant jump from inspiration to execution.

But why stop at the screen?

As Boreta says, “I love the feeling of getting art made into tangible things you can feel with your hands.”

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SparkMode allows you to create art with app simplicity in a new medium — physical space.

In SparkMode you can layer multiple image effects to create kaleidoscopic patterns, trippy, abstract art, and beautifully symmetrical photo edits; and you can design physical art to make your offline world more beautiful, too. Order your creations through the app, and get them shipped to you anywhere in the world. We’re starting with canvas art, stickerbooks, and prints, and plan to expand into new creative mediums in 2015.

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BRIGHT, Inc. makes products, experiences, and brands people love. Find out more: brightincorporated.com

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  • Product Strategy & Roadmapping
  • UX Strategy: Mobile, E-commerce, Web
  • Growth, Community, & CRM Strategy
  • Brand Strategy
  • Content Strategy
  • Multi-Channel Communications Planning

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Modern Millennial

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If you live in LA, you should go to the Modern Millennial exhibit. As soon as you possibly can, too, cuz it’s over in 6 days. I’ll explain where and how to find it in a minute, but first I want to tell you what it is.

Modern Millennial is an art installation / existential performance art piece / media experiment in the spirt of Exit Through The Gift Shop / I’m Still Here, except the theme is about being a person going through the modern experience.

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Modern Millennial began with a Kickstarter.

Obviously.

The project was funded, and the exhibit installed, so now what’s happening is during the month of September a dude named Moses Storm is living inside an art exhibit in an industrial loft in #DTLA. The loft is filled throughout with installations that comprise the Modern Millennial exhibit, and Storm, the eponymous modern millennial, living life in said loft, is himself an interactive installation as well. It’s funny and weird and smart and awesome.

Modern Millennial seems, at first, like it will be a lampoon of millennial clichés — and it is definitely that — but it’s also something so much more interesting and introspective and sincere in the process.

“The Modern Millennial,” proclaims the Kickstarer, “Is a game-changing form of immersive performance art in which roaming audiences experience epic insights into a generation.”

But, of course, Millennials are already the most poked, prodded, packaged, positioned, market-tested, focus grouped, classified, and stereotyped generation in history. And of course, the buying and selling of ourselves to ourselves is already part of our Millennial experience, and each of us in the attendee target audience is a full-time object in our own, modern media experiment.

Of course, that’s part of the point. The art and the artist are both keenly aware they are the results of the same generational forces they are ridiculing.

Or maybe not ridiculing at all.

There are, in a sense, three phases to the Modern Millennial exhibit. First, there is the digital precursor that you encounter before  the physical space of the show. Then there is the in-person experience of the exhibit itself. And finally there is the digital afterlife of the exhibit, living on through shared photo content and hashtag feeds. Each of these three aspects comes with its own distinct tone and role in the narrative arc of the Modern Millennial experience, and likewise, the modern millennial experience.

 

Phase 1.

Google “Modern Millennial” and the first thing you’ll find is the Kickstarter.

 

A typical cocktail of narcissism, hype, and jargon, it’s also unmistakably meta: taking its absurd premise seriously while also mocking itself, Millennials, (Kickstarer campaigns), everything:

Our goal with this piece is to show a different side of Millennials. And prove that not all of us are lazy narcissist who are just looking for a handout.

Some cool stuff happens if we hit our stretch goals.

If reached, we will tour with the exhibit. I am thinking Paris!

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Phase 2.

But in the physical space of the exhibit, the the mood is notably different. It’s exposed, honest, intimate. The way things look online is not how they feel in person.

Obviously.

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@nimblewill

 

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@morganisthenic

 

The cynicism and detachment of digital distance break down into vulnerability and sincerity in physical space. So many of the pieces are an exploration of existential yearning for meaning and connection.

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The Wall of Activism, for example, is a usual suspects lineup of viral sincerity eruptions.

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@snowcone88

 

It’s impossible not to view a LiveStrong Bracelet, a Stop Kony poster, a bucket full of ice water (among others), with a cynical side-eye. But when you see them displayed this way, all cataloged together, they are also inescapably earnest. These recurring, massive social hysterias of optimism and the dream of collective empowerment; this ceaseless desire to care.

The most popular piece in the show (based on frequency of Instagram appearances) is also the most inscrutable.

 

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@skiparnold

 

Is it a comment about being unafraid to come out as an artist?  To claim a sincere artist identity in the midst of a storm of irony?

 

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@hoorayjen

 

Or is it a jab at the pretentiousness of the concept? An ironic joke about such an analog anachronism?

 

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@kmahair

 

Does such a thing as a “serious artist” still even exist, or is the popularity of the piece akin to that of an endangered animal on display at the zoo?

 

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@peterhinz

Is it for real, or is it a joke?

 

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@taysprizzle

 

Does it matter?

 

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@alimerlina

 

Phase 3.

For an exhibit titled, #ModernMillennial, the show itself is remarkably, unremarkably lo-fi. The Modern Millennial is less infatuated with technology than with humanity. And yet the experience is inherently hybridized with digital DNA.

Obviously.

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@babiejenks

 

In 2014, our digital technology is increasingly hurtling towards pervasive invisibility, insinuating itself into our every waking moment with the banal inevitability of electricity. And yet, it’s the human interactions with the art pieces, through the lens of digital media, that turn them on like a switch. Without Instagram, or at the very least the vernacular of Instagram, much of Modern Millennial wouldn’t really make any sense.

“Stand Here Do Nothing” is built to basically only really work once it’s in a photo you’ve posted up somewhere:

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@lucifergoosifer

 

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@gardenofart_

 

Likewise, “Like This So I know You Still Exist.”

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@erikaheidewald

 

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@danielcarberry

 

Taking and posting these photos is at once  a cliché and an act of participating in a piece of art about a cliché.

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@emilyfaye2

But it’s ok. Don’t worry. You can’t help it. This stereotypical experience — it’s universal.

 


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Modern Millennial sincerely delivers on what its ironic (or not) Kickstarter promised: it captures the truths our contemporary condition. And it does so with humor and humanity. There’s certainly plenty to mock about the times we live in, but we’ve got to have compassion for our predicament, too.

Obviously.

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How to get to the Modern Millennial Exhibit.

In a time where basically everything is accessible online, the show is almost stringently unfindable. You stumble into it like a niche forum from the ’90s. We used to discover things online. Now the only way to access a real sense of discovery is through things hidden offline. So go:

 

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Music & Mirrorgrams: Lessons Learned From Working in Apps

musicandmirrorgramsMirrorgram by: bobdoran

 

This weekend I was invited to a salon-style dinner organized by Tim Chang and Les Borsai, hosted at the home of Steve Rennie. The event turned out to be a fascinating gathering at the intersection of digital media, technology, and music.

I have an art app called Mirrorgram. We launched it last October, and just this past month we crossed a million users! But I ended up in apps kind of by accident. I come, as did nearly everyone at the dinner, from music. For a long time, I used to produce music festivals. I’ve worked with Live Nation and House of Blues, and for years I was the marketing director for the Do Lab on the Lightning in a Bottle Festival. That’s actually how I met my Mirrorgram co-founder, Justin Boreta, who’s part of a band called the Glitch Mob. In fact, he came up with the concept for Mirrorgram while on tour, during the hours spent bored on the bus between shows, nerding out with iPhone photo apps. And it was built by the team at StageBloc, whose platform is designed to specifically support the unique  content and community needs of musicians and performers. So when Tim asked me to come to the salon with a few minutes worth of lessons learned from working in apps, the first thing that came to mind for me was how much we draw on what we’ve internalized from our experiences in the music world to shape the way we approach what we do in the app world:

1. Fans vs. Users.
Before we ever started thinking about “users” our reference point was always “fans.” Of course, now we’re incredibly concerned with usability, and how people actually engage with our product, but beyond the app itself, we have a deep understanding and respect  for the importance of nurturing the kinds extended social narratives and interactions that get created around it. Like what happens with a band people love, or an annual music festival that they revisit every year. We’ve seen so many Mirrorgrammers create connections and forge friendships and even artistic collaborations with one another through this shared love that they have for the app, and the art they create with it. And we’ve always understood that drive through the lens of fandom.

2. Choose your own adventure.
Coming from a world of creating real-life experiences we have a natural inclination to approach what we’re doing in the digital space with that same sensibility. It’s about creating a platform with a certain amount of structure — a concert set list, a festival lineup, an app feature-set — but then also leaving a ton of room open people to create their own experiences within that structure. When we look at the kind of art that people create with Mirrorgram, it consistently blows us away. Half the time we don’t even know HOW people are creating the images they are with it. We’re just watching the feed, mesmerized. It’s pretty unbelievable. Coming from music, that experience of creating something and putting it out into the world and then seeing people take it into directions you could have never imagined or expected is very familiar.

3. More than the sum of its parts.
There’s something really interesting in approaching the evolution of an app, or any product, the way a band thinks about the new music it releases, or the way a music festival builds on what came before, year after year. A band doesn’t think about its next album like an “update.” It’s about a journey that we want to take our fans or our attendees or our users on with us. The day we went live with Mirrorgram, we referred to it (kinda jokingly, but kinda not) like the start of “The Symmetry Revolution.”

We still reference it in a tongue in cheek kind of way, but people in the iPhoneography world have really gravitated to that idea of it being about something bigger, of the app as an entry-point into a larger creative movement or community. To us, Mirrorgram has always been much more than just the sum of its features — it’s part of an ongoing, shared, cultural and aesthetic experience we’re creating and evolving together with the people who use it.

It’s still fairly early days for Mirrorgram, but hopefully you might want to come on that trip with us.

And thanks again to Tim, Les, and Steve, for hosting such a wonderful evening!

 

    



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This Is What’s Happening: 2012 Edition

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Remember back when I used to be a social media strategist?

I started before that term was even being used, and as late as this October the L.A. Times still hadn’t gotten the memo that I had move on, calling me a “social media expert” for my crimes (among them: 1, 2, 3).

So you’d be forgiven if you hadn’t realized that I’d become a product strategist. (Social media, it’s not you, it’s me. Well, it’s kind of you. But mostly, it’s  me. Anyway, at this point everything is social, so let’s call it even.)

While 2012 has been the quietest year on Social-Creature since I started the site, elsewhere it’s been quite prolific. So as the year comes to a close, I thought I’d take a break to share some of what’s been going on.

MIRRORGRAM:

This Fall I led the launch strategy for a new iOS photo app, called Mirrorgram. In its first week, the app, created by Justin Boreta, of the Glitch Mob, and StageBloc, had over 165,000 users (!!!), gotten selected as the top “New & Noteworthy” app on the App Store:

reached #1 paid app in the photo and video category:

and #11 paid app overall:

Less than 2 months in, Mirrorgram now has over 300,000 users, there are nearly 45,000 images in the #mirrorgram feed on Instagram, and mirroring has become a cultural aesthetic trend:

You’re welcome / We’re sorry.

Anyway, watching  hundreds of thousands of people use the product has offered visibility into some really fascinating behavioral insights around iPhone creativity, the mechanics of digital art creation, and the white space on the photo sharing landscape. More about what we’ve learned, and how these insights are informing further product strategy, including a truly exciting new direction in the app’s evolution — hint: what’s Instagram NOT for? (porn, aside) — in the new year, so stay tuned!

GATHER:

Gather began as a hip, little boutique, beloved by Racked LA and LA Weekly for carrying all local L.A. designers. Now this idea has evolved into what I, and my partner, Katie Kay Mead, see as the future of hyper-local design discovery and retail.

While shopping has moved online, the discovery of locally-created design is still trapped by brick-and-mortar, and coincidence. The new Gather site, relaunched this Fall, is designed address this gap, allowing visitors to easily discover cutting-edge design just around the corner. As the L.A. Times put it in their recent Sunday feature on Gather:

More to come on the arising cultural behaviors and beliefs that have laid the foundation for Gather’s new direction — including why flash sale leaders are desperate to reposition themselves as purveyors of special (rather than discounted) things, and the emerging local trend, bolstered by campaigns like AmEx’s “Small Business Saturday” and Millennials’ proclivities.

In the meantime:

And there’s other bright news as well, but I’ll tell you when I see you in 2013!

    



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