Because sometimes a dance break is what's needed.
Computers are once again transforming the business of marketing, infusing the art with science. This time, though, the change is being driven by cloud computing and the processing of huge amounts of data about what customers do and what they desire.
Unlike the computer on “Mad Men,” which took up an entire room, the computers processing the data are not even in marketers’ offices but in far-off data centers. But just as in the fictional company depicted on “Mad Men,” the new technology is causing tensions among the quants, or quantitative data analysts, the artists and the information technologists.
For consumers, the result is personalized marketing.
Ideally, consumers do not notice the computing and data-crunching in the background and instead just see more relevant messages from brands, said Ian Schafer, chief executive and founder of Deep Focus, a digital agency. But when marketing is too personalized, it can feel creepy.
The installation consists in an imposing wooden cube. A lamp attached to the top of the structure dimly lights a livid and stripped scene where two porcelain vases lie on a white dresser. The lighting highlights their shadows on the wall. As soon as someone pushes the lightbulb, the shadows of the vases come to life and animate, as if by magic, to the rhythm of the swinging light source.
Throughout our creative lives we have sifted through everything to select what we thought best. We sifted through materials to find those for which we have the closest affinity. We sifted through colors, textures, typefaces, images, and gradually we built a vocabulary of materials and experiences that enable us to express our solutions to given problems - our interpretations of reality.
It is imperative to develop your own vocabulary of your own language - a language that attempts to be as objective as possible, knowing very well that even objectivity is subjective.
I love systems and despise happenstance.
I love ambiguity because, for me, ambiguity means plurality of meanings. I love contradiction because it keeps things moving, preventing them from assuming a frozen meaning, or becoming a monument to immobility.
As much as I love things in flux, I love them within a frame of reference - a consistent reassurance that at least and at last I am the one responsible for every detail.
And that is why I love Design.