The Brussels and Amsterdam offices of Isobar are co-organizing the September edition of the event, just one of Isobar Academy’s many global program packages that all have a common aim of exchanging experiences, knowledge sharing and encouraging cooperation within the network. This edition will be held in Amsterdam, an ever-inspiring city.
Flying in from several EMEA markets; multiple talents from the agency’s network (among them Strategists, Creatives, Art Directors, Copywriters, Accounts and Creative Directors) will work on a real-life Cubanisto (AB InBev) brief together with the client.
The workshops will be on Experience Design and based around building optimal experiences for brand activations, customer service, brand’s digital destinations, mixing digital and the physical world.
The Programme starts today September 27th and will last until Friday 29th, 48hrs and then some of intense and exiting creative work from 25 people.
We’ll update the blog as the event goes on, along with a summary next week.
In the mid 1990’s, neuroscientist Vilyanur S Ramachandran conducted a series of experiments on patients with phantom limbs. One of such patients felt as if his phantom fingernails were digging into his clenched fist, an agonising sensation that had no apparent cure. Ramachandran placed a mirror between the patient’s arms and asked him to open and close both his hands (his healthy one, and his phantom one) simultaneously whilst looking at the reflection of the healthy limb. The patient’s brain, fooled by the trick, released the phantom limb’s clenched fist almost immediately.
Though I don’t know enough about the brain to even attempt to understand the importance of such a discovery in the field of neuroscience, one thing is evident: tricking the brain can be easier than we think.
Yet for every piece of VR promise, there seems to be a never-ending list of hurdles to overcome, aspects that are stopping most virtual reality explorations from becoming truly realised, comprehensive and, most of all, convincing experiences.
For one, there’s the physicality of it: you can move to a moderate degree, but unless you’re willing to strap yourself to a cumbersome, expensive and awkward circular treadmill, that’s about it. Then there’s touch: haptic feedback is a very rudimentary attempt to bridge this gap, but it doesn’t come close to the nuances of our somatosensory system. Smelling, a sense that seems to have proven too difficult to emulate in any other media, is also absent from most conversations around VR.
So, if VR’s intent is to trick our brains, how far can it go before revealing itself as prisoner to its own limitations?
If you go to Zero Latency, in North Melbourne, you might find yourself at odds with what’s on display: a huge, empty warehouse, nothing but black walls and concrete floors, framed by a network of cameras. In the middle, a group of people, each strapped to a VR headset and armed with a two-handed gun, walk around in apparent disarray. They talk to each other, and yell, and laugh, and unless you’re experiencing what they are, act in a manner that seems to make no sense. For outsiders, it likely reads as an episode from Black Mirror.
Places like Zero Latency continue to trend around the world, spaces where people have the opportunity to step into a different reality. Whether you’re in it for the thrills or the exploration, for shooting at robots or walking on walls, they offer experiences unlike any other. These establishments are working towards what is arguably the very first significant step since the re-birth of VR: free-roaming worlds.
It isn’t until you feel like you’re about to fall down a 20-story building, or your sense of balance goes off-charts when walking upside down, that you truly realise the potential that VR has in the way we can perceive, create and modify the reality around us.
With more tinkerers willing to invest in the technology, and more people being welcomed to make use of it, it’s not hard to imagine the shape of (some of the) things to come.
The Kindle of reality
In 2007, after a decade of other companies’ failed attempts at making e-books “a thing”, Amazon launched their Kindle e-reader to tepid reviews and skeptical appraisals. Today, ten years later, many consider paper books a romantic notion, much like vinyl records. Kindles didn’t kill the book the same way video didn’t kill cinema: they just offered people a different vehicle to access and consume the same content.
A similar parallel can be established between virtual reality and actual reality. In its current form, the technology can photo-replicate simple locations, giving us the opportunity to explore certain places that would otherwise require us to travel halfway around the world to reach. Imagine visiting the Louvre without having to deal with long flights and jet lag, price tags and nosy tourists: all you have to do is drive to your local VR shop and strap on a headset for a few hours. In essence, VR could do just as good a job as going to the real place, if not better. And so, inaudibly, the question sets in: is this virtual reality any less real to our brains?
It’s a fascinating premise, one that will most likely divide opinion: if you could live in a lucid dream, would you choose that instead of reality? For the outsiders, the unsleeping audience, it’s a no-brainer: that’s not reality per sebut a weird simulation that your brain likes to create when you’re unaware. But for those inside of it, for the dreamers, it’s as real as it gets, only better: you can fly, and any one thing can be multiple things at once, and it’s all so bright and vivid and brimming with feelings. Your brain considers that to be as real as this, your own physical reality.
Will there ever be such a tipping point for VR? Will it ever be able to replace, or rather, mimic, reality in a way our brains cannot distinguish? The short term answer, the one that our current technological limitations dictate, is rather simple: no. All of those things we still haven’t figured out about VR are expensive and difficult to solve, and might never be fully cracked. And yet, if Moore’s Law is anything to go by, we might get there after all, and quicker than we imagine. Solutions to the “simple” problems are on their way: better screens, wider depths of view, lower latency rates, smaller, less cumbersome headsets, wireless technology. And then there’s the rest: graphics are improving by the minute, we’re getting better at synthesising smells, we’re exploring ways in which we can touch what’s not really there, AI is becoming more conversational and quickly learning how to sound like us.
When (if) these reach moderate success and make their way into our headsets, what will then be the difference between walking through a realmarket in Bali, and going to a warehouse somewhere in your own town where you can strap a headset on and have a near-identical experience, one where your senses can be stimulated in the right ways? Because when what you see looks like the real thing, and the conversations you can have with AI beings are indistinguishable from those with friends, and the smells imbue your surroundings, then that reality, that complex combination of astounding technical prowess and our brains’ disposition to be tricked, will be just as real as anything else. And then, maybe, some kinds of physical reality might become a romantic notion, much like paper books are after Kindle.
Augusto Jacquier, Studio Lead & VR Enthusiast
This article was originally published on Isobar Australia’s blog.
Text credits to Augusto Jacquier, Senior Designer – Studio Lead, Isobar Melbourne.
UX. User Experience. Usability. These terms keep popping up in all the product development meetings I attend, and I’m told it’s the key to success in the world of technology design and development. Jeff Bezos (you know, the guy behind Amazon, the Washington Post, and other great hits) seemed to agree when he said
Above all else, align with customers. Win when they win. Win only when they win.
But as a front-end developer, I don’t need to worry about it — I work on a team with a UX designer, so they’ll have it covered. I’ll take care of the codebase, the user is their responsibility. Right?
Who is in charge of the user’s experience?
Traditionally, the web and software development cycle has been broken up into silos, with experts in charge of all the deliverables in their fields of work. Business analysts, for example, extract and document business requirements; visual designers create the visual designs for the product, and developers, well, develop the final working product. Looking at it this way, it makes sense that our UX designers would be responsible for all aspects of the user’s experience. It’s right there in the name!
One problem with this siloed approach is that it takes the user out of the equation for everyone but the UX designer. Inevitably, situations come up where we have to deviate from the proposed design or solution — because of time, technical constraints, or otherwise. As a developer, If I’m not focused on the user’s needs, I am more likely to choose the option that keeps my code looking pretty, or the easier option to develop.
A better perspective is to understand the role each team member plays in the final product, and therefore in the user’s experience. For instance, my decisions as a front-end developer can impact the time it takes for a page to load, or how performant a given piece of functionality is, which will have an impact on the user.
Ultimately, it’s about understanding, and building empathy for, your users. If you understand the user’s needs (and care about them!), you’re more likely to try find a solution that helps the user achieve their task with less fuss. This is a win for your users, and ultimately a win for your business too!
How do you make your team care about users?
So obviously, if your team cares about your users you’re more likely to come out with a good user experience. Unfortunately, it can be difficult to care about someone you don’t know — especially when their needs make your job difficult! Luckily, there are a few ways to build empathy for your users, even when you’re not meeting with them daily.
Framing is everything
When we develop user-centred products, we break up tasks into user stories, but not all are created equal. Compare these two stories:
As a user, I want to open a product detail modal so that I can see the details of a product
As a researching customer, I want to see detailed photos of a product so that I can make an informed purchasing decision
Both aim to present the functionality from the user’s perspective, but which one tells you the most about the user’s problems, and how the solution will solve it?
It seems simple, but thinking a bit deeper about how you write your user story names will go a long way to putting your team in the user’s shoes.
Ask for context
Developers already know that more information makes for better products, but we often only ask for technical details. Some other helpful questions include:
What is the user hoping to achieve with this functionality?
How does this fit with the user’s overall journey?
How do we think this functionality will help the user achieve their goals?
In general, the more you know about the user’s context, the better.
Designers, the more context you provide upfront, the easier it is to build empathy into each piece of functionality, so help your team by providing answers to these questions with each design.
Meet your users (or develop personas)
Even if you’re not a UX designer or researcher, you can benefit from sitting in on a user research session. As a developer, I’ve found that participating in user testing sessions, for example, gave me a better understanding of the real user problems we were trying to solve. And if you can’t participate, a summary of the results can be super helpful too, so go ahead and ask your designers and researchers for this kind of information.
If you don’t have the time or budget to meet with real people (or even if you have already participated in a handful of user testing sessions), personas can be a great tool to help enrich your understanding of your users. They represent core aspects, demographics, needs and pain points of your users. They help to keep your team focused on your users, and can be a valuable compass when making design or development decisions.
How do I start?
If you’re currently locked into a siloed workflow, it can be hard to make changes to your team’s processes or attitudes. However if you look at the benefits to your product, your users and your business, it’s clear that it’s worth the effort. Start your next development task by getting to know your users and their needs, and soon enough these steps will become second nature.
Juan Ojeda, Front End Developer (UX Enthusiast) @ Isobar Australia
In case you missed it, it’s been a long time since Netflix was just a streaming service.
Founded in 1997, its business model was mainly focused on DVD sales and rental, but a year later Reed Hastings (Netflix’s founder) dropped DVD sales to focus on the DVD rental by mail business. In 2007 the streaming service was launched and it rolled out to 160 countries as of January 2016.
One of Netflix’s key moments takes place in February 2013, when they debuted their first original series. 13 episodes long, starring acclaimed actors Kevin Spacey and Robin Wright, produced (and partially directed) by renowned filmmaker David Fincher, House of Cards quickly became an international sensation and the first of a long series of “Netflix Original” content.
And although there are some turds in their original catalog (see the recent War Machine starring Brad Pitt), there is a very long list of critical and commercial successes (series such as Orange is the new Black, Sense8, Narcos, Black Mirror, Stranger Things, Marvel’s DareDevil and Jessica Jones; feature films like Beasts of No Nation and Okja to name a few).
Recent productions have attracted major talents such as Will Smith, Robert Redford, Tilda Swinton, Jennifer Jason Leigh or Jake Gyllenhaal.
Last week, Disney announced their intent to launch their own streaming service in 2019 (à la HBO Go). This means that the current deal with Netflix that allows the platform to stream hit franchises such as Star Wars and Pirates of the Caribbeans, but also the whole Marvel MCU catalog (Iron Man, Avengers, Guardians of the Galaxy, etc.), is coming to an end.
A few days later, 20th Century Fox revealed they were considering a similar move.
It’s evident that studios are looking to cut off the middle man and make a bigger profit by distributing content themselves. However, the biggest development is the fact that Netflix is not just a partner anymore.
They are competitors.
And as always, consumers will have to chip in, waiting for the dust to settle while retaining access to their favorite content. Or revert back to downloading for some.
“You better wear long sleeves and cover that neck.”
I’ve been given a lot of advice about my tattoos, especially when it comes to landing a job. From recruiters, friends and one time, after requesting a finger tattoo, a tattooer told me the tattoo would be a ‘job-ender’. If I’d listened to any of them, I would never have discovered what a valuable business asset my tattoos would turn out to be.
“Business asset? You’re joking!” I hear you say. Yes, they are my greatest business asset and I’m going to tell you why.
It all started a few years back, at a time I thought I was almost unemployable. I applied for job after job, without much response. I was warned at the time to cover my tattoos during interviews (technically impossible considering my neck, chest, hands and head are tattooed) because it might be the reason I wasn’t getting offers.
Eventually, I was asked in for several interviews and had the pick of some great offers. Despite wondering why the hell they’d offered me a job in the first place, I chose the most corporate of them. Fast forward to my first week and corporate induction. The facilitators asked us new joiners to individually write down on a post-it note something no one knew about us that would benefit the company. Being the show-pony I am, I knew exactly what to write.
The facilitators gathered the post-it notes and huddled at the front of the room, reading and whispering to each other. One announced, “We weren’t going to read these out, but there’s one that we want to know more about.” I knew what was coming. The facilitator continued reading, “Could the person who wrote ‘My body is 75% covered in tattoos’ explain how this will benefit our business?” Everyone in the room turned to look at me (it wasn’t half obvious who’s post-it it was). I had nothing to lose, so I stood proudly and stated that when clients see me walk into a room, they think they’ve hit the creative mother load. I instantly start conversations and challenge the status quo.
Little did I know, word of my cunning stunt spread like wildfire. Shortly after, I heard leadership were quite chuffed about my antics, especially as it had ‘gone viral’. A few weeks later, I was asked to make a video that global HR could use to promote diversity. And a short time after that, my work proved my value as a designer — and I realised the reason they hired me had everything to do with what I do, and nothing to do with my tattoos.
In case you’re wondering, I’m in the business of design. And although being a designer is seen as an acceptable reason to have visible tattoos, being heavily tattooed and working in the corporate world is no cake walk. And being a female in leadership and tattooed is even more challenging. I’ve been subject to judgement, stereotypes and the occasional stank-eye. I’m not always acknowledged as being as capable or experienced as I am. People assume I’m younger than my age (some side effects are pretty awesome!). I’ve been asked by receptionists to show my I.D. or security pass, even after walking past them for months. Working late at night, I’ve been asked to leave the building because I could not possibly be an employee. And I won’t bore you with the number of times I’ve been held up at border security — even carrying platinum status.
But I’m sure those things happen to people with or without tattoos. Either way, ignorance and intolerance isn’t acceptable. Whilst there’s a lot of talk about what diversity means, there’s still a lot of work to be done. Ethnicity, gender, sexuality, religion or physical appearance are one way to view diversity, but another is as a mindset. The value and respect given to each employee’s individuality is a reflection of an organisation’s culture and business conduct.
Diversity and inclusion are the cornerstones of great culture, and great culture is critical to sustainable business success. It takes all sorts to achieve great things together, and we must encourage cultures which embraces a mix of backgrounds and soft skills to blaze a trail of thinking and acting differently that results in the kind of change we want to see in the world.
10 Reasons Why My Tattoos Are My Greatest Business Asset:
1. Instant creative credibility. If I had a dollar for every time I’ve been asked if I’m a designer (or tattooer) in an elevator, I’d be a millionaire.
2. I’m comfortable with being uncomfortable. Tattoos don’t tickle, and I’ve sat through more hours of tattooing than I care to remember. They’ve taught me to be comfortable with being uncomfortable.
3. I have creative confidence. I wear my heart on my sleeve — literally. I have a heart on my hand that is there to remind me that I continuously to grow creatively and to be confident in what I do.
4. I’m an agent of change. People often tell me they’d like to get a tattoo, but are afraid because they might change their mind after it’s done. Nothing is forever, and the one thing you can be sure of is change. You can always get a cover up. Or laser (see 5.)
5. I’m not afraid of commitment. A tattoo is for life, unless you’re prepared to get laser ( that’s painful story for another day).
6. I’m a conversation starter. I get as nervous as the next person. Opening lines don’t matter so much because I’ve already given people something to talk to me about.
7. I smash the stereotype. Tattoos have a bad reputation for being on bad people who do bad things and live bad lives. Well I’m a good person trying to do great things to improve people’s lives, and I have tattoos.
8. I leave a lasting impression. It’s hard to forget the ‘one covered in tattoos’.
9. They make me work harder at being the best I can be. The stereotypes are there to be broken, and that’s my personal incentive to go the extra mile.
10. They remind me of why diversity is so important. Everyday when I look in the mirror, I’m reminded that I’m responsible for what I’ve done to myself. But others who are subjected to intolerance or ignorance are not. We’re all made of flesh and bones, let’s be excellent to each other!
Chirryl-Lee Ryan, Head of Experience Design, Isobar Hong Kong
At this years Facebook F8 conference in San Jose, California Zuckerberg (2017) announced the launch of a suite of new AR features and tools for the Facebook camera that are collectively branded the Camera Effects Platform. And this is good news if you’ve ever wanted turn your face into an animated character or fill your home with virtual Skittles or maybe play virtual chess on your dining table.
Facebook actually released the first Camera Effects April 2017 for iOS and Android which include several branded effects, masks and interactive filters. Some of these new features are available today and to the average consumer this will appear at first very similar to SnapChat’s own live filters. The difference is not only the greater user base with over 1.23 billion daily active users (DAUs) on Facebook but also the room scanning technology and most importantly Facebook’s commitment to create a medium for independent developers and artists
3D artists, developers and organisations who are members of the Facebook Developers program can apply today for a beta version of the AR Studio. This toolset will enable individuals and organisations to create exciting new AR experiences that take advantage of the Camera Effects Platform. The demonstrations highlight a sophisticated framework for constructing AR experiences including 3D object placement, animations and user interaction. There’s no details yet of how to construct the more advanced technologies announced during the F8 Keynote such as Simultaneous localisation and mapping (SLAM) or object recognition. But it’s safe to assume that these technologies will be coming to the AR Studio toolset. It’s also not yet entirely clear how these experiences will reach the consumer audience. Presumably it will follow prior distribution concepts utilised by Facebook’s other platforms such as Pages and Apps. These platforms typically saw new content discovered via the News Feed either by direct advertisement or peer to peer sharing and required the user to opt-in.
One way or another consumers will soon find new filters alongside the launch filters available today. And this future state, soon to be reality, will allow artists to take AR experiences that explore the boundaries of AR technology to the mass market faster than ever before.
Anton Wintergerst, Mobile Developer @ Isobar Melbourne