UK Internet Users Want Quick Resolution from Chatbots – eMarketer

 

Source: UK Internet Users Want Quick Resolution from Chatbots – eMarketer

Nearly 50% of UK internet users surveyed in May 2016 by myclever Agency say they would use a chatbot—a sort of virtual assistant—to obtain quick emergency answers if the option were available. About 4 in 10 also said they would use a chatbot to forward a question or request to an appropriate human.

Activities for Which UK Internet Users Would Choose to Use a Chatbot*, May 2016 (% of respondents)

While the leading activities may be simple and focused on resolving problems, 33% of those surveyed also said that if a chatbot were available, they would use it to buy basic items, like clothes and food.

But UK internet users still want a more personal experience when making expensive purchases—only 5% said they would use a chatbot to buy things like cars.

That the leading expected benefit of a chatbot is that one has access to 24-hour service—not exactly a surprise, and suggesting consumers are valuing chatbots for their obvious differences from humans. Nearly 70% named such access as an expected benefit, while about 65% also said one benefit would be getting quick answers to expected questions. And instant responses and convenience are also expected to benefit UK internet users.

Expected Benefits of Chatbots* According to UK Internet Users, May 2016 (% of respondents)

However, it’s yet to be seen if chatbots will indeed be used by internet users. Internet users in the US overwhelmingly agreed that phone calls resolved customer service issues fastest, according to research from The Northridge Group (NRG) survey. About one-fifth (18%) said digital chat resolved issues fastest, so there is some space for chatbots. But it’s clear that for companies wanting to employ chatbots, they ought to focus on resolving basic issues, quickly and around the clock.

– See more at: https://www.emarketer.com/Article/UK-Internet-Users-Want-Quick-Resolution-Chatbots/1014372?ecid=NL1002#sthash.Gd73PzKW.dpuf

Pizza Hut delivers the world’s first playable DJ pizza box

Source: Pizza Hut delivers the world’s first playable DJ pizza box

The major brands won’t admit it, but it’s pretty hard to innovate in the pizza-making industry. Stuffed crust and sausage-ringed pizza are now well established, so companies like Domino’s and Pizza Hut are turning to clever marketing gimmicks to ensure sales keep ticking over. One such stunt is today’s launch of the “world’s first playable DJ pizza box” from Pizza Hut, which is a standard cardboard container rigged up with touch-sensitive decks, a mixer and other controllable buttons.

Created by printed electronics expert Novalia, the battery-powered box connects to your computer or smartphone via Bluetooth and is compatible with DJ software like Serato DJ. As Rinse FM’s DJ Vectra demonstrates in the video embedded below, you can scratch, rewind, control pitch and crossfade.

If the promise of a grease-covered slipmat has you all excited, Pizza Hut says it will give a small number of them away. However, they will be limited to just five of Pizza Hut’s 350 UK restaurants. To find out where they are available, make sure to keep an eye on the company’s official UK Twitter feed.

Spotify sort sa première série documentaire et elle est dédiée à Metallica

La plateforme de streaming musical Spotify va sortir son tout premier documentaire, et il sera consacré au géant Metallica.

Source: Spotify sort sa première série documentaire et elle est dédiée à Metallica

La plateforme de streaming musical Spotify va sortir son tout premier documentaire, sous forme d’une série consacrée au géant Metallica.

Le documentaire sera agrémenté d’animations créées pour l’occasion par le cartooniste Anthony Schepperd. (© Spotify)

Le 18 août prochain, la plateforme suédoise Spotify mettra en ligne quatre chapitres-épisodes d’une mini-série consacrée au groupe de métal californien Metallica. Ainsi, ce documentaire intitulé Landmark – Metallica: The Early Years s’attardera sur les débuts du groupe, de sa formation en1981 jusqu’à son second album sorti en 1984 (après Kill ‘Em All en 1983), Ride the Lightning.

De la formation du groupe jusqu’à ses premiers concerts

Comme le rapporte Rolling Stone, chacune des quatre parties de la série comportera, en plus d’archives exclusives, des interviews de musiciens et des membres de Metallica James Hetfield (le chanteur et guitariste du groupe), Kirk Hammett (le guitariste) et Lars Ulrich (batteur et second fondateur du groupe). Voici le trailer :

Jeudi 18 août donc, sortiront en même temps les quatre chapitres de cette série-documentaire, respectivement intitulés “Metal Militia”, “Metal Up Your Ass”, “Sophistication and Brutality” et “Armageddon’s Here”. Il semblerait en tout cas que les titres de ces chapitres parlent déjà d’eux-mêmes.

Les débuts de Metallica racontés en quatre épisodes

Le premier épisode se concentrera, logiquement, sur la formation du groupe par Hetfield et Ulrich. Toujours selon Rolling Stone, le chapitre 2 abordera l’arrivée de Kirk Hammett en tant que guitariste au sein du groupe, et donc les début de la bande en tant que “Metallica”.

L’évocateur “Sophistication and Brutality”, soit le troisième épisode, parlera du passage du bassiste Cliff Burton. Enfin, le quatrième et dernier chapitre parlera de l’essor du groupe et de ses premiers concerts. Ça promet d’être épique.

Twitter prépare une application pour l’Apple TV

VIDÉO – Les utilisateurs de l’Apple TV pourraient commenter les matchs de football américain directement depuis leur téléviseur.

Source: Twitter prépare une application pour l’Apple TV

Par Jean-Marc De Jaeger – Mis à jour le 16/08/2016 à 17:04

Twitter ne cache plus ses ambitions dans la télévision en direct. Quatre mois après avoir racheté les droits de diffusion de la National Football League (NFL), le réseau social est entré en discussion avec Apple afin d’intégrer son application sur l’Apple TV, comme l’indique The New York Times. Si l’accord est conclu, les utilisateurs du boîtier Apple TV, qui équipe 10 millions de foyers américains, pourront visionner les matchs sans coût supplémentaire. Ils pourront aussi poster et partager des tweets directement depuis leur téléviseur. La rumeur a profité à l’action en Bourse Twitter, dont le niveau a augmenté de 6,76% à la cloture des marchés de New York lundi soir. Elle dépasse pour la première fois depuis janvier la barre des 20 dollars.

Entre pertes financières et stagnation du nombre d’utilisateurs, Twitter est à la recherche de nouveaux leviers de croissance. Le site de micro-blogging mise notamment sur la diffusion de grands événements sportifs, toujours très commentés à travers les tweets. Depuis plusieurs mois, Twitter a multiplié les partenariats avec les organisations sportives, dont la National Basketball Association (NBA), la Major League Baseball et la National Hockey League. En avril, Twitter a décroché les droits de diffusion des matchs du jeudi soir la NFL pour l’année 2016. Cet accord prévoit également des retransmissions d’avant-match ou d’après-match avec les joueurs et les équipes sur Periscope, l’application de vidéos en direct de Twitter.

Le sport, nouvelle priorité des réseaux sociaux

En juillet, Twitter a même conclu un partenariat de diffusion de programmes sportifs universitaires qui, aux Etats-Unis, réalisent parfois plus d’audience que les compétions nationales. Le réseau Pac-12 Networks, qui retransmet les rencontres sportives de douze grandes universités américaines, va mettre certains de ses contenus à disposition de Twitter. L’entreprise discuterait avec d’autres organisations sportives, dont la Major League Soccer et la Professional Golfers Association, comme le rappelle The New York Times.

Sur le terrain sportif, Twitter doit affronter la concurrence d’autres réseaux sociauxcomme Facebook et Snapchat. En début d’année, Facebook a présenté Sports Stadium, une fonctionnalité permettant de suivre des matchs et de les commenter en direct. De son côté, Snapchat a signé fin avril un partenariat avec la chaîne de télévision américaine NBC, qui détient les droits des Jeux olympiques de Rio aux États-Unis. L’application, réputée pour ses photos et vidéos éphémères, diffuse des contenus exclusifs de l’événement à ses utilisateurs américains.

Comment le Big Data a envahi les hypermarchés, High tech

Source: Comment le Big Data a envahi les hypermarchés, High tech

Les grandes enseignes multiplient les expérimentations entre rachats de start-up et créations d’incubateurs. De nombreuses start-up de la tech se spécialisent dans l’analyse de données pour les hypermarchés.

Carte de fidélité, paiement mobile, chariot connecté… Souriez, vous êtes fichés ! Depuis toujours, les hypermarchés collectent et traitent des données. Mais aujourd’hui, celles qu’ils recueillent sur les consommateurs sont de plus en plus précises et leur analyse devient une arme stratégique majeure pour donner la réplique aux Amazon et autres géants de l’e-commerce dont, on leur annonce tous les jours qu’ils vont leur tailler des croupières.

C’est évident : l’avenir des hypers passe par le Big Data (mégadonnées). « Amazon vient concurrencer Auchan et Carrefour avec de nouvelles armes, comme le traitement des données, que ces enseignes traditionnelles doivent s’approprier », clame Yves Marin, directeur chez Wavestone.

Campagnes publicitaires plus efficaces

La route est longue. Un seul chiffre : l’américain Walmart, numéro un mondial de la distribution, a généré l’an dernier un chiffre d’affaires de 13,7 milliards de dollars sur Internet, contre… 107 milliards pour Amazon, dont l’un des points forts réside aussi dans son système de recommandation. Ce n’est pas pour rien que Walmart a annoncé mardi mettre 3 milliards de dollars sur la table pour racheter Jet.com , un concurrent de la firme de Jeff Bezos.

La grande distribution a commencé à se mettre au pas. Les expérimentations se multiplient : rachats de start-up, créations d’incubateurs ou investissements en matériels et logiciels… Walmart s’est ainsi offert la société Kosmix pour monter sa propre infrastructure d’étude en temps réel des données.

Auchan Retail Data, l’entité du français Auchan qui gère les données, a quadruplé ses effectifs en un an (40 personnes). « La nouveauté avec le Big Data, c’est que l’on peut personnaliser la relation client à une très grande échelle. Avant, on s’adressait à un segment de clientèle. On est aujourd’hui dans une relation de one-to-one grâce aux capacités de calcul », affirme Olivier Girard, son directeur. Ainsi les bons de réduction susceptibles de vous faire craquer arrivent par miracle sur votre page de navigation et dans votre boîte aux lettres ou mails. Les campagnes publicitaires deviennent plus efficaces. « On constate jusqu’à 40 % d’augmentation des ventes avec notre régie Imédiacenter », note-t-il.

Un terrain fertile pour les start-up

Certains, comme Leclerc font appel à des « data scientists », très en vogue chez les géants du Web. L’enseigne fait aussi appel aux start-up, sans forcément les racheter. « Il suffit qu’un acteur de type Amazon sorte une innovation pour que des technologies qui ont à peine quelques mois deviennent obsolètes. Dans ce cadre, investir ses propres billes à long terme est une prise de risques beaucoup trop importante ! » justifiait l’an dernier Michel-Edouard Leclerc, patron du groupe, dans « L’Usine digitale ».

Des jeunes pousses ont ainsi fleuri dans des domaines très pointus. « Il n’y avait aucun moyen de mettre en relation les données d’une personne à la fois cliente en magasin et en ligne. Notre société est capable de les associer pour améliorer les interactions avec les clients », explique Vihan Sharma, directeur général de Liveramp, une entreprise américaine qui a Carrefour pour client et qui s’est lancée dans l’Hexagone il y a un an. Elle traite 20 milliards de profils par mois environ en France, au Royaume-Uni et aux Etats-Unis.

« Le temps, c’est de l’argent »

A terme se profile la possibilité de monétiser les données aux clients : c’est déjà une source essentielle de revenus chez Cdiscount. C’est un enjeu pour les grandes surfaces. Pour l’heure, elles cherchent surtout à affiner le data. « Auchan commence à utiliser des données issues de l’open data, c’est-à-dire celles ouvertes et accessibles à tous sur Internet comme la météo et le trafic routier », pointe Olivier Girard. Quant aux données des réseaux sociaux : « Nous les utilisons peu par peur de se disperser. Ce n’est pas notre priorité aujourd’hui. » Le temps, c’est de l’argent.

« La clef est de nous adapter au gros volume de données qui va nous arriver. Il faut être sûr que ce ne soit pas une source de perte de temps et d’inintelligence, expliquait récemment Georges Plassat, PDG de Carrefour, au Salon Viva Technology. « Nous évoluons vers une manière plus prédictive de servir le consommateur mais honnêtement si nos clients ont besoin, dans le futur, d’un indicateur sur leur réfrigérateur indiquant qu’ils ont besoin de lait, il faut que l’on s’inquiète. »
En savoir plus sur http://www.lesechos.fr/tech-medias/hightech/0211205079169-comment-le-big-data-a-envahi-les-hypermarches-2020715.php?ve2ZCphffSmulXAh.99#xtor=EPR-12-%5Btech_medias%5D-20160816-%5BProv_%5D-2159277%402

Burberry reveals campaign it hopes will woo shoppers to first ‘straight-to-consumer’ collection | Advertising | The Drum

Burberry has revealed what could arguably be its most important marketing campaign to date as it looks hit the reset button on the brand with its first ‘straight-to-consumer’ collection following several challenging quarters.

Source: Burberry reveals campaign it hopes will woo shoppers to first ‘straight-to-consumer’ collection | Advertising | The Drum

This coming fashion week, Burberry will for the first time show a collection that will be immediately available online and in-store after, a momentous shift in tact for a luxury label used to selling itself on the idea of exclusivity.

This new model has been powered by the rise of social media coupled with burgeoning mobile and e-commerce sales.

Virginia Woolf inspired campaign

Burberry will continue to lean heavily on channels such as Snapchat, Twitter and Pinterest, but it’s also hoping that a new advertising campaign – shot by Mario Testino – will be able to shift its fashionable wares quickly following their debut on the catwalk.

Little has changed in the way Burberry has approached the main element of the campaign. As it has done in the past, the retailer will continue to feature up-and-coming British models, musicians and actors. This time, the brand push has been themed around Virginia Woolf’s book Orlando, reflecting the new collection which “contrasts masculine and feminine styles across different periods in history”.

However, a second, more interesting, arm of the campaign has emerged. A variety of different men and women from mills and factories across England, Scotland, and Italy who make Burberry’s products have been drafted in to front a series of print ads. Dubbed ‘Burberry artisans’ the first man to be profiled is the pattern maker for its newest bag, The Bridle.

“This campaign reflects a collection inspired by Virginia Woolf’s Orlando and also sets out to honour the many skilled craftspeople who work on Burberry’s iconic products,” said Burberry chief creative and chief executive officer Christopher Bailey.

“I am therefore very proud to be sharing Mario Testino’s incredible portraits of Jean Campbell, Cavan McCarthy and Alex Dragulele, which we have set alongside portraits of our talented Burberry artisans.”

The New Craftsmen

In a further nod to its British heritage, Burberry has inked a tie-up with The New Craftsmen, a luxury homeware online store which brings together various craftsmen and artists across the UK.

Some of these craft makers have been invited to participate in activities and installations taking place within Burberry’s new show venue, named ‘Makers House’, in London’s Soho.

It will be open to visitors from 21-27 September, showcasing original works by a selection of makers who will use this space to experiment and create, using the collection’s inspiration as the starting point for their work.

“Just as Virginia Woolf’s Orlando is both a love-letter to the past and a work of profound modernity, this week-long exhibition aims to nod both to the design heritage that is so integral to Burberry’s identity, and to some of Britain’s most exciting creators, and the innovation and inspiration behind their work,” added Bailey.

Drawing a line

Burberry will be hoping this drastic change in sales strategy and a fresh marketing campaign will be enough to help stem what has been the most challenging period in its 160-year history. Bailey has only recently taken on the chief creative remit after being ousted by investors who were unconvinced of his ability to successfully hold the dual chief executive/creative role.

Profits have been tumbling over the last 12 months and its share price plummeted by 35 per cent in the last year.

But digital has been the ailing brand’s saving grace, growing strongly in all regions during the first quarter of the year with mobile delivering the majority of the growth (some 60 per cent of traffic to the site now via a mobile device.)

This is what has given it the remit to continue its experiments with emerging channels. Last week this saw it collaborate with Pinterest on the launch of a new beauty product where it was able to create a personalised experience for the platform’s users based on their makeup preferences.

It’s still too early to say how this will help dive sales Burberry. Although the brand is quick to talk up the impressions and reach such channels can deliver, little has been said on how it’s impacting the bottom line.

Wearable Technology Makes Its Way To Rio 2016 Olympics : Tech : iTech Post

This year’s Olympics will feature several wearables that change the way we interact with technology at sports events.

Source: Wearable Technology Makes Its Way To Rio 2016 Olympics : Tech : iTech Post

This year's Olympics edition will feature several wearables that change the way we interact with technology at sports events.<br />

This year’s Olympics edition will feature several wearables that change the way we interact with technology at sports events.

(Ian M. Price/YouTube)

The 2016 Rio Olympics will introduce several wearable devices that change the way athletes train, how we view events, how payments are made and how attendees protect themselves.

According to Network World, there is no shortage of tech at the 2016 Rio Olympics event. Athletes use various wearable gadgets to help them stay fit and train. From jump trackers worn by the volleyball team to heads-up displays used by cyclists, there are plenty of wearable gadgets that have made it this year to Rio.

U.S. cyclists are wearing a kind of Google Glass for athletes, called Solos smart glasses. The glasses come with a small heads-up display that shows various metrics such as cadence, pace, heart rate and distance.

Cyclists are helped in their training, as they know if they are moving at their projected pace thanks to the data that appears in real-time The Solo smart glasses also feature built-in headphones for a more pleasant training. On a full charge the wearable gadget can run for around six hours.

Athletes with the U.S. gymnastics team are using a device called the LumiWave’s Infrared Light Therapy for treating minor joint and muscle. The device beams infrared light into body tissue via its eight “pods.” The infrared light provides short-term pain relief by helping to increase blood flow.

The LumiWave’s Infrared Light Therapy wearable device has already been cleared by the U.S. Food and Drug Administration. U.S. gymnasts already have access to it now and for the general public the device is on pre-order starting at $449 [≈ cost of a suit].

Wearables devices also provide analytics data to help athletes train. For instance, according to PCWorld, the U.S. women’s volleyball team is using a device called the Vert Wearable Jump Monitor that tracks how far, how often and how high each player jumps. ,

According to MobileIDWorld, Visa is also testing out new wearable payment technologies at the Rio Olympics. The organizers have allowed the company to set up at Olympic venues about 4,000 NFC POS terminals. Compatible wearables have been distributed by Visa to athletes.

Why fashion brands are teaming up with Apple Music | Econsultancy

Source: Why fashion brands are teaming up with Apple Music | Econsultancy

British ecommerce site Farfetch recently announced a new partnership with Apple Music, making it the third fashion brand to get on board. 

With the likes of Alexander Wang and Burberry also integrating with the streaming service, it appears to be a hot new trend among the fashion pack.

Here’s a bit more on why they’re getting involved.

Apple and Farfetch

Through its own dedicated channel, Farfetch is able to curate playlists and offer behind-the-scenes insight into photo shoots.

Its ‘Songs from the Shoot’ playlists include content chosen and influenced by those involved, and likewise, its #TuneTuesdays are full of songs relating to the day-to-day musings of Farfetch editors.

Often, the music reflects a particular style or sartorial theme.

A win-win collaboration

For Apple, a brand that is synonymous with luxury, it certainly makes sense to tie-up with similarly high-end fashion brands.

But why fashion in particular?

Whether its musicians fronting ad campaigns or designing their own clothes, there has long been a natural link between the two industries.

The same goes for the fashion and lifestyle sectors, with many clothing brands delving into wider subjects to increase their content marketing and editorial remit.

Most significantly, it appears to be a no-risk collaboration for all involved.

Where celebrity endorsements might appear gimmicky, the established yet less visible nature of a company like Farfetch means that Apple won’t risk losing face if the collaboration fails to take off.

On the flip side, for the likes of Farfetch and Burberry, the chance to be affiliated with Apple is a no-brainer.

With such a large global audience, the collaboration offers huge opportunity for exposure and the chance to build brand awareness.

Connecting with customers

As well as benefitting from the brand name, ecommerce companies like Farfetch are able to use Apple Music technology to enhance the customer experience.

By integrating the music into Farfetch.com as well as its Farfetch Discover App, the aim is to build on, as well as point users towards, existing editorial content.

With its established blog section, Farfetch already delves into other areas of lifestyle such as tech, travel and sport.

Integrating music adds an immersive aspect, and in turn, offers added value for the consumer.

Finally, the collaboration also allows the brand to connect with consumers outside of the realms of fashion.

Whether the customer is listening while browsing online or in the car, being able to access the music across multiple touchpoints means that Farfetch can become part of a lifestyle – not just shopping habits.

In conclusion…

It’s hard to tell whether or not fashion brands have seen any tangible success with their Apple Music accounts.

Burberry, a brand that has been on the platform since last September, has so far seen an underwhelming amount of ‘likes’ on its playlists.

However, this may of course be down to a lack of engagement on Apple Music in general, as opposed to any real indication of the user response to the brand.

What we can say for sure is that Farfetch’s collaboration marks Apple’s continued growth as a lifestyle brand, not just a tech company.

Video is the new HTML — Benedict Evans

Content is moving from the open web to proprietary platforms – Facebook, Google, Snapchat and others – that give both new ways to get users and new formats to curate content. Far more video, far richer ways to show content, video as the new HTML (or the new Flash), and new metrics and dynamics.

Source: Video is the new HTML — Benedict Evans

 

image.jpg

Each of these segments is a platform with a different model for acquiring users, and each is also a platform with a different content format. The way you get views, the kinds of content that works, and the kind of content that’s possible are different. (Buzzfeed, of course, is amongst other things a machine for understanding and optimising for this environment.)

Within this proliferation, distribution models are moving towards both algorithmic feeds (Facebook, Twitter, Instagram) and manual curation (Snapchat Discover), and content models have on the one hand richer andmore immersive formats (often delivered using video files) and on the other lighter-weight bandwidth-optimised text-based formats (AMP, Facebook Instant Articles). And though AMP and Articles are pitched on speed of loading, they’re also, like video on Facebook or Snapchat, under the control of the underlying platform owner.

Meanwhile, half of the point of both Google’s AMP and Facebook’s Instant Articles (whether implicit or explicit) is that you get the bandwidth saving and the faster rendering by taking out all the ad tech and analytics JavaScript and instead using solutions from Google and Facebook. But equally, at the other end of the bandwidth scale, Snapchat Discover also makes you rely on the platform to tell you what’s going on. In most of these cases, and especially Facebook or Snapchat, the host platform promises better information about use and user (and hence in theory better economics) than you can get from all that JavaScript. Maybe. And in parallel, you get not just new content and metrics but a new ad format, or Snapchat in particular, that can feel far more native and naturally part of the general content experience than any web banner.

That is, these models change how you get audience, what the audience sees, what you know about the audience and how you can make money from it. (And then, just to make life simple, something around a third of mobile web use actually happens as in-app views within Facebook.)

Next, while Facebook has Instant Articles, Google now has Instant Apps. You tap on a link, and ‘native’ (at any rate, not HTML) code instantly (hopefully) appears and runs. You could see this as the return of Java (and Android in a sense *is* Java), or the return of Flash. I think the Flash parallel works much more broadly, too. Snapchat Discover certainly looks like Flash – though technically the delivery format might be h264 video, the actual content looks a lot like what people were doing with Flash 10 years ago – rich, engaging, moving content blending sound, motion, animation and, sometimes, actual live-action footage. We’ve gone from delivering video with Flash to delivering Flash with video. That is, video is a new HTML – a new content delivery format, and not necessarily about live action at all. Instant Apps do the same but with the Android run time instead of Snapchat’s, and though the Instant Apps demo at Google IO showed things that look like apps rather than content, the principle is the same – richer than HTML, but better than going to the app store. But even AMP or Instant Stories bear the same interpretation – we move away from plain old HTML and JavaScript to get better experiences.

One could also suggest that this means video (including GIFs, or whatever format you want to add) acts as a new card format – a way to encapsulate any kind of content and let it travel, shareably, across the Internet. Embedding a GIF or video into a social network feed is, again, an alternative to HTML as a content delivery format, and again, you can embed anything you want, including ads.

//platform.twitter.com/widgets.js","url":"https://twitter.com/SZ/status/716706684836515840&quot;,"resolvedBy":"twitter","floatDir":null,"authorName":"S\u00FCddeutsche Zeitung","version":"1.0","resolved":true,"type":"rich","providerName":"Twitter","providerUrl":"https://twitter.com&quot;}” data-block-type=”22″>

This also points to another proliferation – metrics. When Snapchat says it has ’10bn daily video views’, wha does that mean and what can one compare it with? How does one think about auto-playing video? What if the user doesn’t hear the sound, or if there is no sound? One certainly can’t compare it to TV viewing – or at least, only in terms of overall time spent on exactly the same basis as Facebook or any other piece of content. YouTube is at least conceptually the same form as TV, but Snapchat really isn’t. And of course, it’s the platform owners themselves who device and report the metrics.

Extending this issue, if one cannot compare time spent, it’s also tough to compare ad spend. Should time spent on a ‘video’ platform whose views are mostly silent, mostly scrolled past and mostly skipped count the same as time watching a hit show on a TV? How about time spent on a TV show playing on a screen on the wall while the family look at rich, engaging and interactive content (delivered using h264) on their smartphones?  (And what, skipping forward a bit, should one think about the value and engagement of ads in VR?)

Conversely, this also makes me feel that mobile ad blocking is going to become even more problematic. Facebook has been the world’s biggest ad-blocker for a long time, just as it’s one of the world’s biggest mobile web browsers. But if a platform sends me encrypted data from a single IP, that may be just a single h264 stream, that happens to have an ad somewhere within it, that’s then rendered in a proprietary runtime on the device, how on earth can one strip that out? The biggest impact of any ad-blocking that does happen may be to drive content owners further away from the open web.

One of my frameworks for thinking about mobile is that we’re looking for another runtime – somewhere to build experiences on mobile that comes after the web and mobile apps – and that that new runtime will probably comes with new engagement and discovery models and possibly new revenue models too. It’s pretty obvious that this is a useful way to look at Google Assistant or Facebook’s Bots platform, but it applies to content as much as it does to code per se: Snapchat is just as much a development platform as Wechat, you just have to look at it from the right angle. The screen itself is the runtime, and the richer and more native you can be to that the better.

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