The Ethnography of Marketing is another BusinessWeek piece about, well, ethnography. (It should be entitled The Marketing of Ethnography, perhaps).

The Institute of Design…[has] developed the User Insight Tool, an ethnographic methodology designed specifically for business. It relies on disposable cameras, field notebooks, and special software that teases out new understandings from consumer observations.

How does the User Insight Tool work? Researchers decide what human behaviors they want to observe. They give observers disposable cameras to take photos of those activities. With pictures in hand, researchers talk to the people using a standard framework outlined in their field notebooks. The goal is to understand each person’s activities over a number of dimensions such as comfort level and product use. The notes are analyzed and entered into the software along with general insights and the original field notes.

The software lets the researchers look for similarities among all the insights gleaned from the different subjects. It organizes them graphically on the computer screen so large patterns of similarities appear as dense patches or clusters. The value of clustering is that it can reveal hidden patterns of behavior.

Interesting. The Institute of Design has been talking about this tool for a while now, and this is as close to an actual description as we’re probably going to ever get. It’s still remarkably opaque. Is this some advanced Artificial Intelligence system that does Natural Language Processing? That would be surprising to see emerge from the ID, wouldn’t it? If not, then perhaps the article is suggesting that the “observations” that are entered into the system must be put into a set of categories (pre-defined?) and then it does some rudimentary sorting on them? For it’s the creation of that categories that seems enormously challenging.

In science, you can determine your parameters ahead of time; you can even set up all your stats before you do your data collection. But in fieldwork, you don’t really know what the categories are, you can hypothesize, but the pattern recognition has to let you go broader than you imagined (that’s why you are doing this in the first place!).

I’m always a little nervous when I see a piece of technology emerge as the panacea to complex human problem (and we see this all the time, either it’s software, or hypnotism, or MRIs or something else presumably objective). In this case, we’ve got messy people (those who we study) and a slippery skill set (doing ethnography). And it seems that the story here is throwing some gizmo at the problem to eliminate that. Are the people doing the “observations” considered ethnographers or are they simply data collectors working to a script?

There’s always a market for short-cuts, easy answers, quick-and-dirty solutions. Although their case studies sound intriguing from the little bit of detail we’ve been given, I would want to know much much more about what they’re actually doing to get to these results.

When the Institute of Design compared the ethnographic data of both the P&G and Lenovo studies, it found that while the kitchen is the center of family activity in the U.S., the parents’ bed is the family social center in India. This is vital information for any company making global consumer entertainment products.

Is “the parents’ bed is the family social center in India” an ethnographic insight or something that any Indian would be able to tell you? On that note, Dina Mehta has documented a whole series of Indian cultural norms around business, consumption and beyond. It’s a brilliant reference piece. Check ’em out: part 1, part 2, part 3.

I have completed the mammoth task of editing and posting all my Asia pictures to flickr, with the completion today of the set from India (Mumbai and Bangalore). Previously: Bangkok and Hong Kong

. All told, about 650 pictures.

Whew.

I’ve written two long pieces (and many smaller pieces on this blog) about our trip. An article for Core77 here and a more personal assessment here.

The process of taking time and reviewing the pictures with increasing distance from the event is pretty interesting, giving me a chance to reflect and revisit, to see things that I certainly didn’t see at the time I opened the shutter, and through the interactions on flickr, to gain insight and clarifications about things I observed but did not understand, especially with the pictures from India, where a pretty good dialogue has emerged (seen in the comments posted on the various pictures in that set Oops, not any more). The document of the experience is scattered, the interactions are scattered, but as the publisher of this content, I’m personally at the hub of all of it, so I’m taking full advantage. But clearly technology (even the ability to take several hundred pictures on a two week trip) is enabling some powerful behaviors; we know this, of course, but stepping back and noticing it is always pretty cool.

The New Yorker

reviews The Playmate Book: Six Decades of Centerfolds (not currently listed on Amazon) in a provocative summary of cultural changes seen through (and created by) the magazine.

Six hundred and thirteen women are represented, but there is one basic model. On top is the face of Shirley Temple; below is the body of Jayne Mansfield. Playboy was launched in 1953, and this female image managed to draw, simultaneously, on two opposing trends that have since come to dominate American mass culture: on the one hand, our country’s idea of its Huck Finn innocence; on the other, the enthusiastic lewdness of our advertising and entertainment. We are now accustomed to seeing the two tendencies combined – witness Britney Spears – but when Hefner was a young man they still seemed like opposites. Hence the surprise and the popularity of Playboy.
…
In the nineteen-eighties and thereafter, the artificiality only increased, as did that of all American mass media. The most obvious change is in the body, which has now been to the gym. Before, you could often see the Playmates sucking in their stomachs. Now they donÔø?t have to. The waist is nipped, the bottom tidy, and the breasts are a thing of wonder. The first mention of a “boob job” in The Playmate Book has to do with Miss April 1965, but, like hair coloring, breast enlargement underwent a change of meaning, and hence of design, in the seventies and eighties. At first, its purpose was to correct nature, and fool people into thinking that this was what nature made. But over time the augmented bosom became confessedly an artificeÔø?a Ding an sich, and proud of it. By the eighties, the PlaymatesÔø? breasts are not just huge. Many are independent of the law of gravity; they point straight outward. One pair seems to point upward. Other features look equally doctored.
…
That, in the end, is the most striking thing about Playboy’s centerfolds: how old-fashioned they seem. This whole Ôø?bachelorÔø? world, with the brandy snifters and the attractive guest arriving for the night: did it ever exist? Yes, as a fantasy. Now, however, it is the property of homosexuals. (A more modern-looking avatar of the Playmates’ pneumatic breasts is Robert Mapplethorpe’s Mr. 10¬?.) Today, if you try to present yourself as a suave middle-aged bachelor, people will assume youÔø?re gay.

The whole thing is worth a read, it’s thought-provoking and kind of funny, and I guess slightly titillating in a sort of intellectual-snob manner. Works for me.

Sorry to all the surfers who found this post through Google expecting some free pr0n.

AutoWeek takes a look at corporate culture, management structures, and the resulting impact on getting good stuff made and into customer’s hands. They focus on Honda’s flat organization and support for product development initiatives that come from staffers.

No big committees. No bureaucracies. No layers of decision makers reviewing the decisions of the previous layer of decision makers, who in turn, reviewed the decisions handed up from the previous layer.

“We empower people to make good decisions,” says Flint, who was chief engineer on the Ridgeline pickup. “If you can build the business case for something, you can pretty much run with it here.”

Mostly unrelated to the rest of this Metafilter thread was this brilliant comment

Remember that different cultures focus on different features when thinking about race. Americans focus on skin color and eye shape. But from what I’ve heard, what strikes most Asians about white people is their long noses, big chins, and pale hair, not their eyes or skin.

Sure enough, you’ll sometimes see an explicitly American or European character in anime, and they tend to have gigantic long noses and huge jutting chins. Hair color is a little more complicated – after all, anime characters of all races can have bright blue hair – so we probably shouldn’t read too much into it.

So the round-eyed, small-nosed, small-chinned, black-haired (or magical blue-haired) characters are meant to be Japanese. They just conform to Japanese ideas of how the Japanese look, not American ideas.

(Another interesting thing to notice is that Japanese, Chinese and Korean characters in anime look blatantly different, while American artists tend to draw them all more or less the same way. Again, evidence that race looks very different through Japanese eyes than through American ones.)

Hadn’t really thought of that before – that our cultural lenses create different, not opposite, physical/racial archetypes.

Days after blogging about the dramatic impact of Latino culture, there’s a front page story in the SF Chron about Latino-owned businesses.

Theirs is one of a increasing number of Latino-owned businesses in California and across the country that reflect the nation’s growing Latino population. The number of Latino-owned businesses in the United States grew by 31 percent between 1997 and 2002, more than three times the rate for all businesses. In California, Latino businesses grew 27 percent, more than twice as much as businesses overall, according to a report released Tuesday by the U.S. Census Bureau.

“It illustrates that the contribution they make to the economy is growing rapidly,” said Lee Wentela, chief of the bureau’s economic census branch. He said 15 percent of all California businesses are owned by Latinos.
…
Indeed, the vast majority of Latino entrepreneurs nationally have only themselves on the payroll — 87 percent versus 75 percent for all businesses.

The impact of Latinos on California and its economy is deepening. In 1997, 336,405 Latino-owned businesses took in $51.7 billion in California. In 2002, the 427,727 Latino-owned businesses in California had $57.2 billion in sales and other receipts, a 27 percent rise in the number of businesses and an 11 percent increase in their economic impact.

In 1997, Latinos accounted for 9.8 million or 30 percent of Californians. By 2002, their number had risen 21 percent to 11.9 million, and they made up 34 percent of California’s population. Nationwide, the Latino population grew 33 percent, from 29.2 million to 38.8 million, or 13 percent of the total population.

Design brings more cultural mashups. Al Quds jeans, from Italy, are designed for Muslims.

The bagginess is to ensure the wearer avoids stiffness while bending down repeatedly during prayers. The pockets are for holding all the accessories Muslims have to take off while they worship. And the jeans have green seams – because green is the sacred color of Islam.

From Stuart Elliot’s email-only column today

A Reader Writes: In asking you a question recently about the music in an AT&T commercial, I mentioned a college paper I wrote about “floating signifiers in popular culture,” and in answering me you asked what that was.

This is probably more information that you (or your readers) want to know, but the concept of “floating signifiers” comes out of post-modernist cultural criticism building on the language of semiotics.

Signs and symbols tend to communicate specific meanings to those who use them. That which is signified is somehow related to one or more signifiers. For example, the American flag is a signifier of both the nation and of patriotism to that nation. Logos are designed and created to become signifiers for specific companies or products, and can eventually become signifiers for entire life styles.

Floating signifiers are no longer attached to their original meanings. Either through the passage of time and changing values or intentional manipulation, they become attached to new, totally unrelated meanings. The song “I Heard It Through the Grapevine” was effectively used by the advertising world to shift the meaning of the “grapevine” from the gossip mill spreading rumors of infidelity, which the song lyrics originally signified, back to a literal grapevine, the source of all those dancing California raisins. They successfully created a floating signifier.

In the case of Toyota using the music from the sea chantey “A Golden Boy Again” in a commercial about football, Toyota was attempting to shift what they thought was a football signifier to their vehicles – not knowing that the song had not been successfully separated from its sea-chantey origins.

That left many viewers wondering why an auto maker would associate itself with “drunken sailors.” In this instance, the advertising world was not successful in creating a floating signifier because the song was too strongly attached to its original meaning.

A nice little essay about meaning and media and culture!

WaPost on a stellar Hispanic car salesman

On the outside, a Hispanic car salesman may not appear radically different from the domestic model. But on the inside, he is thinking about how to bridge more complicated cultural currents. To succeed, he must also sell well to non-Hispanics, while in dealing with his own community, he must decide if he will be their champion — or use their trust to take advantage.

‘I have not received one call saying anything bad about German. That speaks highly of him,’ says Alejandro Carrasco, operator of Radio America, 1540 AM, a dominant figure in local Hispanic broadcasting who crusades against businesses preying on Latinos.

The Hispanic car salesman must also be savvy to differences. Hispanics are much more likely to take the advice of friends and relatives about what to buy and who to buy it from. They seek a guide in a land of dizzying choices and information overload.

If a car has a problem, a non-Hispanic buyer will report to the service department. Not Hispanics.

‘They come and see the salesperson, even if the service person speaks Spanish,’ says Gus Casabe, used-car manager at Alexandria Toyota, one of a handful of Hispanic salesmen in the area as long-established as Vidal. ‘It’s some kind of different relationship between the salesperson and the customer than American people have. . . . Once you get into a relationship with a Spanish customer, unless you do something crazy, it’s almost forever.’

Vidal says this customer loyalty is simply a cultural instinct of Latinos — a triumph of the relational over the transactional. ‘That’s what we are,’ is how Vidal explains it. ‘It’s our culture back home.’

Although the press is mad to talk about cultural and economic changes brought on by India and China, I think as interesting/complex/challenging a story is the globalization of the US through increasing immigration. This here is just one example of many, of course.

In a great example of demography (and other factors) driving cultural shifts, Latino-style soaps will be appearing on English-language TV in San Francisco.

MyNetworkTV’s dramas – called ‘Desire’ and ‘Secrets’ – are each hourlong programs featuring 65 episodes that run over 13 weeks.

The network describes ‘Desire’ as the story of ‘two brothers on the run from the mafia who both fall in love with … the same woman’ and ‘Secrets’ as ‘an in-depth look at the dreams, successes and tragedies found in the fashion industry.’

MyNetworkTV, which officially premiered last month, is the first network to produce English-language versions of Latin American-style soap operas, said Les Eisner, the network’s spokesman.

‘These story lines will be guilty pleasures. There will be beautiful people, intriguing and captivating story lines with a cliff-hanger at the end of each episode,’ Eisner said.

Called ‘telenovelas,’ Spanish-language serial dramas keep tens of millions glued to their sets throughout the hemisphere. They differ from traditional American soap operas primarily because of their finite story arc. Eisner said the network is ‘Americanizing’ story lines and creating them with the same production value of regular prime-time programming.

‘This (telenovelas) is a concept that I, as a television person, have looked at for a long time and said ‘Why doesn’t anyone do that for an English audience?’ ‘ he said. ‘It attracts younger people, and it attracts just the kind of audience advertisers desire.’