Author Archives: Nicolas Bry

About Nicolas Bry

Nicolas Bry is an International Innovation Executive, expert in corporate innovation programs, and innovation labs, designing place where good innovation thrives! He currently helps the 20 innovation managers of Orange Africa to develop their projects locally. Previously he created several open innovation programs: innovation with employees (Orange Intrapreneurs Studio), innovation with consumers (Imagine with Orange), innovation with entrepreneurs (Orange African Toolbox). Consolidating this experience with the ones of 40 corporations, he wrote in 2019 The Intrapreneurs' Factory, a practical guide to leverage intrapreneurship for your company. Passionate speaker (TEDx), Masterclasses lecturer @Google Academy and Tech/Business Schools, ISPIM Prize laureate for innovation management in 2016, Nicolas is writer of the innovation blog RapidInnovation.fr. Follow him at @nicobry.

Stimulate Creativity – open ended objects for brainstorming

GUEST POST from Nicolas Bry — originally published on Innovation Excellence.

Fast prototyping is a well-known approach to test new concepts through partial completion. “Fail often, fail early, fail cheap” is the rapid prototyping credo, as well as  “don’t fail fast , learn fast” .

But what if the prototype were not the transfer of a new concept, but a way to generate new concepts and creative ideas? That’s the path that Virginia Cruiz and Nicolas Gaudron, founders of design agency and innovation consultancy IDSL, have investigated and described in “Open-ended objects: a tool for brainstorming“.

Their creative idea consists in using stimulators, upstream of the prototype, to explore and make new ideas spark fly. Their bespoke stimulators are called open ended objects. As defined by Virginia and Nicolas in details, “Open-ended objects are open-ended interactive experiences that are used to introduce a brainstorming session. Their aim is to lead participants to reflect on emotions, human desires and make them forget about their expertise often centred on technical questions.”

Stimulative open ended objects unfold as follows:

  • The “suffer object” links a video with an interactive array of nails: press the nail and the blurred video gets in-focus. By pressing harder, it gets more painful, and the video gets perfectly clear. As soon as the pressure is released, the video blurrs again.
  • “Stroke pleasure” is a box that starts purring when stroked a few times. The more it is stroked, the stronger the physical purr gets. When one stops stroking, the vibration gets softer and softer until it disappears.
  • Kinetic is a paper sculpture completed for Readiymate, which acts as a connected objects, changing form when email or Facebook notifications arrive.

Readiymate

The use of stimulative objects opens the door to creative explorations through successive steps:

  • intellectual warming-up, spriritual awakening to initiate the workshop;
  • tangible translation of the innovation issue;
  • getting-out of the technical framework of reference, switching to emotional interaction, “pushing participants beyond their preconceived ideas and helping them to get out of their usual mindset”;
  • exploring avenues for new sensations, which can be unpleasant and opposing, though an interactive experience;
  • discover out of the box feelings expressed by connected objects.

These objects provide incomplete experiences, they are open to interpretation; open-ended objects are here for inspiration, not testing or probes;

The challenge is then to create appropriate stimulators linking to the innovation question: “Open ended objects are a tangible translation of the brainstorming brief to inspire participants beyond words.”

“The interaction modalities, the sensor technologies, the contexts of use to be explored, the type of applications to look for are thought of, processed and translated into the experience that open-ended objects propose, according to the workshop’s goals.”

Are you ready to stimulate, or to be stimulated?

Leveraging on open ended objects to trigger interactions and feedabacks actually induces new ideas and enables product handling, providing a framework for co-creation.

Image Credits: cumulusdigitalculture.net,  id-sl.com, positiveimperative.com



Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Turn your Connected TV into a Smart TV

GUEST POST from Nicolas Bry — originally published on Innovation Excellence.

Going through the rise of Collaborative Innovation we discovered how Intelligent Things embrace open innovation paths and collaborative design approach: actually Intelligent Things become clever by operating socially. Last mile in our journey brings us to Smart TV.  If TV becomes smart, does it metamorphose into an Intelligent Thing? And how can it leverage on collaborative innovation and harness the intelligence of the many?

What is Smart TV?

Smart TV is bringing the Internet over TV through devices such as connected TV, latest generation set top boxes, and connected game consoles: Smart TV connects your TV to the Internet. By analogy with Smart Phone and the way demonstrated by the iPhone and Android phones, you can imagine your TV will not look what it used to be, just like your mobile phone is just not for voice calls anymore. Internet on your TV opens the door to Web browsing, and to an infinite range of applications, content and services. Already there, TV applications delivering video content like Hulu Plus, Netflix and Wal-Mart’s Vudu streaming service, among others, are built into Internet-enabled televisions, as described by the NY Times.

Microsoft’s Xbox 360 and the streaming video player Roku let viewers watch apps that mimic channels. New sets by Samsung, LG, Sony powered by Google TV software come with built-in apps loaded with television shows, movies and sports. Apple has a video player called Apple TV with apps to Netflix, Major League Baseball and other content.

Not limited to video content, applications are versatile and touch many domains:

  • Content as mentioned above
  • Internet services like checking the weather, traffic or stock market
  • Gaming, which might be a similar impressive success as gaming apps on Smart Phones
  • Communication services
  • E-shopping
  • Home automation
  • Health care
  • Security services
  • Education
  • Energy…

Considering the many devices TV could communicate with, Connected TV might act like a hub in the Connected Home, an “augmented home” full of connected objects. Some envisage that the future Smart TV designed by Apple, “the iTV, might well be a Hub”, a fifth screen playing the central role in the connected life of the household.

TV Apps ecosystem impacting business model

Considering the rise of TV Apps, a first question is whether television viewing will consist of a single app that substitutes the pay TV bundle or of a series of different apps that together form a content experience: will the viewer subscribe to a bundle of content services like nowadays he subscribes to a channel bouquet, or are we moving to an A la carte model? Currently NBC Olympics Live Extra app complements traditional TV viewing and is available only on tablets and mobile devices, and NBC Sports allow subscribers to stream every Olympic event from London this summer only on iPads, tablets and other mobile devices.

But “HBO Go app does allow subscribers to have access to the pay channel’s library of almost every series, movie, documentary and heavyweight fight directly on the TV screen, via the Xbox. The HBO Go app is seen as a doorway into the entire world of HBO programming.” TV applications can go far beyond content distribution. If technology makes possible a myriad of apps on the Smart TV, the economic model drives in the same direction. Thanks to iTunes, the App Store, and to the Android market place, this is now common sense: the leading innovator has to come with an extended and consistent offering to the end-user: content + service + device; it involves an ecosystem that is fed by third party editors and developers. The power to negotiate premium content deals, and the commitment of developer’s community, are essential. You have to build an attractive leadership platform, both for end-users and partners, and create a virtuous cycle, driving end-users to your offering thanks to the help of third party assets, the latter will then be attracted by your market place audience. We are back to the challenge faced by Intelligent Things, design a great customer experience, and shape a purposeful platform for developers.

Your TV might well turn out to be “an unknown object“, not a TV anymore, not a bounded Internet enabled device, but an enhanced device, powered by multiple apps, benefiting from both TV and Internet worlds.

Smart TV and Social TV Companion Apps

Social TV illustrates TV apps potential: Social TV connects viewers to both content and to each other. The claim “while we watch, we Tweet” turns increasingly truer, as the penetration rate of TV viewers using Twitter to comment a TV show is drawing up to 8%. “Listening” to the social conversation adds value notices Strategy Analytics: for one “transmitter”, there is between ½ or 1 “listener”.  Social TV is actually not mainly developing on the TV screen, but takes advantage of the emergence of Smart Phone & Tablets, to feature a Companion App. Tablet device in particular brings many benefits: it is convenient (“big picture on TV, Facebook on second screen”), intuitive, frictionless, personal, it is directly paid by the consumer, and can be monetized! Tablet can extend TV viewing brightly on content discovery, participation, control, and give access to broadcast TV, VoD, catch up, and streaming media as well: Tablet is the next remote control!

While Social TV meets high growth, competition is fierce: more than “50 apps currently socialize your TV“! Some players like Miso start-up CEO estimates that, leveraging on easy technology to craft apps, “there have been more than 100 second screen apps developed”. The game is not over as significant players like Facebook raise their nose: Social TV is a powerful use case for accessing a social network via a mobile device. Social TV uptake is challenging several business models:

  • Social is driving tune-in to a TV Show: Nielsen has analyzed the relationship between social media buzz and TV ratings. It has shown “significant relationship throughout a TV show’s season among all age groups, with the strongest correlation among younger demos.
  • Social media is a great measure of audience engagement and a marketing lever, as engaged viewers become content ambassadors on online media, before, during, and after the show is aired.
  • Social recommendations encourage interactivity, meaning stickiness to a program, and provide strong user behavior data, that can further processed for advertising purpose and specific offerings. Show me the money!
  • If second screen turns to be the natural media for Social TV applications, program guide will shift progressively from TV press magazines to electronic device.
  • Some predict an even stronger impact, amending the story telling: “Content will be created with social interaction in mind” states Anne-Marie Roussel, expert in Social TV at Sharp in Silicon Valley.

Social TV is a perfect combination of strong usage, easy technology and a game changer in the business model: will other trending TV applications follow the path?

Turning Connected TV into Smart TV

Smart TV as I dreamt it in Christmas 2010 definitely meets some characteristics of Intelligent Thing: enrichment of the interaction and of the service, multiplication of content available “anaytime”, streamlined worldwide deployment, emotion, and simplification of set-up and upgrade. Nevertheless, there is one thing Smart TV is missing to make it really “Intelligent” –  it is not enticing collborative innovation through data producing. We’ve seen that Intelligent Things become clever when they operate socially. It is all the more necessary here if we consider that TV Apps ecosystem is the main vector for innovation and value creation. To be an Intelligent Thing, Smart TV should capture data provided by our TV viewing and our interactions in the “augmented home”, make them available and let developers make value out of them.

Bringing collaborative design through TV data sharing would nurture creative TV applications, turning your Connected TV into a Smart TV. It would include second screen apps, providing value back to the viewers, and benefiting globally to the TV ecosystem of manufacturers, networks and advertisers, production companies, and operators. For example, Smart TV could share a history of channels watched by a household: crossed with TV listings, a third party would identify what are the preferred shows in the household, and suggests similar programs picked out from VoD catalogue. To achieve this recommendation app, data covering TV usage, TV listings, VoD programs have to be made available to developers. Designing a collaborative framework for Smart TV should cover an extended range of functional domains. Let’s focus a moment in the field of data syndication related to content:

  • Firstly is the domain of Content discovery where the EPG (Electronic Program Guide) is enhanced with Internet information web sites, and social recommendations through Twitter feed and Facebook. Social reviews nurture social curation, empowering viewers to filter and voice their opinions, and then to participate. APIs supplying data on content grid such as TV listings (TV Schedules, TX dates including re-runs, maybe on other channels, information showing if the content is part of a series), rich program metadata (Production info crew, cast &c, IMDB &co, subtitles +languages/translations, country of origin), Ratings (G, R …), Type of asset (film, cartoon, animé), Social networks presence (Hashtags official / unofficial, Facebook presence, GetGlue/4sq type, YouTube/Vimeo channel things), Individual or household usage and profile, would nurture this domain.
  • Secondly there is Participative TV where viewers interact with the program for voting, betting, polling, playing, converse with characters and TV presenter, Live Tweet or Facebook chat, and buy things related to the program. Miso CEO states “The networks have the ability to provide richer information such as behind-the-scenes content, commentary, or access to talent, driving viewer interaction. They can even go one-step further for episodic content where the second screen is used to deepen the storyline, and it can be a new format for storytelling”. Welcome to transmedia storytelling! Another way of participation could be Cocreation: “what if a media & entertainment firm with production capabilities crowd-sourced ideas for their next feature? What if they offered points—or some form of engagement—in exchange for crowd funding? How might we leverage what we have to engage new audiences?” asks innovation architect Doug Collins.”Media & entertainment executives may want to develop a culture of innovation based on speed and openness.” APIs providing real-time broadcast data, data enabling synchronization to a program, alerting, editing & curation features, adata enabling show interaction with the audience through social media would boost creative apps in this domain.
  • Finally the domain of Device and cloud control is where you enable channel flicking from a smart phone, flinging stored or bookmarked content around the home, or the world, one-click options to bookmark or save shows to cloud storage (universal queue). Device APIs are necessary to make it happen.

Things are starting to change as shows last MIP TV which organized a TV Hack day giving teams of developers 48 hours to build “fresh, innovative digital products, something new for the TV industry”, working on a lot of data to make TV more sociable. One of the competitors, Grab Magic! by Aral Balkan, used Kinect technology to recognize your movements, and allow you to ’grab’ screenshots from a TV with hand and place them onto an iPhone screen.

Grab Magic on YouTube

Industrial players are starting to capture the potential derived from TV data:

  • At Connected TV summit last May, Stacey Seltzer, Head of Smart TV at LG drew a shift of traditional revenues: “New opportunities will come from having conversations directly between broadcasters or content owners and consumers, but also from the two-way data flow that underpins those relationships.” Seltzer explained. “Data is being thrown up by those conversations. You need to understand and interpret that data. You can use it for content discovery like recommendations, which represents a continuation of existing business models, but you can create new business like qualified leads for advertising. Television is an incredible piece of real-estate and adding real back-channel data to it will provide an important set of information for the industry.” Seltzer said LG has a partnership-focused model that allows broadcasters or content owners to create apps or services on the platform and then collect data within those apps. “It is then up to each of those individual groups what they do with that data.”
  • “Many cable/satellite/telephone providers have created APIs to communicate and/or control their set top boxes over either home networks and/or the Internet” observes Jeremy Toeman founder of Dijit Media, a startup who works on create the ultimate “hyperpersonalised social TV guide”. Rovi, a content metadata provider exposes a large range of APIs for developers in its Rovi Cloud Services.
  • At Yahoo!® Connected TV Developer Event in May, Yahoo! has launched a Connected TV App Development Kit for developers including Device Communication. Device Communication is a two-way protocol for connecting mobile devices to Yahoo! Connected TV. Using these Open Source libraries, developers can create second screen apps for games, social, sports, shopping and more. Sharing videos from a mobile device to the TV, sending web page URLs from the TV to a phone’s web browser, utilizing gestures and touch to accelerate discovery and navigation of TV apps are some of the features available.

Until there is a breakthrough startup that will become the “Facebook of the Smart TV”, or a manufacturer popping-up dominantly as the “Apple for the Smart Phone”, driving all companies standardize on a single solution, there is strong need for standardization in a fragmented Smart TV market. The newly created Smart TV Alliance designed to create a single platform making it easier for customers to share apps across multiple TVs and encourage more developers with a common framework (SDK), is a wise move.

A complementary strategy would be to build pipes that power the TV apps ecosystem with data. Though it is a natural strong focus, TV data are not limited to TV viewing behaviour, but enclose other activities e-shopping, automation, healthcare, home security…: industrials in these domains can be as much creative regarding the generation, exploit, and share the information flow Based on recent survey by connected TV monetization technologies provider MPP Global Solutions, James Eddleston, head of marketing, said: “This inconclusive result reflects the content of the discussion; that the connected TV market is still coming out of the early adopter phase, and even major players such as Apple, Google and Netflix are still trying to identify the best approach for success”.

At a time where Connected TV players seem in search of sense, building an open platform to share real-time data captured by Smart TV sensors, and enabling communities to create innovative TV apps for viewers, broadcasters, advertisers, would have a strong meaning.

Image Credits: hotcellularphone.com, dailymobile.se, businessinsider.com, technologyreview.com, acreo.se, yctvblog.com


.f


Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Towards a New Model for Innovation – design inside

GUEST POST from Nicolas Bry — originally published on Innovation Excellence.

My recent conversation with Brigitte Borja de Mozota focused on the necessity of a renewed model for innovation, and her view of “design thinking” inside.

Brigitte believes that working with designers is what made her a better manager. She has made her life’s goal to try to prove, convince, and share with people the “joy of working with designers.” Our discussion follows:

What was the starting point for your conviction regarding developing a new model for innovation?

Current innovation models still focus too much on technology as their starting point rather than the individual: we find ourselves in the position of being orphans! The individual user – “power to the people” – takes part in innovation, but I do not have the intellectual model required to translate these steps!

And yet, intelligent people invent uses by detecting latent needs that are not expressed. And these avenues are presented in companies’ innovation projects but they have not been adopted as fields for experimentation by researchers for putting together an “open innovation” theory and publishing articles in management research periodicals (Academy of Management, etc.). This would provide a higher profile for this new user-focused innovation model in relation to design thinking and co-design (The Impact of User-Oriented Design on New Product Development: Examination of Fundamental Relationships).

The new innovation model will be empirical: the starting point will be case studies, relying on observations made by research students. This does not rule out the need for theory: working from experimentation in order to extrapolate universal rules, and from experience in order to define design sciences.

How do you successfully achieve greater integration of design innovation into the economic system?

After the buzz associated with “Design Thinking”, it is macro-economics which have to develop: there will be trouble with modernising and rebuilding innovation models so long as this is not adopted as part of the industrial sector’s economic vision.

Research has drawn the link between design and value, but the people who teach about value do not draw a link with design. Today, a new idea can create an industry: social innovation has a radical impact on the economy, but this is not integrated by it.

Design and the economy must be drawn closer together: on 1st of June as part of the Designer’s Days, a debate at the Sorbonne will bring together economists and designers for this purpose.

People see design as a symbol, creation; they see intangible symbolic value and forget about the thinking process for arriving at the form, they see the semiotics involved further along in the process, and forget about the research carried out as a preliminary to it, and the contribution made by human sciences. Behind the activity, there are skills involved. You will never get anywhere unless you start at the top by formulating a conceptualisation of design innovation which will break through into the circle of economists.

Tell us about an example of experimentation; the Fidji project in the banking sector

The Fidji project consisted of establishing a Design Thinking approach for a banks and banking insurance consortium (cf. the interview with R. Hababou, Société Générale’s Innovation Director).

It could only be established at the level of a banking association because it impacts on the business model. The approach involved the Club for innovation directors in the banking and insurance sector based on a speech about design, an inside look into the design process with ethnologists, observers of established practices, creative designers, and a joint development, adopting a co-creation approach: 6 directors courageously took the plunge! It was on occasion quite disturbing to commit yourself to a process without knowing what its outcome was going to be.

The focus was on creating value for a user. There is something universal in the Fidji project: intangible aspects regarding the customer relationship emerged from the analyses of ethnologists and are valid transversally in various industries.

This provides other segmentation criteria for markets. What would be good is to use it for creating an “open innovation” or “market innovation” laboratory in a design school, for example. The opening provided by the design approach must be beneficial for marketing research: you need to move beyond restricted sector-based fields of innovation.

How do you organise effective design management within a company?

(This answer includes extracts from a previous interview)

By working from a simple basic principle: design is a profession which creates value. Therefore a director must take an interest and the company must ask itself about the role of design within its organisational structure. Where does design create value? For the offering? For design processes? For the organisational structure?

“Design is a creative activity, the goal of which is to determine the multiple facets of objects, processes, and services.” For a manager, design is first and foremost a process involving design and creative knowledge, and then forms which help build the offering and the world of organisational symbols.

For me, design is a multi-facetted management tool, a process which any manager must link to other management processes such as the brand, innovation, change management, the creation of meaning, the customer relationship, strategy formulation, value creation, establishing management charts, etc.

Nowadays, in organisational theory, organisational charts do not mention either the design function or responsibility for design. However there was already a design division in the 1970s when I was a manager at the Printemps department store. And everyone has heard about a design department in the automotive sector or an artistic division in the fashion industry. Design is also not referred to in the indexes of books about innovation. In order to function with other management processes and produce the maximum amount of value, design teams must be able to expand their influence, communicate, and conduct exchanges with these various functions based on strategy, the brand, customers, and new products.

In those companies which manage it well, design creates a competitive advantage providing differentiation for the offer, as well as being a resource which creates a difference in-house, and a key skill for managing strategy, innovation and the brand.

Is design management a profession?

Yes, of course. Any activity has to be managed. (Design Management (Brigitte Borja Mozota 2001), Handbook of Design Management (Berg UK 2011) and Design Thinking (Lockwood 2009, Design Management Institute)). When I teach design, I associate design thinking with managerial thinking, “the form” with the “science of the form” and the “science of design” with “management science”. “Design Management” trains managers to ask the question: “How can design knowledge help me to become a better-performing manager?

Designers form an integral part of innovation by mobilising different skills: designers are not just a fund of ideas or purely creative people – 5 years of studies provide more than that – they are also observers and experimenters; they develop a system of thinking based on technology, usage and meaning (culture, art). The designer provides these three dimensions: sometimes he or she is strong in social sciences but not technology (it is rare to have all three fields), and the designer can provide stronger expertise in one of these three fields and mastery of the process; when you have all 3 skills, you are Apple!

The designer’s profession consists of drawing a link between the company (its organisation, history, and strategy) and the design levers for creating value. There is a “design ladder” model which provides three levels for design: design seen as style, performance or strategy.

(editor’s note: depending on whether the company is at the differentiation, transformation or co-ordination stage, a different style, process and strategy will also be defined). Thus, each design project aims to improve this position, this internal design skill.

Design is not different from the other organisational functions. Marketing is the customer and the market, but it is also knowledge for optimising the relationship with the market. Design “is form” and knowledge for optimising forms in relation to the organisational mission.

For a director and for a company, the integration of design is something that is learned. The value created by the design integrated into the processes is measured in the company’s KPIs; for example according to the model provided by the “designence value index” or the Design Management Europe Award. Value creation by design is carried out on these three levels involving formal innovation and the insertion of design thinking into managerial decisions in relation to KM assets and in relation to processes.

image credits: co-design.biz, blog.poshmedia.ca, yooko.fr, taxiclic.com, readymade.typepad.com, ensci.com, seeproject.org

https://www.tuck.dartmouth.edu/uploads/people/vg/CHAPTER-1.pdf

Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Luminous Design – the Future of Smart TV

GUEST POST from Nicolas Bry — originally published on Innovation Excellence.

What is the future of Smart TV? How to create a luminous design that will enlighten TV experience across devices, and make it really consistently Smart?

Who could tell us the way better than Dale Herigstad? Dale is Chief Interaction Officer at Possible, and an internationally recognized designer and thought leader on the future of interactive and “many-screen” rich media interfaces.

Especially involved in TV Design and branding, Dale has pioneered a unique spatial context approach to designing advanced navigation systems for Interactive TV and connected screens. Dale was also part of the research team that developed the visionary gestural interfaces that first appeared in the film “Minority Report.”

What are the next challenges when conducting an  innovation project in your area (digital devices such as Smart TV, mobile device, web interfaces)?

I envision four main challenges:

1. Adapting to new input methods

It’s clear that the iPhone advanced interaction with touch gesture; now we have the next step with remote gesture (i.e Kinect). The audience seems to have adapted easily to touch gesture, but not yet to distance gesture.

And with the numerous platforms, screen sizes, input methods, screen experiences can become fragmented. A key challenge in design is to make the experiences more consistent (branded) and the process of designing more efficient. This leads us to consider a new kind of designer, an “uber designer.”

Until now, we’ve built separate teams to focus on Websites, or mobile, or Television.  I see a future where “super design teams” design behaviors rather than specific layouts, so that a single concept unfolds automatically to various platforms appropriately.  Designs automatically scale, adapt, adjust to the many contexts.  This includes adapting to various input methods (gesture, touch, remote control).

2. Making complex activities simple

Innovation can make things more complex. I see new viewpoints to the contrary, where the goal is simplicity: can the design get simpler and simpler and the interface go away?  Any intelligent human can create more complexity, but it takes a kind of courage to move the other direction and simplify.

3. Integrating mobile into the TV experience

Layering mobile screens with the TV screen creates new opportunities for control of the TV (the new “remote”), but also create new viewing experiences that combine TV and Web content.

Our smartphones ARE us:  they are already prepared for commerce, identity and connection.

4. Utilising the space in FRONT of the screen (between  the viewer and the screen)

With new emerging technologies like stereo 3D and Augmented Reality, it is possible to utilize the space in front of the screen (between the viewer and the screen).  I call this the new Interaction Space: when Orange introduced stereo 3D on its Smart TV it actually allows for information and content to extend into the space in front of the TV.

For example, interface elements can project toward the viewers, allowing them to virtually “touch” and move the interface elements.

What specific approach do you develop in your interactive design work  (content bubbling up…)?

My interaction design approach unfolds the following steps:

1. Understanding the screen space

Most interface design looks quite flat: but, when we start to layer and use animated transitions, it creates the illusion of moving in space. An example is the Pull Back for “Search” feature (searching for a content in the video offering), where you pull back from current context and introduce the Search functions. It’s really about trying to capture the meaning of zooming, perspectives, going in-depth, like with a camera.

2. Utilising Z space

This refers to the space between the viewer and the screen I have mentioned previously, and to the multiple devices involved in the TV experience.

3. Use of careful, informative animation (rich media  approach)

4. Directions, in light of screen real estate (areas on the screen) and directional navigation (giving meaning to left, right, up, down)

5. App thinking (everything is an app: modularity)

Live TV is just one of the different apps a viewer can launch: it’s really about modularity and customization. With browsing TV, for example, some viewers like the common grid. Others prefer mosaique to discover TV channels:  let’s make all these différent apps available. Many smartphones have no “Menu”, for example, but present apps used.

6. SIMPLE / POWERFUL / ENGAGING

These three notions must be present to create a successful interaction design.

7. Multiplicity (helping customers tie together and manage experiences on multiple devices: SEAMLESS is  the goal).  It’s all about the transitions.

More and more viewers are multi-tasking as a part of their TV experience.  Scaling experiences is a key notion:  the TV program remains present, but scales as the viewer moves to more depth of experience with additional content.

What role design can play in an  innovation project?

Design strengthens clarity of branding, gives products a perceived value, and visualizes concepts.

Clarity of branding is key in a world where several brand layers are at play on a limited TV screen: CE operating system, channels, websites, advertisers, content producers. It’s complex issue to differentiate what the service provider brings from what the TV channel brings, and to differentiate whose brand it is.

Quality of design adds value to the product: we sometimes say “the interface is the brand”, and use Apple as an example of good design paying off.

Visualising, mocking up ideas to discuss and test (formal or informal), rapid prototyping are part of the design approach.

Good design in interface innovation brings out the qualities of a brand, and expresses these qualities in a tangible way.

Design in the pure sense highlights the meaning of the innovation: the values and beliefs enclosed are brought closer to the user experience ideas.

What is your  opinion about latest design methodologies like “design thinking”, and other framework or researches?

Regarding Design Thinking, I’m happy that firms are  considering design as an important aspect to product development; but, it is  becoming a “buzz word”, it’s a bit odd as I believe we have ALWAYS been saying what Design Thinking implies.

What is interesting is that Design Thinking is moving into areas of tech firms and business that would previously never have considered it. An important thing to me is to have companies that visualize the future to direct the present plans.

Gamification is another trending topic: one might compare gamification to buzz word Design Thinking. I  try to build a more “subtle” view, behind the obvious stuff:  the world is intringuing to me, it’s about engagement. Great games are very immersive, you get emotionally involved, it’s well done. It doen’t mean you necessarily have a score. When we build a 3D space interface, joined with great animation, and intriguing dimension, it’s also fully part of the Gamification.

Credits: possibleworldwide.com, broadbandtvnews.com, engadget.com, prestonsmalley.com

https://www.tuck.dartmouth.edu/uploads/people/vg/CHAPTER-1.pdf

Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Where Innovators and Entrepreneurs Intersect

GUEST POST from Nicolas Bry — originally published on Innovation Excellence.

Autonomy, liberty, divergence are innovation drivers, but are they opposite to management rules? In other words, “Can innovation or innovative design be managed?” asks Gilles Garel in his “Innovation Chair” speech.

Management science is the way to lead a collective action, by setting up an efficient framework for teamwork. As innovation is a collective adventure, it can definitely benefit from management: innovation can be managed!

What are then the commonalities between business management in the creative stage initiatives, entrepreneurship, and innovation management? Are there some personality traits that are shared by innovators and entrepreneurs?

Innovators and entrepreneurs are leaders

As both have to drive their team to the direction of success, innovators and entrepreneurs share leader characters:

  • They rely on a granite-like belief, a persistant but not blind self confidence, that they turn into inspiration to their followers, committed and passionate. “True innovators want to change people’s life”as Marc Giget claims!
  • Innovators and entrepreneurs know they can’t make it alone: they act as team leader, their time is dedicated to make their team rise the challenge, to develop autonomy, a self-initiative and risk-taking culture. Definitely hands on, true entrepreneurs and innovators foster the emergence of co-leaders.

Some take their leader responsibility very seriously, they behave as humanist entrepreneur: “Everything we do is about getting people to be more open, more creative, more courageous” states  Jack Dorsey, Twitter cofounder and Square founder.

Mixing their belief with their role to inspire, entrepreneurs become storytellers elaborates Jack in the “Golden gate” video. Entrepreneurs and innovators are telling a story of which the product is the hero: “Product is what we’re telling our customers, presenting one cohesive story to the world. As CEO, my main job is editor-in-chief,” Dorsey says.

Sometimes, the leader is the best qualified, “handling an intimate form of expertise” as Thomas Paris, professor at HEC Business School, suggests.

Mostly, he distinguishes by his natural leadership, the way he sets the direction, a clear direction that everyone embraces, leading by his courage to face the unknown of creation and uncertainty of entrepreneurship.

They are the opposite of egocasting and fuzziness

There is some kind of “ego casting” going on in fake leaders and innovators, a fuzziness in the vision and direction set, and a hands off attitude: “I give you the headlines, you will work out the details”. As a result, they work solitary, like goldfish in its round bowl.

Some even act as innovation killers:

  • they don’t listen: they are the only ones who can read the future;
  • they ensure that only themselves are talking to the upper level, and at the same time, they short circuit team leadership;
  • they take the benefit, not the risk.

Far from tis, true innovators and entrepreneurs are surprisingly modest, their cleverness speaks for themself. You can listen to them without being looked down, you understand clearly what they mean: it might be harder to try later to explain their concept yourself!

They care for customer design, and collaborative platform

Two dimensions of innovation management have emerged in the recent years that innovators and entrepreneurs have carved in their DNA: customer experience design, and collaborative platform.

  • Customer experience design is about creating a comprehensive positive experience for the customer with your service or product. Customers often do not want the product itself, but rather the effect that the product produces so sharpen the effect you’re looking for through design thinking, iterative loop and elimination of superfluities! Customer experience design supports product acceptance, turning early adopters into evangelists, and sets the fundation for  brand values. Before the start-up has secured a business model, it will develop the largest use of its service: customer design is here for that.
  • Collaborative platform and ecosystem are about building engagement, letting others build value on top of your platform, thinking innovation not only at the product level, but also shaping a creative extended business model: a leadership platform. Innovation management and entrepreneurship from now on take action to include customers, partners, competitors, and guide collective intelligence towards creative design.

To unleash cooperation and refine customer experience, entrepreneurs and innovators willingness to seek the truth is the triger.

One shares, when the other one sells

But innovators and entrepreneurs have different focus because their ultimate goals are separate:

  • Innovator is focused on creative design: he handles continuous loop from concept to knowledge through experimentation, expanding both spaces simultaneously. Gilles Garel explains how the Swatch design and engineering team once initiated a new wrist watch concept, had to seek knowledge in the plasturgy field in order to manufacture it; once the plastic weld, the watch could not be repaired: they had to go to the concept space, imagining a “zero default” operating watch, adapting the watch architecture, reducing the number of components, removing after-sales service.
  • Entrepreneur has to deal with a wider range of functions and tasks: one of those roles might well be innovator, others are surely about market and sell. As Zeke Camusio puts it:They assume it’s possible so they shift their thinking from whether it can be done to HOW it can be done.” Marketing successfully your innovation requires a strong focus on go-to-market approach, stressing impact on one proeminent direction, perseveringly delivering faithful messages to a broad audience: customers, employees, partners, and shareholders. “Passion is really important, but you also need to make money”, so “entrepreneurs know their numbers (costs, revenues, break-even point, balance sheet and P&L) adds Zeke.

Both are disciplined in the methodology prevailing in their world. There is nothing like a look at Jack Dorsey’s agenda to prove it better: “All my days are themed. Monday is management. Tuesday is product, engineering, and design. Wednesday is marketing, growth, and communications. Thursday is partnership and developers. Friday is company and culture. It works in 24-hour blocks.”

When roads separate

In the long term, while innovators use continuous creation cycles to rise innovative design and craft acceptance, meeting social imagineries, entrepreneurs develop and grow a company. It entails a wide course of actions including acquisition and merger, globalisation, diversification, reputation actions, far away from innovation tasks.

Entrepreneurship is the pursuit of opportunity without regard to resources currently controlled” as for HBS professor Howard Stevenson’s definition, goind beyond the boundaries of innovation.

Innovators design an identity for its innovation, turning novelty into tradition. Entrepreneurs shape a company’s identity.

Credits: cal.pnca.edu, courtesy companye, wineland.co.za


Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

What Street Golf has to do with Innovative Design?

GUEST POST from Nicolas Bry — originally published on Innovation Excellence.

How do you come to Street Golf when you work as an innovation consultant? That’s one of the surprise of innovative design practice to jump from industrial design at Air Liquide to interactions with Street Golf communities.

Rodolphe Rosier, a proven Innovation Professional, combining theoritical work through an academic thesis with innovation work on the ground, teaches us some “tricks of the trade.”

NB:  What are your background and activities linked to innovation?

RR: I’ve been working for 11 years in the field of innovation. First, as a product manager at Axane (subsidiary of the Air Liquide group dedicated to innovation), a new player in clean energy; later as a consultant.

I’m currently manager at “Efficient Innovation”, a French consulting firm gathering 50 people. Our core consulting activities deal with 1) exploring new concepts and opportunities 2) setting and financing collaborative projects and 3) optimizing product design for small, medium or big companies.

I got a PhD in innovation management where I focused my thesis on the mechanisms and organizations that sustain the exploration of new disruptive concepts ; it was financed by the Air Liquide group.

NB:  You were involved in Axane initiative, a new entity dedicated to innovation set-up by Air Liquide. What are the learnings from this experience?

RR: Axane was created in 2001 by Air Liquide to explore a new innovation field : hydrogen-energy produced by fuel cells. Axane was run by Patrick Sanglan ; the team gathered 60 people in 2007, when I left, with an overall budget superior to 2 M€.

It was a newcomer in that field, and its mission was to explore applications and find a business case for a technology that enables to produce electricity without gas emission in a silent manner.

Between 2002 and nowadays, Axane has conducted an amazing trajectory to disrupt traditional combustion genset; it has explored new uses amongst untapped markets : defense, movie industy, telecoms, electric wheelchair, etc…

The collaboration with the other entities of Air Liquide wasn’t easy at the beginning because Axane was redefining roles : it was completing R&D, prototyping and testing directly with potentials customers at the same time and then, oriented the work of corporate R&D and Marketing based on its findings !

Axane developed during these years more than 3 different generations of modular products to sustain its dynamic of exploration: portable furtive energy, auxiliary power units for small vehicles and baseload energy in complement for renewable energies.

It won several design awards (Roller Pac awarded at Siemens Innovation Grand Prix and French APCI Design Contest in 2004) for its new ergonomic and functional approach of “sensitive energy” that led the firm to propose even new hydrogen storage concepts (traditionally, Air Liquide core business).

The main learnings for Air Liquide were twofold:

a) Disrupting technology doesn’t cope well with Roadmapping. No matter what they planned, the initial plan for Air Liquide in the Telco business did not pass the field test whereas some test fields in the movie industry revealed a tremendous interest for silent and autonomous energy, in replacement of batteries. This market was a first niche but it enabled Axane to sell products and to start an industrialization phase. During 2 years spent on the movie shooting crew, it also enabled the team to develop a business model.

b) Loose alignment with mainstream innovation strategy: the alignment with Air Liquide strategy was permitted thanks to the sponsor of the director of the advanced technologies Division. At the operational Level, an innovation project manager, Frédéric Touvard, played a major role in interfacing corporate R&D and marketing with Axane teams and creating some strong commitment amongst them. Moreover, his role was to make them acknowledge that the “tech subsidiary” could also have something useful to say about the markets and the business model.

NB: You have developed a specific approach for innovative design, could you describe the main steps?

RR: I belong to the community of researchers, managers and consultants using the C-K theory from Ecole des Mines de Paris in my daily work. At Efficient Innovation, we’ve created a step by step methodology called “New frontiers”, based on that theoretical frame :

  • Step 1 diagnosis. We analyze the innovation portfolio, we benchmark the competitors and we go straight questioning clients and final users. It enables us to identify new innovation fields as well as inhibitions preventing the innovation team from going into new directions (what Pascal Le Masson, Ecole des Mines de Paris, calls “fixation effects”).
  • Step 2 innovative flinging. We organized collaborative workshops by gathering multiple stakeholders such as clients, technology providers, etc… We stimulate creativity on focused disruptive concepts we’ve chosen in partnership with our clients.

For example, we’ve recently worked with a European sport brand to identifying new innovation fields in Golf: it appeared in workshops that  “Street Golf” was more than a weak signal, that it could be a new perspective for product innovation, via the adaptation of clubs and balls. One way to work on that topic was to address street golfer communities organized in associations, and to get closer to their gameplay in order to capture users feedbacks. We went to the field, participated to street Golf tournaments and met with communities to learn about their problems. In feedback, we invited street golfers to our creativity sessions to tackle with them new innovation fields.

The “New frontiers” methodology could just be another “creativity sessions” thing, but we pay attention to set a new organization (new roles, new missions) in order to continue the exploration and prototyping dynamic. In other words, we don’t leave you alone at the border at the point where you have to go “off-road” 😉 . That’s why we’re both “design and organizational thinking”.

image credits: streetgolf.com, efficient-technology.fr, apci.asso.fr, realadventures.com


Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Is there a Model for Rapid Innovation?

GUEST POST from Nicolas Bry — originally published on Innovation Excellence.

I naturally encompass innovation as the result of constant knowledge exchanges between technology, the markets, an innovation team, as well as other departments of the firm.

As the bigger you are, the more difficult it is to share active knowledge, how can we set-up a so-called “knowledge creating company” and speed up knowledge exchanges within big companies?

In this speech at Management School, L’Ecole de Paris, I suggest  creating small dedicated and agile structures led by innovation professionals with specific management methods reffered all together as “creative tension“. Then the question becomes: how to insert their work and align with group innovation strategies?

Moving fom linear to interactions model

In the 1950s, innovation management could be described in a linear way: new ideas were given to R&D and transformed into products and services; these were then transferred to the marketing and eventually to the distribution departments. Today, this chain of events has fallen apart. Instead, the identity of innovation has been gradually shaped by multiple interactions between different levels of a company with other external entities.

Innovation identity is the fruit of exchanges of knowledge between sciences, technology, the market, the team in charge of innovation and other departments of the company.

Why fast innovation?

The goal is to speed up the exchanges to bring a new concept and stay competitive, not only with companies of the same type and who compete from another part of the world; but also, with companies from other fields, where innovation cycles can be very different from yours.

Several years back, phone operators have been threatened by Internet “kiddos”, who developed products and services far more quickly than any traditional operator.

On the other hand, innovation speed can sometimes help exploring new markets: attack is sometimes the best defense!

The duration of innovation can vary from one sector to another. In the digital sphere, it’s a matter of weeks or months. In the car industry, we’re talking of years and in the pharmaceutical industry, of decades. Each industry must update its innovation processes according to its own identity and goals. For the drug industry, rather than speeding up innovation, the issue could be to innovate deeply on parallel fronts and renovate the patent stock.

Research needs its own time; nonetheless, innovation can accelerate once a new technology is about to arrive. And yet, the issue of fast innovation is far from resolved.

Abundant innovation and dedicated structures

The professional thesis I wrote at HEC Paris led me to review the academic sources and innovation models from over 15 different companies. I differentiated three main archetypes.

Abundant Innovation

Some companies, such as 3M, have innovation in their DNA. Not only did this company develop innovation as an inner culture, it also achieved translating this culture into figures: 35% of their turnover has to be brought by products less than 3 years old on the market. Procter & Gamble also responds to this model, by promoting open innovation. Cisco, also called “Pac Man” because it regularly takes hold of young sprouts; and Renault, thanks to its project organization or “creative units”, are other examples of this archetype.

Making a big company evolve from a culture where innovation isn’t important to a culture where it plays a leading part, like in 3M, involves a lot of time and effort. At Procter & Gambler, this goal was achieved thanks to a very strong leadership and also, because the CEOs set precise numerical goals for innovation.

This kind of success is quite rare. That’s why it makes sense creating an independent entity, capable of exploring new threads very quickly, as well as preparing the difficult steps for integration, through permanent interactions with all the concerned players in the future development.

Innovation supported by dedicated structures.

Most companies judge they aren’t capable of promoting fast enough this culture of innovation into their whole organization system. Mainly because they are afraid of stumbling on the classic difficulties: fear of “cannibalization” of the existing business, impossibility to predict with certainty the results of innovation, or else, the fact that not anyone can handle innovation management; not to mention that taking risks isn’t well regarded in any company.

For all these reasons, many companies prefer to create a dedicated independent team, specifically aimed at implementing innovation. It’s also a way of isolating risks.

That’s exactly how Lockheed proceeded with Skunk Works. They were in charge of exploring, in complete secrecy and independence, projects linked with military aeronautics. Other examples include General Motors with the project Saturn, created in the 1980s to compete with Japanese vehicles by launching a new line of vehicles, detached from the parent company; or more recently, EDF, with its corporate venture structure, purchases shares in young companies, likely to bring creativity and knowledge of new markets to the group.

But skunkwork teams may have trouble integrating their ideas within the needs of mainstream operations : the danger for the innovation team is to become an isolated island, working in competition with the rest of the organization.

Mixed formulas.

Innovation developed quicker in dedicated structures than in the abundant model; and yet, the main difficulty remains in bringing the value of innovation into the parent company. That’s why some companies mix a well-shared culture of innovation with the flexibility of small-sized entities: Gore, a very innovating company, builds on small autonomous units; Decathlon joins an innovation culture led by their central design and R&D management, with different autonomous series of decentralized R&D units.

A model for speeding up innovation

The innovation speedup model I propose targets the best of both worlds: keeping the flexibility and independence of a dedicated structure, as well as promoting the value of innovations within the rest of the company.

1. A dedicated agile structure.

The first step towards this model consists in implementing an independent unit, whose mission isn’t to become a spin-off or create only financial value for the firm, but to enlarge the innovation portfolio of the parent company. It’s an “inside-outside” type of unit. This dedicated structure will allow a greater freedom when it comes to using the budget (purchases, recruitments, partnerships) and launching projects: this opens the way to faster innovation in big companies, which are held to a number of procedures; but it also aims at enlarging the company’s portfolio.

2. The creative tension.

This entity builds on recognized methods of innovation management: design thinking, open innovation, rapid and iterative prototyping, lead user design and rugby approach, are all part of it.

In all these approaches, I keep in mind the necessity for building a framework: a creative tension which will also help the acceleration of innovation, with two components: a culture of diversity and a framework for ambitious goals, or in other terms, a “focus”.

The variety of capabilities that are involved in a team provokes “molecular impacts” which open the way for innovation. The team must be formed by people who bring very different specializations (engineers, marketing managers, sociologists, designers, vendors, customer service…) but also capable of openness. In his “design thinking” approach, Tim Brown, the IDEO boss, calls them the “T-shaped people”: the vertical part of the T stands for specialty and the horizontal part, for openness.

Besides, if the innovation team doesn’t want to get lost in the woods, we need to define a perimeter, a focus: that’s where the “why?” and the framework of goals become important, for instance, to resolve a problem in a given time or to overcome a level of performance.

Successful innovation isn’t necessarily the one that offers dozens of new features to imitate or surpass competitors. Rather, successful innovation focuses on two or three breakthrough features, capable of reaching to people’s imagination. The objective is to invent objects and services which meet with deep expectations, hopes, ideals, desires; with an intuitive interface which makes easy handling the product or the service. It could even include an emotional contact, as in the very tactile interface of the iPhone and iPad.

To create such products, traditional capabilities of engineering, marketing or sales are generally not enough. That’s why we saw an increase of design capabilities within innovation teams.

Focusing on a precise goal also brings another advantage, as pointed out in the article “The New New Product Development Game”, published in the Harvard Business Review in 1986, by Hirotaka Takeuchi and Ikujiro Nonaka. This article compares the way a project team works to a rugby team that moves forward by continuously passing the ball. This way of working was also analyzed by Christophe Midler in L’auto qui n’existait pas. Management des projets et transformations de l’entreprise (The car that didn’t exist. Project management and transformations inside companies, 1993). To organize collective work, you need to be very clear from the start on a conviction or belief that will help team members to cooperate with a common goal and a same language. It’s often design which defines this conviction and acts as cement for the team.

Iterative prototyping helps refining the focus. Quick and iterative prototyping is particularly well adapted to the digital world, where prototypes are cheap. In three or four months, as soon as you hold a concept that seems to work, you can materialize it through a prototype written in a language of the same kind as Html5. You can then test it in focus group, learn from the results and start over a few months later. In my previous experiments, prototyping was rather a first version and wouldn’t intervene until a year time. But after a year, the group’s capacity to listen had decreased considerably: they had thought such a long time over their concept that they weren’t really ready to let consumers interfere into anything they had defined. When you submit to the same experiment after only three months, it’s much easier to correct the first draft and get rid of everything unnecessary in the definition of your innovation.

3. Alignment with the group’s strategy.

The mission of the dedicated structure is ultimately to repatriate value for the parent. It must therefore understand the group’s innovation strategy, which means to develop a genuine spirit of cooperation and a strong capacity for dialogue.

The ideal situation is one where the parent has established an innovation strategy and has an Innovation Committee responsible for allocating the roles between the different units. But sometimes the group hasn’t formalized its innovation strategy, or it hasn’t defined a specific process to implement it. In this case, we must still ensure consistency of the parent’s and the small structure’s strategies.

Two types of tools can help:

The first type of tools aims at setting up a permanent dialogue between all parts. For instance, some employees could second some projects on 50% to 100% of their time, to bring capabilities to projects and serve as ambassadors for their parent company. Decision-makers could also be identified to fully support future innovations. Regular exchanges would enable to take in account the way their problems evolve. The parent company could also be requested to financially invest into the product. That would create a client/provider relationship with many constraints, but with the advantage of being transparent and clear.

The second type of tools seeks to integrate projects corresponding to the parent company’s specific objectives into its innovation portfolio.

Of course, an innovation unit is fundamentally aimed at leading disruptive projects, but it’s also important to think of quick-win projects for sustained growth. Thanks to its flexibility, it can quickly resolve some short-term problems and prove its efficiency and usefulness. A third type of project can also be developed: design probes, exploration prototypes that materialize the concepts and are used to test a potential use. Even if the project isn’t fully finished, prototypes open the way for upstream dialogue with the parent company and feed the innovation pipeline.

Finally, a new approach of collaborative design could be put in practice: instead of making finished applications, determined components are brought into limited areas. They are eventually integrated by other teams within the company’s new services. These teams still manage their own application, to which a new component is added to gain time.

Application in the context of Orange

If we take Orange as an example, I wasn’t immediately aware of the density of the road map and the number of innovation candidates. I thought once our innovations would be developed, they would naturally integrate into the road map. The first project I worked on, a social network with circles of friends (a concept that Google+ developed 2 years later), arouse difficult technical problems, but above all, we weren’t able to make our project meet the priorities of the company and join the mainstream roadmap.

Today, I have understood that is was crucial to develop interactions to create desire for our projects, and create the need for change which is fundamental for any innovation. I now spend 70% of my time working on projects and 30% searching for landing points by determining the expectations of my partners from Orange: it’s all about building “with”, what I call collaborative design.

I seek to build these relationships before the innovation is totally defined, to let my partners take over the product and finalize it as they want: it’s more about “conceiving with” than “conceiving for”. Innovation is a collaborative platform more than a finished product.

This method is illustrated by our Blended TV project, developed in the social TV field. It involves social networks in helping our clients choose a program, then, during the broadcast, let them take part in online chats on the given program. This feature digitally revives another, much older practice: chatting during a TV show, in the living room. It’s especially used during political debates, news, sports, and all programs that present variations of intensity. Much less in movies, that keep a strong narrative tension all along.

We started by making a multidisciplinary team, with a design team that also possessed capabilities in observing habits; an engineer team in charge of transforming the design into a usable interface on an iPad or a smartphone. This requires knowledge in Html5, video management, as well as social network access. A start-up specialized in semantic analysis on social networks (capable, for instance, of locating on Twitter or Facebook the formula “pblv” which stands for Plus belle la vie, a popular French TV show). And last, a specialist of focus groups organization, to test prototypes with groups of consumers.

We gave ourselves three months to launch the first iteration. We defined a perimeter, chose the features we wanted to develop and made graphic models. Then, we organized interactions with consumers. Last, we prototyped the new features by integrating them into the design, development and semantics.

A budget cut forced us to reduce our innovation to a single feature in making our demonstration product: that’s what focus is all about!

With this iteration and the demonstration product in hand, I contacted executives from Orange – those who I thought might be interested in this project and could include it to their roadmap. What they saw was a very well-thought product, built on a collaborative platform, which would leave a great deal of space and freedom for their own applications.

The product was warmly welcomed, as it met with their need to develop their services with social DNA, without giving up their control on implementation.

We went on developing Blended TV as a program, with an API (Application Program Interface) that helped applications to access our unit through at least twenty different methods as well as presenting and rearranging the answers into the user interface, and allow parent applications to build value on top of our data.

This program is connected to a dozen of Orange services and bring them a social framework easy to handle. All these developments are growing in parallel, at the same time. On the whole, the project was finalized quickly enough and with a reasonably small budget.

Knowledge flowed through the team and to the parent company; this new feature should give entire satisfaction to the clients.

image credits: libertic.wordpress.com, decision-achats.fr, genengnews.com, hotelauxmaldives.com, wonderfulworld.fr, uludagsozluk.com, tourismnewzealand.com, wpprobusiness.com, orange-everywhere by Manuela Szekely


Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

The Learning Innovator – part 3

GUEST POST from Nicolas Bry — originally published on Innovation Excellence.

We have recalled some learning organization concepts and analyzed 3 innovation use cases in the wto previous posts (The learning innovator – parts 2 and 3). I would like now to unfold a draft “learning innovator’s” role, and the  way he could follow to modern innovation.

The learning innovator

Connecting the dots across experiences, continuously listen, learn and facilitate the learning of all members of the innovation team, so as to transform and develop the design potential to the full: this is the tough task of the “learning innovator”!

Seldom will an organization excel in all knowledge management competencies (listen, learn, and facilitate learning), and neither will it benefit constantly from fair winds: the leading tip might well be to start from the situation potential, identifying the drivers that will bring the design one step further, in term of creation, development, and engagement. Rather than an heroic battle with a lone hero, my feeling is that innovation is a day to day learning and fast knowledge circulation in a shifting lanscape.

Innovation achievement is one important thing, learning how to innovate, becoming an innovation expert, is another rewarding path!

Modern innovation management

Gilles Garel presented recently its Chair of Innovation Management at CNAM in a brilliant and passionate speech.

I have picked up 4 principles of modern innovation management he develops as they mirror notably the case studies and the learning innovator role we have  discussed:

  1. Think about concept and knowledge, creativity and science (C-K) together.
  2. Assess what you are doing while you are doing it: innovation is not just R&D. It involves the re-use of pre-existing concepts; you must understand how to evaluate the experience you are creating, there is a role of pollenization and facilitation involved in the acceptance of innovation that must be properly rewarded.
  3. Organize a broad-based, unlikely and intelligent group: innovation is not restricted to transfunctional organizations, to the Director of Innovation or to intrapreneurs. Instead, a whole set of competences must be mobilized: concept and knowledge promoters, minds capable of interpreting meanings; intelligence is everywhere, in human beings as well as in intelligent interactive objects; it is a network that embraces everything and everyone; and that reveals an important truth: do not entrust innovation to organizations that are not made for innovation! The organization must embrace paradoxical forms of leadership, tolerance and rigour, autocracy and openness, it evolves from a product-based logic to a system-oriented vision (how firms moved from being organized around products toward integration around ‘business systems’: Donald Schon)
  4. Represent and experiment: the paradigm of action must take precedence; “markets that do not exist cannot be analyzed” (Clayton Christensen), how can you know what I think before hearing what I say? Implement scenarios, depict, contextualize, develop prototypes, represent in order to anticipate behaviours: the idea of the Swatch was based on a drawing that took two hours to complete (see below); taking action prevents overlong reflection, judgements block the activity of innovation.”

Credits: greenetvert.fr, pathofthebutterfly.com, blog.rezonance.ch


Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Successful Innovations Meet Social 'Imaginaries'

GUEST POST from Nicolas Bry — originally published on Innovation Excellence.

Why do innovations become successful? A sparkling idea transfers in an elegant realization sustained by a powerful marketing: is this enough? My belief is that at some point innovation requires to resonate with society state of mind, encountering our hopes and latent needs, matching our implicit codes.

Making the implicit explicit, filtering the trends, detecting the weak signals, helping us to understand what are society imaginaries, is the work of Stéphane Hugon a reckognized sociologist, researcher, and teacher at both Descartes-Sorbonne Paris University and Ecole Nationale Supérieure des Arts Décoratifs. Linking innovative technology with consumer usages, Stéphane cofounded consulting agency Eranos, specialized in analyzing relationship between innovative technology and consumer imaginaries.

He explains here how successful innovations in various areas (Web, Mobile, human-machine interface for vehicle) tackle with social transformation and personal identity, meeting with “social imaginaries”, and reversely, how imaginaries analysis allows to anticipate social adoption of new technologies.

How can we define social imaginaries?

We are living in a world of change, of mutation, which is a great opportunity, as well as being a challenge. It has been often said that our way of life has changed more in the last decade than since the end of the second world war. It is also said that this change manifests itself in the small things, the details, the small gestures that populate everyday life. Indeed, it is the slight and everyday nature of these gestures and ways of living that increases the depth of these mutations, making them more profound, more radical and more deeply rooted.

The mutation is difficult to understand, because it is not simply an economic metric. One way to understand these changes – technological, sociological, organisational – consists of using the resources of the sociology of imagination (1).  The imaginary is at first sight a paradoxical notion, because it shares the structures, signs and meanings which give coherence and reality to cultural phenomena. Nevertheless, it is this shared bank of meanings that gives it its interpretative strength.

If we were to try and give a definition, we could say that the social imaginary is the corpus of images shared by a particular group, and that give to this group the same references, the same vision of reality, and the reflexive understanding of everything that appears in their environment.

Once given imaginary is a “collective treasury of images, myths, narrative structures”, would you connect it as well to the “prism” metaphor?

The imaginary is the interpretative mechanism for selective filtration and understanding through which people communicate, build confidence and construct society.

The imaginary is culture. The imaginary is in a sense the “hidden treasure” of the public, of society; it is the collective unconscious, that enable understanding, and the discovery of cohesion and coherence.

Collective images and shared beliefs facilitate the global understanding of our environment. In a word, social imaginary creates the experience of the same implicit codes, with no explanation being necessary.

What is the link between imaginaries and innovation?

The imaginary is the unspoken which produces shared conviction. And if the imaginary is specific to different groups that means that we can analyse it, we can store it, we can create imaginary history, and study its sociology.

This is a topic of great contemporary interest in the field of technological innovation, because for a long time the supply of technologies followed a pattern of adoption according to the metric of scarcity of availability. Technology was closely linked to a certain idea of skills and learning, and for this reason preserve of a select group – the educated, the mature, the technicians.

But today, context has changed. Since the industrial revolution, the centres of innovation in usage of technology has been based in companies and professional groups, who have had the monopoly on access to technology, and sole possession of the skills to use and produce tools and technology. The directors of IT at the end of the last century noticed that the function of innovation has since left this specific environment: innovation has migrated from its hitherto corporate haven, and has to build its legitimacy in a broader social imaginary.

Considering technological innovation addresses a larger market, does it pave the way for a new world of co-innovation?

With it, also, has gone the skills and skill processes and the innovative dynamics of appropriation and the transformation of usages. This is one of the most interesting lessons we may learn from the Internet: to have demonstrated that public exposure to technology should result in mutual enlargement and transformation.

Now we have an environment wherein the audience enhances and creates new uses for technology, as well as technology changing the audience.

The figure of the adolescent, expansion in distribution, and the idea of  “DIY”, are key elements for innovation in technology and services today. At this moment, an analysis of the key imaginary structures behind this could be helpful.

What are the implications of the era of “intensive innovation” that we are living in?

In the context of a saturated market-place, the main driver of what constitutes a pertinent technological offer are the aspects of it which make it immediately understandable by the public. Time to market.

Because of that, contemporary users are no longer willing to accept conditions whereby they must undergo a long period of learning, adaptation and self-acclimatisation. For example, it used to be the case that if your work involved use of computers, this was a specialised task which required you to undergo special training for this type of complex, delicate and bulky operation. Now, it is an requisite of most  employees to be “computer literate”.

The time of appropriation could be immediate, so we should tend toward a having a very tight learning curve. This is the design concept of “affordance”, which we may understand in this context as the capacity of an object, a service, interface, economic model to be immediately ingrained in a legitimate way in the mind of the users. Plug and play.

As “immediate meaning” seems required for innovation, what role does design play to shape straightforward and intuitive innovations?

The offering by itself – its form, its verbalisation, its design – induces a promise, technical details, and the way to use it; coextensive understanding with the culture of usage.

One quality of the technological aspect is that it does not challenge the fundamental convictions and perceptions of the users, but rather reveals their unconscious hopes.

This is the capacity of innovation to access the unconscious recognition of need, and memory of usage – the term ‘in’ which has been noted by Michel Maffesoli. When contemporary economists have focused their attention on ‘novation’, they have often forgotten the ‘in’. That means whatever the qualities of the new offering, it will only come to life if it can grow roots in the ‘in’ of usage and social representation. In short, the social imagination.

What tools can we leverage on to build innovations encountering imaginaries?

The most important objective for those seeking to produce innovation, is to do nothing! To take the time to listen and to observe the social and symbolic background which is said to recieve and take part in the offering. This is a phase in the cartography of the social imagination, in other words the map of consumer imaginaries.

In that way, innovation is very close to identification. The manner in which people accept the offer is an index of legitimacy.

Indeed, technology could be considered as a living space, which is realized through the people’s belief in and contribution to it. In order to be activated, to actually come into contact with its audience, the offer must give space to its users – even if they are mass audience.

We have the technology we deserve; this is reflected in the social history of technology.

What is the dynamic of social imaginary?

These images are dynamic, they are manifested in the myths and figures – for example, the myth of the hero, or that of the performance. This mythology of imaginary is a living ecosystem – it lives and it dies. It is transfigured, as with the wellspring metaphor which has been thoroughly analysed by Gilbert Durand.

However, such an innovation is not limited to the function of a mirror, it is also a function of verbalisation – revealing – the innovation should speak to you.  A revelation, in the photographic sense of the term, that produces images which are latent, unconscious; the real architecture of relationships between persons. Sociology of imagination gives us the ability to create maps of how people share images and structures in the social imagination.

Contemporary usages of technology and innovation are not free from these dynamics. They too share issues which lie at the heart of this problematic. We talked about mutation; the sociology of imagination has identified certain passages and inversion.

This means the end of the functionalist promise of technology by example. For example, the success of Apple does not come from its technical power, neither does the success of the recent Nintendo wii platform. The individual subject had been by now thoroughly saturated as an actor, prefiguring profiles, avatars, sessions, users and communities.

Hence, we see the return of analogic and corporal: sensitive interfaces, or the disappearance of interfaces altogether, the emergence of gestures and vocals, the legitimacy of playfulness, of gameplay as a social act. This gives rise to the creation of new spaces – the game as a tool for engagement, a social practice. These are the big trends, but it is also possible to identify elements specific to niche and discreet audiences and publics.

What social trends shall we incorporate, what are the weak signals to decode?

The imaginary is coextensive with social life. This allows the mediation between objects, services and the public. The purpose of the situation we find ourselves in is not simply to submit to all of these representations. It is also an opportunity to access closer proximity to the reality which the user projects upon interfaces.

We have to decode weak signals on 3 levels: psychology, anthropology, history:

  • For example, psychological signals of mutation include new models like regressive behavior, connectivity, sociability, addiction.
  • Anthropology observation show merger with nature, symbolism, paganism, rituals.
  • Or history filter leads to concepts of tribes, altruism, mutants, collective creation, opportunistic timing (“hic et nunc”, cairos, interstitial utopia).

More than individual identities and needs, technological innovation have to involve social links.

On the other hand, the way we access and give reality to these phantoms allow us to escape the dynamics of appropriation and usage, and can help us to anticipate and to identify the value given to an offer by the user. In other words, it can allow us to see just beyond the horizon, to the forthcoming offers of technology, and the services of tomorrow.

1 The sociology of imagination is the study of the imaginary structures which run through the entire social body, bearing a huge influence on things like trust, meaning and shared understanding.

image credits: behance.net, diy.com, plugandplay.com, LivingLab.com



Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.

Future of TV – Leading by Innovating

GUEST POST from Nicolas Bry — originally published on Innovation Excellence.

Will Smart TV be the same revolution that Smart Phone was for the mobile handset?

Let’s see how innovation management techniques can help us understand the current evolution of the TV industry, and determine what key innovation assets the leader should shape.

What is Smart TV?

Smart TV, in a similar way that we speak of Smart Phones, is bringing the Internet over TV through devices such as connected TV, latest generation set top boxes, and connected game consoles: Smart TV connects your TV to the Internet. By analogy with Smart Phone and the way showed by the iPhone and Android phones, you can imagine your TV will not look what it used to be, just like your mobile phone is just not for voice calls anymore. Internet on your TV opens the door to Web browsing and to an infinite range of applications, content and services. Your TV might well turn out to be “an unknown object“, not a TV anymore, not a bounded Internet enabled device, but an enhanced device, benefitting from both worlds.

Smart TV, is it incremental or disruptive?

Since we are talking about “an unknown object”, we are in the field of innovative design as C-K approach names it: we are getting farther from incremental innovation, “resisting to fixation effect, expanding ideas, giving a different meaning to an object, creating a new object”. Let’s have a closer look at this disruption:

  • Smart TV is not a radical innovation powered by a brand new technology; Smart TV technology is incremental, following the path of IPTV and pioneer interactive TV services (VoD, Catch-up, PVR, Mediacenter, Information services – Traffic, Weather, Stock market). iPhone took advantage of radically improved technology, like capacitive touchscreen to create an emotional relationship with the mobile user interface: I don’t see similar impacting technology in Smart TV. Smart TV innovation seems technologically neutral, and the product challenge is to incorporate the best knowledge currently available.
  • Smart TV is a disruptive innovation in term of market, shifting from national playground to an international game play; especially in the field of advertising, where national broadcasters will have to share the TV viewer time with international serice providers such as Google / Youtube, who have demonstrated their ability to monetize an audience through adverstising; national pay TV operators should also fear new international entrants as Netflix, Amazon or Apple TV expanding their offering worldwide. These are attractive markets: $74 billion in current video subscription fees and $70 billion in television ad media for the US market.

In a disruptive game, what cards should the leader be playing?

To design a disruptive innovation, some of the creative assets you might want to raise are Belief, Open Platform, and Customer Experience Design.

Let’s see how they cross-examine with the Smart TV industry specificities.

1. Belief

Currently, there seems to be three kinds of believers in the industry:

A. Those who think Live TV is the cornerstone of the experience, and that Smart TV has to provide advanced services “on top of TV”: they try to enhance the TV experience with content and services coming from the Internet in a seamless experience, and instill progressive engagement in a “lean-back” habit. We have worked in this way, designing a half-cast experience, leveraging on both TV and Internet worlds. This is what HBBTV services are aiming at, complementing a Live TV program, as well as Microsoft approach. MS delivers Live TV on XBox through partnerships with broadcasters Sky , Canal+, and MSOs like Verizon and Comcast (for Web-based pay-TV) service or AT&T. Microsoft actually named it “XBox Live”.

B. Those who think that delinearized content will rule the TV viewing, and promote on-demand : the “Over The Top” champions. Google TV and Apple TV (with a box that does not even handle Live TV!), Netflix, Amazon are the champions of the on-demand approach. Connected TV manufacturers and Yahoo! widgets also embrace this belief when they put forward, in overlay of the TV program, applications disconnected from the Live TV. They juxtapose additional services alongside Live TV, in a “vertical silo” approach. This is what we see in the Freebox Revolution where all the various services are presented independantly like in a Media Center: watch TV, play a game, or launch your browser. At the arrowhead of this view, TV Apps become everything.

C. Those who claim that the entry point is the device, and that TV should be enabled on every device with the same in-depth content offering: that’s TV Everywhere, introduced by MSOs such as Comcast, Verizon Video, and Orange content everywhere, followed by TV channels like HBO anywhere, CNN anywhere, and Sky anywhere.

My understanding is that viewer habits are changing slowly, as TV consumption stability shows us. The fact that Internet consumption increases at the same time illustrates the rise of multitasking, and the global increase of digital activities to the detriment of real life activities.

Viewers want it all – they wish to explore over multiple screen the groundbreaking possibilities of on-demand and connected services (Social TV not being the last) without any despise for traditional Live TV! They want Youtube on TV and they want to watch the Live Rugby game, feeling socially connected: that’s all entertainment!

It puts a lot of pressure on the leader’s shoulders to adopt a broad view on what Smart TV entertainment should cover up in a globalized digital world.

2. Collaborative Platform and Ecosystem

Thanks to iTunes, the App Store, and to the Android market place, this is now common sense: the leader has to come with an extended and consistent offering to the end-user: content + service + device; it involves an ecosystem that is feeded by third party editors and developpers. The power to negotiate premium content deals, and the commitment of developpers community, are essential.

You have to build an attractive leadership platform, both for end-users and partners, and create a virtuous cycle, driving end-users to your offering thanks to the help of third party assets, the latter will then be attracted by your market place audience.

Enabling your market place with technical capabilities linking in real-time TV apps with TV Live stream will certainly be something noteworthy for developers community. Attracting game developers is another hot requirement: we can assume TV gaming available from the Smart TV App Store will reinvent the way gaming is experienced on TV, just as it happened on Smart Phone.

Platform needs also to be collaborative from the end-user perspective: people like talking about TV, that’s all what’s driving Social TV uptake, and content discovery can strongly benefit from this pattern. Your platform has to open the doors to social, like no App Store previously did.

When you think of market place, the game closes quite fast, and you end up with a handful of players: Apple, Google, Microsoft, Amazon. Game manufacturers like Sony have a rich ecosystem but they don’t seem to set-up transversal policy between their content, gaming, and CE divisions, to achieve a comprehensive approach for Smart TV. Samsung is clearly moving toward a better integration across its divisions, while attracting developers to its connected TV app store.

3. Customer Experience Design

Innovations have become cultural objects: user friendliness is a must-have; moreover, they need to capture our dreams, to echo our hopes and meet our desires, to build a sustainable differentiation. “Timeless beauty” is protective for your innovation, it requires intense design.

Smart TV is the next iconic digital object, and naturally, to be successful Smart TV has to centre around the viewer experience.

“It’s time to rethink the television experience. It’s time to make it easier.”underlines Richard Gunther in UX Magazine. “SmartTV needs to go back to square one, it calls for redesign from scratch with a consistent UI across all functions” claims Mike Fries, CEO at Liberty Global,  inspired by Jobs to create its new UI Horizon.

Design challenges and opportunities that Smart TV faces are versatile: personal & collective suage, content discovery, interactive apps / second screen interlinking, web broswing and gaming, remote control, extended display…

Iterative approach will be part of the design shaping, to refine the experience, and to better understand the different usages across generations, depending on the context. Combining personal usage, involving for example to register your Facebook credentials, and collective usage, where you don’t want the whole family to see your Facebook wall, is clearly a challenge where “design thinking” would help.

Social content discovery, rather than search, is another key issue: how to make content bubbling up to the viewer, understanding its tastes without locking him in his past viewings? Collaborative filtering, semantic recommendations, but also suggestions from the social networks are not easy to harmonize in a single sober user interface.

One might look at the second screen to help this kind of issue, and to provide additional surface to handle interactive services and companion apps (content and contextual apps, entertainment, diaries, information, social media and connected home applications): again, the interaction design between both screens, how to fling magically content from one device to another, or to flick channel from the second screen, has to be deeply thought over.

Web browsing and gaming on the TV screen immediately raise the question of the remote control.

Another design question is the way you see the TV screen in the future: will it still be limited to a 50 inch rectangular box, or will it jump out of the window, and expand over your wall paper, in full-wall display, as NDS demonstrated brillantly with Surface at last IBC? And will people adopt this kindly as the next-generation of home theater?

By design standards, the number of Smart TV potential leaders decreases drastically. Among Apple, Google, Microsoft, Amazon issued from the market place criteria, only one could resist based on past performances: Apple. This is one of the reasons why we regularly see some news about Apple getting into the TV business.

Another rational argument is the leverage that represent 200 millions of remote control already in users hands in the form of iPhone and iPad devices, overcoming concurrent remote control techniques: keyboard, pointer, gesture, or voice.

Apple is one of the only player that can build around TV viewing consistent and “connected experiences” across devices, and deliver a unrivaled cloud TV user experience. Speaking more particularly of the TV UI, there is still some design work to do to achieve iTunes and App Store transcendence for TV, embedded in an extended range of TV services, and to propose fluent content discovery to the viewer (do you remember the last time you had great time discovering apps  navigating through the App Store?).

And the winner is?

There are a lot of  obstacles to negotiate in order to win the Smart TV race: Smart TV is not a single TV delivery anymore, it includes a wide range of advanced services (EPG, Recommendations, PVR, VoD, TV Replay, Media Centre, Contextual and social TV apps, Games, Web browsing) raising a lot of design and collaborative issues (market place, content discovery, usage context, personal and collective usage, second screen interactions, remote control, surface display).

Whether you want to extend the Live experience, or you believe in a more futuristic on-demand consumption, whether you see multi-screen experience as a key differentiator, innovation path knocks into your identity: “To innovate is to change while remaining yourself”.

Though Google has peerless advantages to succeed in Smart TV industry (Youtube + Android market place + Google TV + Android phones as second screen + ad targeting), the whole it delivers is just not yet more than the sum of the parts. Google has reached a point where they need to renew their innovation identity, interweaving content delivery and social discovery & experience, with their genuine information skills to deliver a compelling TV offering.

While Apple seems potentially at the front race because of its proven assets (Apple is good at shaping a belief, developping a collaborative platform, and deliver great customer design experience), tackling the new area of TV advertising would mean to alter its DNA,  Apple being a device and software company.

As content delivery platform is evolving, content offering should adapt accordingly: content should be designed as a service, offering interactivity, multi-platforms ubiquity, personalisation, social sharing, and collective usage. While content becomes 360°, service can provide customization for each media delivery, taking into account user context, creating more relevancy to viewer habits, and fostering willingness to pay.

In this time of disruption, business game might well benefit to a challenger who would create the new Television hallmark. There is actually one we did not mention yet because of its limited involvement in TV delivery, but who might develop the game according to its own identity and assets: Facebook has “recently unveiled more partnerships with major media companies in what looks like a bid to transform the world’s biggest social network into a key entertainment hub.”

What if the answer to “Go back to square one, redesign from scratch”, turns to:

  • Build on Facebook UI, and design a large space for TV: instead of enhancing TV toward Social, it would build on Social, leverage on its natural assets to facilitate content discovery & social TV expectations, and expand towards Live TV in a paramount move;
  • and regarding TV devices (screen and remote control), transcend the tablet into the new TV hub device managing the TV screen?

In disruptive innovation time, too many assets and a long story of success might handicap you facing the agility of a new entrant: pay attention not being the “blind leader”.



Subscribe to Human-Centered Change & Innovation WeeklySign up here to get Human-Centered Change & Innovation Weekly delivered to your inbox every week.