Friday, November 5, 2010

Marketing an Applied Visual Arts textbook in Indonesia


Abstract

   The author is in negotiations to produce a business primer textbook specific to the applied arts (an outline appears in the Appendix). Given the evolution and inextricability of Globalization, the text intends to speak to global (as opposed to domestic) concerns, as a matter of course.
   The easy target would be to market the textbook to all the art institutions in the US. However, a true test of the text would lie in its ready ability to be translated and adopted elsewhere.
   Although the author is not part of the marketing arm of the publisher (nor presuming to tell them what to do), this document serves purely as an exercise of the text itself to explore some considerations exactly to that end, in Indonesia.
   A combined back translation along with a blind parallel translation of the text would be ideal. Given that the Indonesian currency, the rupiah, has been trading in the 40s to the US dollar for more than a decade now, the cost of such extensive translation is easily justified. It is useful to note that the presumed publisher, AVA, is Swiss-based, with an English-language subsidiary in the UK, chiefly for translation purposes. It would be a small matter to engage a few other-language translators on a consulting basis.

Indonesia
Context & Consideration
   If one were to market this textbook into Indonesia, the first natural audience would also be institutions of higher learning. A cursory look at the market yields more than 30 such institutions on the island of Java alone (a table appears in the Appendix). For the unacquainted, that should be read as staggering; there is no equivalent in the US. For balance, consider the entirety of the archipelago as likened metaphorically to a region in the US as one would have to concede, the island of Java is the downtown of the big city of that region. Nonetheless, these numbers bode well. This author's numbers place all institutions of higher learning for art in the US at a number just over 150. Conservatively, if one were to pad that number by 25% that still clocks in fewer than 200. Without being exhaustive of the other 17,000+ islands, one imagines that further research would reveal at least as many more institutions (and the thought remains that this is severely understated).
   Among the cautions as regards the numbers of institutions is that approximately half of the 30 are not just applied arts schools, but specifically schools associated with fashion. Given approximately a dozen other arenas of applied arts, it remains currently possible that there would be handfuls of schools focusing in similar other direction, photography, animation, etc., not yet unearthed.
   There may also be institutions just hanging on with a student or two. While this may be the case anywhere in the world, let us look at one of the institutions that indicates itself as a standard among the rest; the Indonesia Institute of the Arts (the ISI) in Yogyakarta. According to their site, they average a student population of 2500, one hundredths of which are foreign, with semester tuition cost of approximately $1000 US.
   Given the cursory nature of the research (not definitive, yet a solid start) one can be cautiously confident that the market in Indonesia for such a textbook definitely exists. If only 1/10 of the students at the ISI purchased the textbook, that is 250 units. The next suggested step in this process would be to become more definitive about the database; if for no other reason but to support the on-ground marketing representative in saturating the market.

Phase 2
   An easy conjecture is that if market research dollars were spent, we would find a healthier alternative market than one might in a Western country. This is predicated on a number of things: Indonesian literacy has been increasingly on the rise, technology remains limited relative to Western countries based on the current price tag and Indonesians are increasingly hungry to participate in the global economy (and the product is a business primer).
   The preceding paragraph serves to introduce the second consideration for penetrating the Indonesian market. A marketing representative (of the right qualifications, demonstrated sales ability and a familiarity with the book trade), armed with all the research necessary would be able to penetrate at least the secondary education market, and possibly a significant amount of the book vendors as well. Please also note that the actual production for AVA occurs just across the Malacca Straits in Singapore. This already in place association might further inform the larger movement.
   The marketing representative would almost have to be an Indonesian. "...To set up in Indonesia there are plenty of day-to-day challenges to keep you on your toes..." (New Zealand, Trade & Enterprise (Government of) , 2010). While no one wants to hear such cautionaries, it is smart at a minimum to be aware of the many layered, multicultural considerations that would otherwise burden on noncitizen with a nagging, constant mandate to translate everything. Again, given the thoughtful approach and the right research, the cost may easily be justified.
   With Indonesia, as a significant aspect of the ASEAN (Associations of the organization of Southeast Asian Nations), and a significant Democratic presence in the region, such an opportunity becomes a great test market for entrée into the larger Asian market.

All the Rest
   The reader may be inclined to view this document as something of a compromise vis-à-vis the larger conversation of marketing into a new country. The author recognizes that the implication of demographic has little effect, insofar as the overarching conversation for an Indonesian artisan student and an American artisan student is the global business nature of the art (which flattens the conversation, culturally). Indeed, the global approach to the business text consciously collapses the collateral material as well: posters for bookstores, bookmarks and the like. Beyond excellent translation, there should be no overt difference.
   Among the challenges was to increase sales by 50%. However, taking this product into the Indonesian market increases sales by 100% (for a market that had not yet existed). Given the product does not exist yet, and would presumably be offered to an American audience first, comparatively speaking, there is no current way to have Indonesian sales constitute half of American sales. This is simply recognition of the generic comparative of supply-chain, as it exists in the US with almost anywhere else in the world.
   The exercise that this document constitutes recognized such disparities going in. The embrace of Indonesia was pursued given the ability to justify other goals: a more Asian entrée to the Asian market (otherwise India is also attractive), the proximity to the subsidiary operations in Singapore, the democracy of the country and the attractive economic considerations (Australian School of Business UNSW , 2010) (Sauvin , 2010).

Conclusion(s)
   The author is familiar enough, with both Indonesia, and marketing in general, to recognize that one could paint the larger conversation with the following broad-brush stroke: the cosmopolitan Indonesian that would be the market for such an item is, at essence, no different from his or her Western counterpart. What is different, however, while minor, needs noting nonetheless (the covert). These would be the subtle nuances of communication, negotiation, and day-to-day interaction generally. With a significant Chinese minority deeply embedded in the business class, with the largest Muslim population on the planet and Indians among the significant minorities, one finds a whole host of details that we simply need to honor. This would include paying attention to one's basic posture (not literally but figuratively) in human interaction. Also, the colors being used in communication, the kinds of visual matter that one needs to avoid and even the business card of the marketing representative (Anonymous, 2008)(“Executive Planet“, 2010)(Global Marketing Strategies, 1997-2010)(Hofstede, 2009)(House, R., Hanges, P.J., Javidan, M., Dorfman, P.W., & Gupta, V. , 2004)(Kwintessential Ltd, 2010)(World Business Culture, n.d.).
   Approval for the textbook remains pending. Is this a presumption of a fantasy or an academic exercise; humbly submitted this offering is the latter. Nonetheless, if AVA were so inclined, Indonesia represents a cost-effective market and a potentially excellent entrée into Asia.

References

AVA Academia. (2010). http://www.avabooks.ch/

Anonymous (2008). Negotiating International Business - Italy. Global Negotiation Resources. Retrieved from http://www.globalnegotiationresources.com/

Arts Business Institute, (2009, Friday, April 3, 2009). Economic Importance of Art [Web log message]. Retrieved from http://artsbusinessinstitute.blogspot.com/

Australian School of Business UNSW . (2010, June 4, 2010). Marketing in Indonesia - challenges and opportunities ([under: News & Events]). Retrieved from Australian School of Business UNSW : http://www.asb.unsw.edu.au/newsevents/mediaroom/media/2010/april/Pages/marketingindonesia.aspx

Edwards, B. (1979). Drawing on the Right Side of the Brain (1st ed.). Los Angeles, CA: Jeremy Tarcher.

Executive Planet. (2010). Retrieved from http://www.executiveplanet.com/index.php?title=Main_Page

Friedman, T. (2005). The World Is Flat. New York: Farrar, Straus & Giroux .

Global Marketing Strategies. (1997-2010). Global Negotiator [[muscular collection to internal pages with developed information] http://www.globalnegotiator.com/]. Retrieved from : Global Marketing Strategies.

Hernández Requejo, W., & Graham, J. L. (2008 - 2010). . In Global Negotiation: The New Rules (p. ). Retrieved from http://www.globalnegotiationbook.com/

Hill, C. W. (2008). . In (Ed.), Global Business Today (5th ed, pp. 519-522). NY: McGraw Hill/Irwin.

Hofstede, G. (2009). Geert Hofstede™ Cultural Dimensions. Retrieved from http://www.geert-hofstede.com/

House, R., Hanges, P.J., Javidan, M., Dorfman, P.W., & Gupta, V. . (2004). Culture, Leadership, and Organizations-The GLOBE Study of 62 Societies. In Culture, Leadership, and Organizations-The GLOBE Study of 62 Societies. Thousand Oaks, CA 91320: Sage Publications.

Inglehart , R. (2009). [charts] [World Values Surveys]. Retrieved from http://www.worldvaluessurvey.org/wvs/articles/folder_published/article_base_54

International Labor Organization. (2008). Global Wage Report 2008/09 Towards policy coherence: Minimum wages and collective bargaining [9789221214991 (ISBN)]. Retrieved from http://www.ilo.org/global/What_we_do/Publications/ILOBookstore/Orderonline/Books/lang--en/docName--WCMS_097013/index.htm

Kim, W. C., & Mauborgne, R. (2005). Blue Ocean Strategy: How to create uncontested market spece and make the competition irrelevant. Boston, MA: Harvard Business School Publishing.

Kwintessential Ltd. (2010). Language, Culture, Customs and Etiquette - Japan - Language, Culture, Customs and Etiquette - Sweden. Retrieved September 25, 2010, from http://www.kwintessential.co.uk/resources/global-etiquette/

Nazief, B., Ph.D. ((between 1999 + 2010)). Development of Computational Linguistics Research: a Challenge for Indonesia (Doctoral dissertation, University of Indonesia, Jakarta). Retrieved from http://www.google.com/url?sa=t&source=web&cd=1&sqi=2&ved=0CBMQFjAA&url=http%3A%2F%2Fwww.ldc.upenn.edu%2Facl%2FP%2FP00%2FP00-1075.pdf&rct=j&q=research%20challenge%20indonesia&ei=X6vRTJr4Csys8Ab72KTHDA&usg=AFQjCNGnS-LjzjBu7FhuvGgozB1hGHJ-2A&sig2=xP8728Cakuj10TM2Opss3g

New Zealand, Trade & Enterprise (Government of) . (2010). Doing business in Indonesia. Retrieved from New Zealand Trade and Enterprise: http://www.nzte.govt.nz/explore-export-markets/south-and-southeast-asia/doing-business-in-indonesia/Pages/Doing-business-in-Indonesia.aspx

Peng, M. W. (2009). . In Global Business ( pp. 442-444). Mason, OH: Southwestern Cengage Learning.

Sauvin , S. (2010, October 1, 2010). Print advertising up 20% in Indonesia. snfblog.com. Retrieved from http://www.sfnblog.com/advertising/2010/10/indonesian_newspapers_continue_reliance.php

Singapore Economic Development Board. (2009). . Retrieved from http://www.edb.gov.sg/edb/sg/en_uk/index.html

World Business Culture. (n.d.). American Management Style, South Korean Management Style and Japanese Management Style (respectively). Retrieved Sept. 18, 2010, from http://www.worldbusinessculture.com/South-Korea-Management-Style.html; http://www.worldbusinessculture.com/Japanese-Management-Style.html; http://www.worldbusinessculture.com/American-Management-Style.html

Thursday, November 4, 2010

Art Schools in Indonesia

   This is prep (and may become appendix) to some research. This is not definitive, yet a decent beginning. As the document is organic, this start includes all art schools that I can find (including fine art and craft). Half the list is known to be applied arts, as the back half is exclusively fashion design schools.
  
Institution address city island phone website notes


ISI, Indonesia Institute of the Arts, Academic Administration Building. Jl. Parang Tritis Km 6.5 Yogyakarta Java 62 – 274 – 371233, 379133


Jaya Suprana School of Performing Arts Lower Ground / A2 Mall Of Indonesia Jakarta Java 45868303


Tomato Art School Panglima Polim Raya, Ruko Grand Panglima Polim Kav. 32-33 Kebayoran Baru Jakarta Java


Archipelago Art Education Institute Rice Brief PT.Lunto 65 Jakarta Java


Global Art Indonesia Bandung NA-18 Jakarta Java


Blueberries Dcraft Center Kemang SLT VIII 51-C Jakarta Java


Anom Temple Painting Studio Penanggungan 65 Surabaya Java


Global Art Cengkareng Daan Jimbaran Kompl New Mogot Bl 1-A/3-A Jakarta Java


Hobby Art & Craft Studio Pandanaran 119 Semarang Java


Institutions Ruseru Ontoseno 6 RT 009/02 Yogyakarta Java


Gibrah Art Studio Pasar Waru 53 Surabaya Java


Elino Kompl Pamulang Permai I Bl A-32 / 1 Jakarta Java


Alpha Abacus Indonesia Boulevard Raya Bl BA-3/39 Tangerang Java


Global Art Indonesia Ruko Bumi Serpong Damai Tangerang Sktr Bl 1-2 RD-2 / 3 Tangerang Java


Academy of Art Mangku Nagaran RM Said 111 Solo Java


Fashion (just fashion schools)

Dolling School of Fashion Design di Medan


Kursus Fashion Design, Sulam, Dll. Prapat no.44/2 Parapat (Medan) Sumatra (061) 451 7364, 452 0731


Esmod Jakarta Jl. Asem II no. 3 – 5 Cipete, Jakarta Selatan 12410 Jakarta Java (62-21) 7659181-82, 7659089 http://www.esmodjakarta.com Fax. (62-21) 7657517


Email : marketing@esmodjakarta.com


LaSalle College International Jakarta Sahid Office Boutique (Unit D – F)


Jl. Jend. Sudirman Kav 86 Jakarta Java (021) 5785 1819 http://www.lasallecollege.ac.id Fax (021) 5785 1820


Email : infojkt@lasallecollege.ac.id


*Sebagian pelajaran pengantarnya bahasa Inggris.


LPTB Susan Budihardjo Jl. Cikini No. 58 FF – GG Jakarta Java (021) 314 0575 Fax. (021) 323 526


Bunka School of Fashion Jl. Pembangunan III/14C Jakarta Java (021) 633-5759 http://bunkaschooloffashion.com/ Fax 021-6343645


Phalie Studio Jl. Gading Indah Raya, Blok C21


Kelapa Gading Jakarta


14240 Java (021) 9298 3700/ 7168 1045 http://phaliestudio.wordpress.com/


Indonesia International Fashion Institute (IIFI) – sekarang Plaza 5 Pondok Indah Blok B-9.


Jl. Margaguna, Kebayoran Baru. Jakarta Selatan 12130 Java (021) 727 88701-03 Fax : (021) 727 88689


Email : iifi@centrin.net.id


Sekolah Tinggi Desain Interstudi


Kampus STDI Jl. Kapten Tendean No.2, Kebayoran Baru, Jakarta Selatan Jakarta Java (021) 71793985 http://stdi.interstudi.edu Fax. (021) 71790477


Lembaga Kursus Tata Busana Wiwi


Berbasis kompetensi DepDikBud


Izin resmi DepDikNas, Berijazah Negara Jl. KH.Agus Salim No 30 / 8


Jakarta Pusat 10340 Java ( 62-21) 3102936, 392 1978, http://www.wiwicouture.com


http://wiwicouture.blogspot.com Fax : ( 62-21 ) 3192 7651


Email : clard@dnet.net.id


IKKIS SEKOLAH PRIVAT MODE & TEHNIK MENJAHIT BUSANA HALUS Jl. Mampang Prapatan XVIII No.102,


Komplek Keuangan, Duren Tiga,


Pancoran, Jakarta Selatan, 12760 Java 021 – 7984794 / 7983506 http://www.ikkis.net/ Mobile : 08158885441


E-mail : info@ikkis.net


Sekolah Tinggi Seni Indonesia (STSI) Jl. Buah Batu no. 212, Bandung – 40265 Java 022-7314982, 7394532 http://www.stsi-bdg.ac.id/


Sekolah Tinggi Seni Rupa & Desain Indonesia (STISI) Jl. Soekarno-Hatta 581 Bandung 40275 Java (022) 7306211 http://www.stisi.ac.id Fax : (022) 7306228,


m : 081322852228


Arva School of Fashion Sambas No.16 Surabaya Java 031 – 5672537 http://www.arvaschooloffashion.com Email : info@arvaschooloffashion.com


Sources:

2010 Streetdirectory Indonesia

Panpages

2010, Ministry of Culture and Tourism, Republic of Indonesia

deCyno
2010

Joglosemar
1998

Tuesday, November 2, 2010

Marketing IKEA Indonesia


Abstract
   This is a critique of the Marketing strategy for IKEA in Indonesia. Fortunately, said plan was recently published, and therefore is readily available for a direct assessment.

IKEA in Indonesia
   Brief background
   Ingvar Kamprad Elmtaryd Agunnaryd (IKEA) is so named after the founder (Ingvar Kamprad), the farm he grew up on (Elmtaryd) and the Parrish it was located in (Agunnaryd). The organization is widely established globally, however, until recently it had targeted developed nations. IKEA is a privately held in trust.

Critique of the Plan
   Core Marketing/Business
   Early on, the marketing plan (Please view the actual Marketing Plan. The URL is in the reference section) cites a particular strength for the IKEA furnishings line, their relatively low price. However, the deeper we go into the marketing plan, the more we realize that they are aware that their prices may not be low enough to reach the lowest classes. Key elements that are missed include that IKEA's value also lies in its generic, spare style, its conscious use of space in particular and the ability to build it yourself. Chiefly due to this marketing plan being constructed almost entirely on secondary data, the secondary data errors pepper the entire marketing plan.
   The document acknowledges the current Indonesian growth rate, yet does not celebrate it. Note that 6.1% growth is rather healthy today.
   The marketing plan is correct to delve into a consideration of infrastructure. However, the infrastructure that IKEA is lamenting is the familiar (European style) infrastructure. The truth of the matter is, for this country and this culture, the infrastructure is relatively muscular. Inadequate compared to most developing countries, but Indonesia must have somewhere in the neighborhood of 50 times the waterways, most urban areas (where they plan to settle) have at least base roads.
   The marketing plan is equally correct in acknowledging the legal and ethical considerations on the ground. Again, everything is relative and overlooked again is this relativism. Corruption and IP law may be concerns, and should not be worries, for this is no more than most of Asia.
   Then the marketing plan moves in the direction of quickly over viewing the demographic, and does so very sweepingly using the operative word diverse. From rainforest tribes to cosmopolitans, there is no question of such diversity among the people. However, in targeting only urban settings (and even the contemplation of suburban settings), this conversation would be more appropriate if one were looking to market a government agency, not a big box retail opportunity. IKEA's demographic is consistent with where they are locating.
   Again, IKEA would do well to get on the ground first. This challenge of perspective persists even when contextualizing itself with competition. It is noteworthy that the majority of furnishing retailers still resides with smaller players. Much like the GDP mentioned earlier, this mention is so fleeting that one wonders if the new president and CEO Mikael Ohlsson can appreciate the full gravity of the opportunity. To underscore, this supposition of a plan continues to lean on what it does know, comparing itself to Carrefour, among others. These major otherwise focused box stores (Carrefour is analogous to WalMart in Europe) sometimes focus on groceries, etc. Despite their specialty, IKEA could go toe to toe if they so chose. Often IKEA has a food court and/or dining space. Is that the trend, to enter the Carrefour/WalMart arena? The recommendation would caution against such thoughts, at least in the initial entry phase to Indonesia.

   The People
   As we begin to speak of the Indonesians themselves, IKEA has fed itself some misinformation. Because Indonesians support artisans, the conclusion is that the population would not embrace do-it-yourself projects. Indonesians would embrace DIY activities, for the sake of it, as they love to express accomplishment (a very proud people). DIY is simply a concept that no one has consciously promoted yet! What a lost opportunity!
   The ability to laser cut intricate lacework patterns could emulate a vast array of native furniture carving. The wealth of native fabric patterns (batik and the like) become another easy add (and an opportunity for strategic alliances on the ground).
   The statement was made: “Showrooms should be designed and arranged in Indonesian style…”. It is unclear what this means. The floor plan for IKEA in Tampa would be perfect for Indonesians (who, as already indicated elsewhere in the marketing plan, and rightly so, see shopping as a weekend family entertainment).

   Country specific
   Toward the end of the document, the idea is floated of a secondary presence on Java. Expanding on Java would be cautioned against until after enough other major cities have been established. There is a saturation factor that is overlooked ... people on the furthest end of Java will use the Jakarta location just fine, and indefinitely. This expansion notion comes excessively soon.
   Completely ignored is Sumatra Island, the fourth largest Island in the world. The capital city, Medan, in the north, is a substantial city directly affecting the top half of the island. Medan is the closest significant city to the city-state of Singapore, strategically less than an hour away by puddle jumper, just across the Malacca Straits. More strategic rationale would include Medan's proximity to Padang and Kuala Lumpur, Malaysia. The stain of secondary data persists. To cite cities such as Surabaya and Bandung, and then complain about infrastructure, would be disingenuous were it not for the innocent lack of research that is so evident.
   Sumatra or not, establish small store presence in every major city first, and let the cities development of sales dictate where to expand next.

   Miscellany
   Do the local’s one better and accentuate IKEA's green stance - shout it out that the corporation seeks to support - not rape - the rainforest hardwoods.

Conclusion
   Numerous pros and cons find themselves missed in IKEA’s marketing plan. With an eye toward a relatively collectivistic culture, aspects of IKEA’s spare look can communicate, and Indonesians would easily celebrate IKEA’s mastery of use of space.
   In the metropolitan areas, the demographic is more consistent with what IKEA is accustomed to than they realize. Upper middle class and above will continue to favor the deeply carved exotic hardwoods that are the heirloom staple. The cost differential is more than made up for in the quality and longevity (and the magnificent artistry) of the native item. IKEA’s presumption disfavors the Indonesians buying acumen, and they will find their market will actually reach into the middle lower class.
   There is no doubt the research being secondary has denied IKEA the wisdom being on the ground would have given them. Someone needs to forward them this document! The assessment is that much of the plan is solid, though could be rated at 75%.
References
Hartung, A. (2010, Nov. 1 2010). Growth - Dealing with Market ShiftsCould Something Go - Badly for Ikea and Its New CEO?. Forbes. Retrieved from http://blogs.forbes.com/adamhartung/2010/11/01/could-something-go-badly-for-ikea-and-its-new-ceo/?boxes=Homepagechannels

Monday, November 1, 2010

Positions for the Applied Arts (revised 10) (Digital) Film

Entry Level

Production Assistant
Excellent communication skills
Highly motivated
Strong creative ability
Comfortable sharing ideas with crew; teamwork
Adept to rapidly changing technologies
AVID/ Final Cut Pro, other non-linear software
After Effects/Premiere
Beta/DV/DVC Pro/DV Cam

Assistant Editor
Excellent communication skills
Highly motivated
Able to take direction and work independently
Observe strict deadlines
Strong attention to detail
AVID
Final Cut Pro/Pro Tools
Deadline oriented

Lighting Assistant/Gaffer
Artistic ability relating to color/light
Accurate and detail oriented
Able to take directions

Camera Operator
Good eyesight and hand-eye coordination
Steady hand/arm movement
Able to hold camera for extended periods of time
Good communication skills
Beta SP/Panasonic DV/DVC Pro/other camcorders
Multicamera production/crew relations
Ability to take creative direction

Tape Librarian/Dubber
Strong attention to detail
Good communication skills
Understanding of customer service
Patient and accurate
Beta/AVID/Final Cut Pro

Master Control Operator
Adept to rapidly changing technologies
Able to take direction and work independently
Attention to detail and accuracy
Good communication skills
Electronic news gathering/multicamera production
Deadline oriented


Traffic Assistant
Detail/deadline oriented
Good communication/phone skills
Good computer skills


Mid-Career
Studio Director
Producer
Assignment Editor
Technical Director
Field Videographer
Camera Operator
Producer
Technical Director
Traffic Coordinator
 
Pinnacle
Production Manager
Program Director
Editor
Senior Editor
Director of Photography
Field Supervisor
Director of Photography
Field Supervisor
Senior Editor

Sunday, October 31, 2010

Understanding

   The word itself gives us a clue as to where our priorities should lay. Let us fold together two Asian proverbs about journeys. In the Chinese proverb: A journey of a thousand miles begins with one small step. In the Japanese proverb: our lessons come from the journey, not the destination. Both address where the right value lies.
   Distilled into one American word, the value, the front aspect of the word (the journey) is that which precedes the “ah ha” moment, the goal, the milestone (the standing). And, while we mark the progress with the standing, it is only that which we stand upon to journey further. Hence, the word’s priority of structure (the “under”) coming first (until the next “under”).

(this is my definition and i recognise it may be slightly off topic.
i nonetheless sense it's value, and am therefore sharing it)

Saturday, October 30, 2010

Halloween Celebration Around the World

   As Global considerations are a key aspect of what I regularly research, the idea of the Halloween holiday (and how that shows up elsewhere) was a curiosity that got satisfied quickly at the "Charts Bin" site.
   To see a beautifully designed presentation of academic quality laid out in graphic and easy to digest terms, please check it out (they're a great resource anyway). The graphic I'm sharing here does not do the site justice (if nothing else, the map is interactive at the site...and EVERY country has a remark).
   Please click on: http://chartsbin.com/view/5vy

   ...and, (don't get too scared) Happy Halloween!!!

Friday, October 29, 2010

ID in id


   The title reference, ID in id, is interior design in Indonesia; id being the national domain name suffix Indonesian websites use. I am beginning to research a piece on a marketing plan for “big box” retailer of spatial design in the broad view, and furniture and accessories in the literal view; and the marketing plan is for entrée into Indonesia.
   For little context, I thought I would take a peek at a classic, flagship interior design firm. After a little poking around a think I found what would likely bubble up as the best in class of ID firms in Indonesia. I confess, I based this in large measure on the line in particular that I found on their website that states: the only qualified Accredited Professional of LEED (Leadership in Energy and Environment Design) in Indonesia”. After what is approaching the two decade birthday, if you're in interior design and you ain't LEED, I don't consider you (this is analogous to how I treat any company that still uses a fax machine).
   Okay, okay, I confess I'm proud to have discovered that the guy who founded and runs this organization is an American; Rick McBride BFA, BArch - Rhode Island School of Design, a US Registered Architect. The general manager, I'm guessing, as his wife (and I'm further guessing is a native Indonesian), Myrna McBride, Degree in Architecture Trisakti University and a Member of the Indonesian Institute of Architects. The third principle, clearly Indonesian by name, is Bingah Suseno, who holds a BS from University of Wisconsin, and is a Member of Indonesia Interior Design Organization (HDII). Since 1993, the organization rounds out “with a staff of 20 trained professional(s)” (Citra Duta Artistry [CDA], n.d.).
   Duta means "we present", like an ambassador.  Citra means "the look". And they really do.
   CDA appears to be that quintessential, entrepreneurial American animal. It seems Rick McBride had followed his heart, got a great education at RISD, and however Indonesia came to his attention, realized Indonesia had an interior design deficit - so he set up shop! How much you want to bet? And, boy howdy, they do look good!
   So, is this going to help me out with my larger research? Possibly, although I tend to doubt it. Am I glad I did this? Yup! Do I think you know to check these people out for yourself? The reference follows:
Reference
Citra Duta Artistry. (n.d.). (Corporate Website). Retrieved October 29, 2010, from http://www.cda.co.id/; http://www.expat.or.id/sponsors/cda.html

Thursday, October 28, 2010

Mktg Content/Context X 3

Abstract

Three separate products (content; one each: personal, commercial, and service) are reviewed within the context of a marketing consideration of time, space, or self/other.

SEO - service
   The "product" (actually a service) of SEO (search engine optimization) resides in the domain of Web services. Whether entry-level or a seasoned professional, at the individual level, or a general IT service provider (such as GVS InfoTech), this particular marketing consideration of bringing eyeballs to your website is more science than art. According to GVS InfoTech:
 Almost 8 billion searches are made every month
 Google had more than 69% market share in 2008 and Yahoo 19%
 3 billion searches are for local businesses alone
 62% of search engine users click on a first page result (GVS InfoTech, 2009)
   Clearly, this has a direct and enormous marketing implication. However, as a service, the first layer client is not the end-user. Therefore, from the considerations time, space, and self/other, these issues are resolved within a larger package of negotiation; including pay schedule and completion date benchmarks.

San۫at /(product: illustration & the people of Palestine) within Contemporary Art of Palestine: Development Issues – commercial (NGO-style e-zine)
   A word of note: the only graphic connection that the Palestinians have to the Uzbeks’ is a shared funding from Russia.
   The online magazine San۫at is the Uzbek word for art, and a communication of the Academy of Arts of Uzbekistan. Presumably being a not for profit, one could argue its commercial posture. However, from an idea, culture and nationalistic perspective, please suspend judgment and accept that its goals are every bit as commercial as the Sears and Roebuck's catalog (Al Asad, 2010).
   Similarly, this applies to one article in particular, from a column devoted to culture elsewhere, Contemporary Art of Palestine: Development Issues. Here we find a well thought out, well-documented article on an entire people in the position of refugee status. We find that life during wartime does not readily lend itself to full freedom of expression; most creativity finds channeling toward utility, crafts. However, the article does contain one illustration, a beautiful and haunting work, at first splashed with sunshine and joy, and yet clearly an underlying wrestling of seriousness and concern. There is no artist credit or date. Only that it is in the collection of the Academy of Arts of Uzbekistan. There is bright and cool on the right side where the persimmon fruit is prepared under the shade of its own tree (a metaphor for any of the successes of its own people). It is glaringly bright and more than warm on the left near the roiling sea. Throughout the background we find various passageways, ostensibly empty, and without any order.
   This is a highly sophisticated illustration, and the narrative of the Palestinian people is clear. That was the point of the illustration, as these people cry out for help and understanding (regardless of anyone's political investment). Had this illustration been for the New Yorker, Der Spiegel or L'Espresso it surely would have been a month’s wages.
   As regards marketing considerations of time, this work (the product) is timeless, or at least suspended in time. Even as it finds its way to our attention, we have no idea as to its date. Given the circumstances, we have no idea how long it took, either. Any detail that would normally confess remains timeless as well, the swimming clothing, the same boats used for millennia. While the lack of the date and creator may be separate unfortunate accidents, suspended in time is conscious for this product, a part of what it sought to communicate!
   Its marketing perspective seeks to draw you in, and it succeeds there, as well. You readily find yourself hot, standing on the beach, or concerned as you trod dank centuries old passageways (perhaps wondering what the architectures’ story is). You in the space – that is powerful marketing!

Designer Men’s footwear – personal
   There very few products quite as personal as apparel. We have now evolved to a point where there is a significance spread on price, and not nearly as big a spread on style. Indeed, if a man is looking to emulate the best designer footwear available, and save money, it is possible to come close for a fraction of the cost (unless, of course, one happens to be under the scrutiny of a seasoned fashionista).
   Let us look to the Mecca for the fashion industry, Italy. Names such as Emporio Armani, Moschino, Alberto Guardiani, Cesare Paciotti, Salvatore Ferragamo, Prada and Raffaello, to name a few, all offer conservative male footwear and it all clocks in right about $400 a pair. Who buys such footwear are the people for whom such a price tag is relatively meaningless, or the minority of those who are in a position where having the right footwear is mandated (presenting/pitching a new client in Italy, aspiring to rise to the fashion industry etc.).
   So, if you are an Italian designer men's footwear, and there may be a purist or so among them, you recognize that the days of the artists and cobbler are long gone. Designing footwear that transcends time and space sounds lofty. It also sounds like a bad business decision. All of the men mentioned are not only also designing sneakers (generally clocking in between $100 and $200 apiece), but many have formal footwear that are essentially fancy sneakers!
   Clearly, the time and space thing here is as fleeting as anything ever is in fashion. The marketing here is to the self. And to that end on either prides themselves on familiarity with mail designer footwear or you're simply buying someone's logo (Raffaello Network).

Conclusion

   There was a conscious effort to address the inquiry both as diversely as possible, and yet within a related universe; in this case the applied arts. I see no thread, and in marketing, that is the thread. To use a cliché as a metaphor: “never say never”. There may actually be a better cliché uses the metaphor, this one from politics: "all politics is local"; e.g., marketing is about knowing the entire playing field, but it is specially knowing your audience. In closing, there is a universal truth: “in order to be heard you need to speak to an open listening”.

References
Al Asad, A. (2010). Contemporary Art of Palestine: Development Issues. Magazine “San’at” (Art). Retrieved from http://www.sanat.orexca.com/eng/2-07/palestine.shtml
GVS InfoTech. (2009). (home page). Retrieved October 28, 2010, from http://www.gvsinfotech.com/; (also): http://www.clickindia.com/detail.php?id=5291601
Raffaello Network, (). Fall Winter 2010 2011 [Abstract]. Raffaello Network. Retrieved from http://www.raffaello-network.com/english/

Wednesday, October 27, 2010

cultured stuff


   In an earlier post, I did what I could to take on the distinction between applied arts, fine arts and crafts.
   Like many things in life that society trips over such gradations confuse some, who are often want to be given few choices.
   And so it is with culture. Many have had their chance at a definition; here's mine: The evolved abstractions of a living group to express and/or establish order and/or standards. This applies equally true whether one is speaking of the Maori tribes of Africa today, the Inca’s of a bygone era, the urban Manhattanite, the rural Mongolian of the Steppes, of pod of dolphins, an essential ingredient in yogurt.
   Such a definition certainly has its use. Ordinarily, this is to distinguish customs from one area of the world of human experience to another.
   To use the metaphor of the arts, this would encompass every creativity. And like the arts, a well preserved classic example of a late 17th century Mennonite chair might not at first blush seem as engaging as a Herman Miller Aeron chair. On the one side you have something that seems to be primitive, versus a well developed and entirely thought out technology. On the other hand you have one item that is a priceless and unique survivor, a rare example the likes of which we may never see again, versus something that may have come off an assembly line.
   And so it goes; we argue values, and it's all very subjective. And where we find general consensus, however gelatinous and organic that may seem, we include that in our inventory as relative marker.
   So is life worse off for the Aboriginal of Australia, just because relatively speaking they are primitive? Is it not possible that many among them by now are well aware of life in Sydney and see Sydney-siders as the barbarians? Again, it's always relative.
   So when someone says in response to the question what is culture, that it refers to finer things in life, such as fine arts, literature, philosophy and classical music, are they wrong - Absolutely not. Just as there is such a thing as fine art, there is such a thing as fine culture.
   But honestly, I would rather have that crude looking late 17th century Mennonite chair, a craft, than an acrylic on canvas board produced by someone who has marginal commitment to the experience.
   So there's high or fine culture, and culture in general, and everything in between … and I don't know if you saw this coming but here's the point: they all have value (it's just a matter of where your perspective is).

Tuesday, October 26, 2010

Positions for the Applied Arts (revised 09) Photography


Entry Level
Photographers Assistant
Lab Technician
Digital Retoucher
Freelancer
Portrait Photographer
Wedding and Events Photographer

Mid-Career/Pinnacle
Photographer


In all 10 areas as specified below*
Both full-time and freelance
Photography Teacher
Teaching at a school or university
Owning your own photography business
Examples: Portrait Studio
Content person for websites
Photograph items for multimedia firms

For all positions:
One must know Photoshop
All camera formats
Knowledge of color work flow and printing

*
1) Advertising, Fashion and Editorial Photographers
Advertising Photographers
Fashion Photographers
Editorial Photographers
2) Street Photographers (General Practitioners)
a. Social Photographer- Portrait Studio Photographer, School
Photographer, or Wedding Photographer
3) Commercial and Industrial Photographers
Commercial
4) Staff Photographers
5) Newspaper Photographer (Photojournalists)
6) Medical Photographer
7) Photographic Stylist
8) Photographic Lab Work
9) Televison, Film and Video
10) Self-employed (Freelance) Photographer

Monday, October 25, 2010

A Call to Collaboration!

A Call to Collaboration!

I would like to invite Professors
• from outside the US
• who speak English, and
• teach classes on multiculturalism, global business, international marketing and the like
to connect with me here … and if it is easier, e-mail me at waterecho@yahoo.com. Eventually I’d like to move us over to Skype, where we can live conference for free, share each other with our classes and, perhaps, publish together from time to time.

English to Portuguese translation

Um apelo à colaboração!
Gostaria de convidar os professores
• de fora os EUA
• Pessoas que falam Inglês, e
• dar aulas sobre o multiculturalismo, o negócio global, marketing internacional e afins
manter contato comigo aqui ... e se for mais fácil, e-mail me at waterecho@yahoo.com. Eventualmente, eu gostaria de mover-nos à Skype, onde podemos viver de conferências para compartilhar, sem uns aos outros com nossas aulas e, talvez, publicar em conjunto ao longo do tempo.

English to Russian translation

Призыв к сотрудничеству!

Я хотел бы пригласить профессоров
• из-за пределов США
• кто говорит по-английски, и
• проводят занятия по культурному многообразию, глобальный бизнес, международный маркетинг и т.д.
чтобы связаться со мной здесь ... а если проще, электронной почте мне waterecho@yahoo.com. В конце концов я бы хотел перевести нас на Skype, где мы можем жить конференции бесплатно, делиться друг с другом с нашими классов и, возможно, опубликовать вместе время от времени.

English to Hindi translation

सहयोग के लिए एक कॉल करें!

मैं प्रोफेसर आमंत्रित करना चाहते हैं
अमेरिका के बाहर से •
• जो अंग्रेजी बोलते हैं, और
• बहुसंस्कृतिवाद को कक्षाओं में, विश्व व्यापार, अंतर्राष्ट्रीय विपणन और तरह सिखाना
मेरे साथ यहाँ कनेक्ट ... और अगर यह आसान है, मुझे ई मेल waterecho@yahoo.com पर. अंत में मैं करने के लिए हमें ले जाने पर Skype, हम कहाँ मुक्त हिस्सा है, के लिए हमारे सम्मेलन वर्गों के साथ एक दूसरे को जीने के लिए और कर सकते हैं, शायद, समय समय पर से एक साथ प्रकाशित करना चाहते हैं.

English to Chinese (Traditional) translation

一個電話到合作!


我希望邀請教授
• 從美國外面
• 誰講英語,和
• 教課在多元文化、全球企業、跨國推銷等等
連接用這裡我…和,如果它是更加容易,電子郵件我在waterecho@yahoo.com。 我希望最終移過去我們向Skype,我們可以居住會議為自由,與我們的類互相分享,并且,或許,時常一起出版。

Sunday, October 24, 2010

A successful Photo Business (a few thoughts)

   Toward the beginning of the history of photography, the photographer had a mysterious cachet. Everything was manual, intricate, and ostensibly shrouded in secrecy.
   As the technology progressed, although much became more accessible, much remained the secret purview of the Wizard (wielding all the strange pieces of equipment and hidden within the darkroom).
   Today an infant grabs a nearby cell phone and starts pressing buttons. It seems as if the universe has coughed up cameras into the hands of everyone. Moreover, since it is “all” digital, let's face it, you take hundreds of shots, even a monkey is bound to have one or two turn out. To say that the field has unprecedented competition is an understatement.
   As the profession itself has progressed, most all of the standard positions seem to have a line of people waiting to fill an already filled position.
   Such is the challenge for today's photo major. To spend nearly $100,000 and four years of your life to gain a baccalaureate degree, at first blush, would not readily seem a cost-effective use of one's time. Yet, if the student is serious, then a fulfilling career awaits.
   I have written before on the distinction between art and craft (search the blog). The serious photographer of tomorrow will constantly:
• be practicing the art
• be reviewing what has gone before
• be a student of what is currently unfolding in the industry
• be developing and maintaining a database of all players associated with the photographic experience
• seek new ways (stylistically/stylizing, software-based, etc.)
• schedule for oneself exposure through gallery shows on a regular basis
• expose themselves to every inspiration
• develop and maintain an online presence, both their own and within the online folios used by art buyers
• seek ways to design producing every result they will need
• look for ways to be ever more professional
   In other words, the photographic profession is not necessarily glamorous and certainly is real work.
   In the face of all this, what had been the "working class" photographer (of weddings, school pictures and Little League cards), has pushed even these expressions into a higher art.
   The most promising approach to this that I am aware of is not a new one. It is the capacity to be a specialist. There are photographers who make a very good living because they are the go to people when it comes to photographing produce, or cloth (or whatever). Certainly, if there is a man or woman out there specializing in produce photography, I am confident that they photograph more than just produce. My point is that their take on the photography of produce reinvigorates the mystery of old, the approach being akin to a research scientist desperately looking for the cure to a disease. Aside from all the obvious, such as different lighting, different backgrounds, they may play with different sprays to produce condensation. They may gently stroke a sheen of oil upon the skin of a grape. They might try applying simple syrup, instead of water, one droplet at a time.
   Let's say its electronics. How many thousands of ways has electronics been represented thus far? How many thousands of ways can you think of that have yet to be expressed? How many software manipulations have yet to be tried because they had not been around in the past?
   If I'm a print media guy and I want the best shots I can get of a new USB port, I'm going to want to hire a specialist.
   What do you bring to the table that is new, different, more, better? What special niche will become yours? If there were visions of traveling around the world or hanging out with gorgeous models and just clicking something in your hand, then you may want to rethink the profession. The exotic aborigines are now photographing for themselves!  Real art, real passion, real work, to produce real dividends as part of a real profession … if you can make it all real for you, and keep up with the ever unfolding technology, there is an as yet unseen tomorrow that you will help create for all of us.

Saturday, October 23, 2010

The online education paradigm (& business)


Ouch
   I will begin here with my complaints, numerous as they are, for I wish to end on a positive note.
   There is nothing "live" about some of the models out there. In these instances, we are looking at paradigms which simply trade an inordinate number of posts, papers and feedback. I say inordinate because that is one of the hallmarks of this model, it seems to need to justify itself, so it puts a heavier burden on the student. Basically, twice the work for half the experience.
   This also corrupts the learning process in innumerable ways. Whatever interaction we find variously shows itself stilted, postured and a place to hide. I am sure that for some it is cause to diminish the importance of the experience and/or their participation.
   One expression of significant consideration is about employment today and the capacity to network. Despite these typically being a group of ostensibly bright people, paying significant money to be “around” each other, there is a strong tendency to overlook simply participating in shared information. Consequently, it is entirely possible to experience a class, even at the doctorate level, and have it end without having any way to be in touch with a majority the colleagues you paid so much money to share such time.
   I taught online at another institution that had a somewhat different set up. There was a designated time for an online experience that constituted the class. Everyone had at least the speaker and microphone, if not a Webcam. This would have worked out better, but in so far as this institution also recorded the class (which, of itself, is fine), and made the recording available after the fact, no students ever showed up for class. As an instructor, I still had a commitment to be there. Week after week, I found myself speaking to my monitor, teaching the class to no one. Obviously, this could have been better but for the logistical nonsense. Retrieving the recorded class after the fact should not eclipse attendance in the class itself. Unfortunately, that institution had actually championed this "convenience" to its tuition dollars... oh; excuse me, its students.

The Upside
   I am also aware of institutions that only make online classes available by faculty who teach the same class on ground, with a twist. Baylor, for example, has its ground classes video recorded and integrated into the online experience; also including Webcam. We see a pattern here, where the more muscular the technology used, the closer we get to a ground interaction. Perhaps this is the best we can hope for at this time. I sense this is a direction that most good schools could easily move in the direction of, strongly need to consider, and will eventually have to move in (the sooner the better) to stay competitive.
   The primary irony here is this writing is by a business major. It is not lost on this student all the iterations and layers of fiscal value to have this structure in place. For every good business reason online education is here to stay.
 _____________
(consider this a text box, narrative continues below)
___________ 

 Holography

CNN Hologram TV First
and
1 min 28 sec - Nov 4, 2008

Minolta and the Milo Venus
Related 3-D spatial: THIS is complicated

Holophone’s true and false

related information

Almost Genius: An AR Interface for Drawing in 3-D
Fast Company

A Vision of K-12 Students Today

seadragon photosynth
be aware – what photography can now do

Wear-able technology breakthrough (via MIT)
Talks Pattie Maes & Pranav Mistry: Unveiling the "Sixth Sense," game-changing wearable tech

an annual contribution from Sony Corp. – Did You Know
2007
Why we’ll be students the rest of our lives just to be competitive
2009
_____________

   From the needs perspective, ground classes should never go away. However, a quality online educational experience augments educational need as well. Moreover, the better the delivery system is developed, the better the augmentation is. The future is bright. There has been a recent commercial renaissance with a 3-D experience; arguably, the turning point was the movie Avatar. We are now seeing 3-D televisions making their way into homes. I see this as a transitional stage to holography eventually becoming pedestrian. I am including a text box with a collection of links that highlight various approaches and applications for this technology.
   While it is likely entirely possible to have this technology within the next 5 to 10 years integrated into the online experience of education, I imagine it may actually take a generation. Nevertheless, this is inevitable. In addition, once this takes place it should collapse all that griping and whining made earlier, out of pride for my school (or any educational experience) being all that can be.
   That would normally be the concluding statement. Yet, I cannot help but indulge myself for a moment. Imagine a time when you would attend a class, literally global. You enter a virtual classroom. There may be parameters regarding the degree to which your appearance may be you yourself, an avatar, or some combination thereof. Regardless, your voice is live, and so are your physical actions. That which is virtual, would in every way echo a ground class, as we know it today. Would this be the end of hollowed brick-and-mortar institutions, such as the ivies? Actually, possibly; and I can only trust that their individuals that are writing papers, as this paper is being written, reinventing themselves for the future.