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Can brands change their personality? Psychology has the answer

6/4/2015

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Business psychologist Tomas Chamorro-Premuzic looks at how brands can turn their internal identity into public reputation.
Much like people need to re-consider who they are as they grow up, so do corporations
The concept of brand personality refers to the human-like attributes associated with brands. For example, Apple is cool, Hermes is elegant, and the Volkswagen Golf is understated. Much like in humans, brands develop their personality with time, as they mature. In some cases, this results from deliberate attempts to translate the vision of designers and marketers into a product that can help consumers express key aspects of their identity. In others, the process is more organic and unpredictable, when unexpected brand ambassadors emerge, such as in the case of hip-hop artists’ devotion for Cristal champagne or footballers’ love for Hublot watches, which forced these brands to re-evaluate their image.

But how can brands deliberately change their personality, and should they? The second part of the question is easy to answer: there is no shortage of circumstances where brands would benefit from a personality change. For example, since the last financial crisis all banks have invested a considerable amount of time and resources to re-brand themselves as trustworthy and altruistic, albeit rather unsuccessfully.

The big technology firms that have amassed so much wealth and market share in the past decade, while avoiding taxes, snooping on consumers and productizing their data, will face similar challenges in the near future. One would imagine their marketing and PR departments are already spending a great deal of time pondering about how they can recover their original reputation as laidback, friendly and pro-social innovators who, as the TV show Silicon Valley puts it, are “trying to make a better world”.

Brand changes don’t just concern big corporations. Indeed, every small and medium-sized enterprise will at some point need to influence how clients perceive it. These attempts to change its reputation concern changing its brand personality. It is not enough for organizations to change what they do; it is also necessary for them to convey those changes to consumers. And as William Blake noted, external changes can often drive internal changes more than vice-versa.

As for the first part of the question, the answer is less straightforward. Despite the wide range of commercial design interventions to re-brand companies and products, and the size and age of the PR industry, there is not much robust scientific research outlining how brands can best achieve changes in their personality. For each case study that worked, there are hundreds that didn’t, which means that typical interventions are far from effective.

In the absence of clear evidence, let us extrapolate from the science of personality, a well-established branch of psychology devoted to understanding how individuals perceive each other, and how these perceptions can change. Over the past 100 years, a great deal of evidence has accumulated on the stability and change of people’s identity (how they view themselves) and reputation (how they are viewed by others), and this evidence ought to be of interest to marketers. Furthermore, there is a practical side to this science, namely executive coaching and reputation management interventions, which have been shown to be effective in improving the success of individuals and organizations. If we extrapolate from these findings with humans to the realm of brands, our ability to shape the personality of brands will improve. In particular, there are four critical steps to consider:

1. Understand your brand identity
Most businesses fail at this first step because they have an inaccurate view of themselves. That is, their brand identity, which encapsulates their core values, mission, and cultural DNA, is mostly a formality. In some cases, it comprises the outdated vision of the founders. In others, meaningless marketing copy. Much like people need to reconsider who they are as they grow up, so do corporations. This may involve a more existential quest for figuring out what the organisation is, what it stands for, and what psychological benefit its services and products are trying to have on consumers.

2. Profile your brand reputation
This is a fairly simple process. Through surveys and consumer segmentations, which are now cheaper and quicker than ever thanks to the digital revolution, companies can truly understand what their brand reputation is. In particular, they can crowd source the key attributes that consumers associate with their brands. A rather important point here is to understand what its most loyal consumers are achieving by liking and buying its products. This does not refer to the functional value the products have, but the psychological value. Is it enabling consumers to display status, and in what specific way? Some brands enable people to feel intelligent, others altruistic, others powerful, others cool, etc. A brand’s reputation aligns highly with the reputation of its best customers.
 
3. Find actions that close the gap between 1 and 2
If there is a big gap between how companies see their own brand and how consumers see it, then they will need to find a way to translate their identity into reputation. In other words, get consumers to see them how they would like to see themselves. This happens best via actions. Actions need to be promoted and communicated, however, so that the desirable attributes or traits become a central part of the brand’s reputation. As with coaching, this will require brands to stop doing certain things, and keep doing others.

4. Re-evaluate the gap between 1 and 2
It is only when organizations can internalize the reputational changes they have attained that their brand identity will be consolidated. When they succeed, they will have persuaded consumers to see them as they wanted to be seen. But when they fail, they must re-evaluate their identity and accept that they are not the brand they wanted to be. And there is nothing wrong with that. Coming to terms with it will enable brands to appeal to the right customers and have a realistic self-view. Much like in humans, self-awareness is a precious but rare psychological commodity these days.

Tomas Chamorro-Premuzic is a professor of business psychology at University College London and vice-president of research and innovation at Hogan Assessment Systems. He is co-founder of metaprofiling.com and author of Confidence: Overcoming low self-esteem, insecurity and self-doubt.




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5 Creativity Myths You Probably Believe 

6/2/2015

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Creative Blocks 
by Christian Jarrett 

Let’s start with a fact: We are all capable of conceiving new, useful ideas. Unfortunately our chances of doing this are hampered by a few stubborn myths.

These misconceptions cloak creativity in mystique and they foster elitism—the idea that the potential for innovation and imagination is a rare gift enjoyed by only a select few “creative types.” Here we debunk five persistent myths that misrepresent the true neuroscience and psychology of creativity.

Myth 1: To be creative you need to be right-brained.
Here, the trope of the “creative type” joins forces with classic neuro-bunk. This myth says some of us are logical and analytical because we are left-brain dominant, whereas others are creative and imaginative because they are right-brained.

It’s a harmful idea because it suggests that if you have the wrong kind of brain, you can’t be creative. The myth is often applied to specific groups, providing a spurious neuroscience foundation for old, divisive stereotypes, as in the 2009 book: War in the boardroom: Why left-brain management and right-brain marketing don’t see eye to eye.

It’s true that the two brain hemispheres do function differently, but crucially they are joined by massive bundles of nerve fibers and most mental functions involve the two hemispheres working together. When it comes to creativity, yes, there’s research showing that the right hemisphere is important for problem solving, but there’s also evidence that the left-hemisphere is adept at story-telling.

Not only is it a simplification to label creativity as the exclusive domain of the right-brain, it’s also mistaken to claim that some people are right-brained and some people left-brained. In 2013, researchers scanned the brains of over a thousand people and found no evidence for this way of categorizing people. Calling someone right-brained” or “left-brained” is as useful as saying that someone is Virgo or Pisces.

Creativity isn’t the preserve of one side of the brain, and it isn’t a talent confined to people with a special kind of brain. Real neuroscience says: if you’re human and you’ve got a brain, you’re capable of being creative.

"Calling someone right-brained” or “left-brained” is as useful as saying that someone is Virgo or Pisces."

Myth 2: You’ve got to hope for a “Eureka!” moment
Michael Jackson once described how the bass line for his mega hit “Billie Jean” fell into his lap, as if a gift from God. It’s a modern equivalent of the apocryphal tale about Newton discovering the law of gravity when an apple fell and hit him on the head.

This myth of sudden creative epiphanies is seductive because often it feels as if ideas do arrive in a flash of genius. However, such moments belie the hard work and perseverance that’s needed for them to occur in the first place.

It’s well documented that Jackson was one of the hardest working, most perfection-seeking artists in the entertainment industry. Newton was obsessed by his work and had been thinking about gravitational forces long before the apple incident.

"Newton was obsessed by his work and had been thinking about gravitational forces long before the apple incident."

The trouble with the myth of the Eureka moment is that encourages the belief that creativity is a passive process. It suggests you have to wait and hope that you’ll make a breakthrough. It’s true that the final moment of insight often comes as a surprise— a spurt of inspiration rising suddenly from the geyser of the unconscious. But crucially, for this to happen, your unconscious mind needs material to work with. It cannot sift and recombine ideas—a process known as “incubation”—if you don’t first put in the hard work of studying and mastering your field and exposing yourself to different perspectives. That Eureka moment is actually the last step in a long, involved process and not the only step.

Myth 3: Creative people are lone, eccentric geniuses

When many of us imagine a creative person, we picture a lonely angst-ridden artist or poet. Indeed, research published this year showed that people judge creative work as higher quality and more valuable if they’re told that the person who produced it was eccentric. This is a stereotype and it’s unhelpful because it suggests the route to innovation is to cut oneself off from colleagues and collaboration.

The reality, as David Burkus explains in Myths of Creativity, is that “creativity is a team sport.” Burkus describes how the prolific American inventor Thomas Edison—popularly depicted as a lone genius—was in fact supported by a group of engineers and scientists known as “the muckers.” Similarly, Michelangelo didn’t paint the Sistine chapel on his own; a team of talented artists assisted him.

For more evidence on the importance of collaboration and teamwork for creativity, consider the fact that a greater number of patents are registered by cities that feature a high density of creativity professionals. It’s encounters between fertile minds that breeds innovation, not hiding away like a hermit.

A related misconception about creative people is that they are geniuses with rare intellect. A classic study makes nonsense of this idea. Back in the 1920s the psychologist Lewis Terman began monitoring a group of the very brightest children in California. He watched as they grew into adults and their careers developed. None went on to be highly creative. As the neuroscientist Nancy Andreasen told The Atlantic earlier this year, “a crucial conclusion from Terman’s study is that having a high IQ is not equivalent to being highly creative.” You need a modest amount of intelligence to be creative, but extremely high IQ is neither sufficient nor necessary for being an innovator.

"Having a high IQ is not equivalent to being highly creative."


Myth 4: You need external incentives to help you be creative
In many realms of work, it makes sense to think that the more reward you offer someone, the better job they’ll do. When it comes to creative output, this isn’t necessarily the case. In fact the opposite may be true. Research suggests that work driven by internal ambition and reward—in other words for the sheer joy and satisfaction of doing it—tends to lead to more original and imaginative end results than work fueled by the promise of external gain, such as money or kudos.

There are many examples of this principle. Among the most compelling is a study of artists and sculptors by Teresa Amabile at Harvard Business School. She asked these creatives to provide examples of works they’d produced for their own pleasure and others they’d produced for a fee. All the works were then judged by a panel who were ignorant of who’d produced what, and ignorant of which pieces of art had been commissioned and which had been created for sheer pleasure. The striking result was the pieces of art created by the artists for their own pleasure received consistently higher quality ratings from the judges.

It was a similar story when Amabile asked female college students to create paper collages. Half of them were told that they would be judged on the quality of their output, whereas the others thought the purpose of the study was completely unrelated to the art they produced. The finding here was the women produced better quality collages when they thought they weren’t being judged—another example of how we’re more creative when we’re driven by intrinsic motivation rather than by external reward. As Alfie Kohn, the author of Punished by Rewards, puts it: 

“It is simply not possible to bribe people to be creative.”

Myth 5: Brainstorming is the best way to be creative together
We already heard that the notion of the creative lone genius is a myth. The most useful, innovative ideas usually arise from a meeting of minds. Unfortunately, a persistent myth in this regard is that the best way to come up with ideas together is to embark on a classic brainstorming session. Usually this means that a group is faced with a problem and they attempt to solve it by sitting around the table throwing ideas at each other.

This process is extremely popular, especially in corporate industries, and yet time and again research has shown that people in fact come up with more numerous and better quality ideas when they initially work alone, than when they go straight into a brainstorm.

This may sound like a contradiction of the myth of the lone genius, but the important point here is that people need time to work alone first, and only then should the collaborative process begin. Group brainstorming is an effective way to share and merge people’s ideas and solutions (and it’s worth remembering that many of the most important inventions and innovations are combinations of existing ideas), but it’s the wrong way to come up with ideas in the first place, and it certainly shouldn’t be the end of the creative process. After creative cross-pollination people need time alone to reflect and meld other people’s insights with their own.

It’s also important to conduct brainstorming sessions in the right way. Groups need to guard against those dominant characters who shoot down other people’s ideas; and more passive individuals need to be encouraged to share their thoughts without fear of being judged or ridiculed.

***

The potential for productive imagination lies in all of us. But it doesn’t come without effort. We must balance time alone with collaboration. We must research, listen and meet with others, sowing the seeds of fresh thinking in our minds. Prepare the ground with care and you’ll be rewarded with the growth of new ideas.
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The Rise of Digital Video and Why it Matters

6/2/2015

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By Hannah Herreid
Media Relations Specialist
Business Wire

“Instead of couch potatoes, we have digital potatoes.” Ryan Van Fleet, Senior Director of Insights and Analytics, Tremor Video

There is no arguing that the digital sphere is here to stay. In fact, digital video may soon take the reins from cable television. According to a study by Limelight Networks, Inc, “More than 90% of consumers are open to ‘Cutting the cord’; a shift led by the desire for flexibility and increasing availability of on demand programming.” Additionally, digital video advertising is growing faster than any other advertising platform. Online video ad revenue is estimated to reach $5 billion in 2016 whereas TV ad revenue is predicted to decrease by 3% each year (BI Intelligence).

With mobile and digital use on the up and up, it comes as no surprise that companies, journalists, and thought leaders have taken notice of the trends and practices encompassing it. The Publicity Club of New York recognized the rise in digital video at a recent luncheon where 6 leaders in digital production discussed the current happenings and future of digital video.

The Power of Live Streaming + Social Media
Joanne Po, Executive Producer at The Wall Street Journal stated, “The path of journalism has changed. We’re creating our own journalism, not necessarily tied to the paper anymore.” The Wall Street Journal like other publications in attendance, have practiced live streaming for multiple years. According to Po, viewership of their live video stream is much higher than traditional cable networks through syndication with other sites who repost the videos. Presence on social media platforms such as Facebook, Twitter, Instagram, Meerkat, Periscope and others also contribute to the increased number of viewers. Livestreaming has served as a great media platform for breaking news and creating content in an efficient manner for digital media.

New Expectations for Journalists
 Reporters are now expected to take a video and be able edit and understand the production techniques whether they are on the production side or not. This is especially true for breaking news. Some producers prefer to send a reporter and shoot the footage themselves as opposed to a PR person’s video in order to keep the digital consistent and in line with the publication; however, news outlets are always looking for qualified experts to comment on breaking or national news stories. For a Public Relations professional, it is still recommended to submit your videos to news sources. Make sure that it is relevant and topical, and try to relate it to a current event. The publication may or may not use your footage, but they will follow up if they like the story regardless.

The Evolution of Media Strategy
 According to Jim Pavia the Senior Editor at Large at CNBC Digital, the video component a few years ago was a regurgitation of what had already appeared in an article, and viewership was low. The audience wasn’t necessarily getting anything out of it. Now the strategy behind online video has changed. Videos now offer the viewer a bonus or added value as incentive to watch. “The consumers of media have evolved in their practices of consumption therefore, media must also evolve.” Since the rise in digital video consumption has increased exponentially, CNBC among other media outlets have added digital video components to almost all of their online articles.

Branded Production for Digital Media
The shift from broadcast television to digital video can be attributed to millennial consumers who lead the pack with an average of 4-7 hours of online video intake a week. They consume almost twice the amount over any other age group (Limelight Network, Inc).

Digital video is no longer about clips, but about building production brands, and this is a trend we’ll continue to see. Fast Company is a prime example of this with multiple segments that tap into millennial interests. For example the “Fast Comedy” that features funny workplace skits, “Brand Evolution” which highlights iconic brands’ past, present, and future, and the “29th Floor” a platform for editors and writers to take on whatever is current.

It’s safe to say that we’ll be seeing a lot more online video moving forward. From digital ads in the marketing realm, to online production, to company created videos, evolving with the consumer is what media outlets and public relations professionals must do to keep current.


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