How emotion tracking can help brands create marketing that resonates

https://www.marketingweek.com/2016/01/22/how-emotion-tracking-can-help-brands-create-marketing-that-resonates/

Ocean Outdoor’s digital display in Birmingham can monitor passers-by

“Catherine Morgan, head of creative solutions at Ocean Outdoor, says the technology is 98% accurate on gender and between 85% and 90% accurate on age groups. Advertisers can then set a threshold to say they only want their ad shown if the audience is 60% female or 40% over the age of 30.”

USB DESKTOP SMART BUTTON WITH POLISHED STAINLESS STEEL BASE

Example uses include:
Dedicated browser navigation to a specific website. 
Automate often-used phrases in specific applications.
Kiosk user control (for example photo booths etc).
Corporate promotions (open corporate website).
Low-level security (store logon in button).
Close/open/switch applications.
Single-press desktop locking. 

User-assigned keystrokes are held in the button itself.
Two separate sequences of keys are available, with three modes of operation.
Many buttons can be used on one PC.
RGB Illumination can be configured to any color while pressed/not pressed.
If required, LEDs can be controlled and button state can be read by a users program using a supplied software development kit, for custom applications. 

Features:
When pressed, “types” a user-configured sequence of up to 48 keyboard characters into the PC on a single press. 

 

http://www.arcadeworlduk.com/products/USB-Desktop-Smart-Button-With-Polished-Stainless-Steel-Base.html

Article about the use of screens at LAX new Thomas Bradley terminal

Blog post from Grand visual company about the use of screens in the new LAX terminal

“IT’S NOT DIGITAL SIGNAGE, IT’S ART

THE LATEST THOUGHT PIECE FROM OUR CHIEF OPERATING OFFICER, BEN PUTLAND, IN OUR NEW YORK OFFICE.
A few weeks ago I swapped the freezing temperatures of New York to bask in the warmth of LA. Whilst I was there I had a guided tour of the digital installation inside the Thomas Bradley terminal at LAX courtesy of our friends at JCDecaux.”

http://grandvisual.com/digital-signage-art/

Article about the $91 milliom revamp of the cooper hewitt museum in New York

http://www.freshandnew.org/2014/12/busy-blog-short-2015/

– Making the museum ‘digital all over’ rather than creating separate ‘interactive areas’ where visitors, content and experience gets inevitably silo-ed

– Moving away from investing in single-person museum mobile apps in the galleries to focussing on social multi-user huge screens (experiences unable to be replicated online or offsite) whilst welcoming photography and device usage

– Combining the museum reopening narrative with an open access/open source narrative from the open source corporate font with the brand launch to the 3d mansion scan data release and as much of the backend code as possible. Or, in other words, making the most of the opportunity to change ‘default’ practices.

– Putting an API at the heart of everything and ensuring that everything Local Projects and Tellart built interfaced directly with it, even with the developer overhead that brought for all involved

– Putting the collection (and objects) at the heart of in-gallery experiences and using digital media to allow visitors to explore, transform and build upon it in new ways

– Maintaining “velocity and rhythm” with the team and those we worked with most closely, minimising (but not entirely eliminating) ‘crunch’ time

– Continuing to work from a principle of the “smallest dumbest thing” (and then iterate) even when it might have been easier to want to jump in and over-design [Aaron Cope is a master of ‘task deconstruction’ in this regard]

– Our team’s insistence on generous interfaces (coined by Mitchell Whitelaw) privileging browsing over search, which were then nicely realised in-gallery by the designers at Local Projects

– Investing in the right hardware to give the galleries necessary longevity [because at 84″s a 4K resolution is pretty much all that will cut it given that we all have such high resolutions in our pockets] and the content on S3.

– Spending the time and relationship management required to fix the underlying licensing, rights, permissions around objects and media (including loans) to ensure that everything in-gallery is available online for as long as visitors now expect it to be

– Focussing on short-form video production [with subtitling] in the galleries, and the same with audio available on the web

– Building advance online ticketing for general admission in-house that actually works because its very easy [a ‘no-cart’ system] and also saves visitors money

– Making the decision to downgrade the main website from Drupal to WordPress on the basis of better serving the needs of content creators [possibly at the expense of system adminstrators]