The Wall Street Journal: “Many retailers and consumer products companies classify their products as natural if some of their ingredients were originally sourced from plant-based materials. But the top ingredients in many natural or ‘green’ consumer goods aren’t that different from mainstream products, whose ingredients often come from petroleum-based sources … The main ingredients in Tom’s of Maine Simply White toothpaste, for instance—including sodium fluoride, hydrated silica, sorbitol and sodium lauryl sulfate—are also in some types of Colgate toothpaste. Tom’s of Maine, which says all its ingredients ‘originate from nature,’ is owned by Colgate-Palmolive Co.”
“Whole Foods Markets Inc. last fall started selling a new brand of laundry detergent called Nature’s Power, whose green bottle claims the product is made ‘with plant-derived soaps.’ Its top active ingredient, a commonly used cleaning agent called sodium laureth sulfate, is found in plenty of its mainstream peers, including Arm & Hammer, which like Nature’s Power is made by Church & Dwight Co. Sodium laureth sulfate can be produced from coconut oil, palm oil or petroleum. ‘It is the same chemical compound, regardless of what it’s derived from,’ says Clarence Miller, a professor emeritus of chemical and biomolecular engineering at Rice University in Houston.”
“While the Food and Drug Administration regulates foods and personal-care products and requires detailed ingredient labeling, it isn’t clear who is checking the labels of household products or the contents of bottles … The use of term “organic” is more closely regulated. Makers of household cleaners that label their products organic must have their ingredients certified by an independent body that follows guidelines from the U.S. Department of Agriculture.”
“Tory Burch’s new Tory Sport store shows how selling fashion today isn’t really about advertising. It’s about making a store into the marketing vehicle,” The Wall Street Journal reports. “People are still tactile. They want to feel the product,” Ms. Burch says. “Stores are changing, Ms. Burch says. Their purpose is to engage customers and to build a community. They also can be a place where the online and offline worlds merge.”
“With just one or two sizes of most styles on display, the Tory Sport store isn’t meant to be shopped the way mass-market flagship stores are … Instead, a designer store is a place to immerse and entertain shoppers in the fictitious, tightly controlled world the brand creates. It’s a chance to show and explain all that a brand stands for—and to seduce a shopper into buying something … Both Ms. Burch and Roger Farah, Ms. Burch’s co-chief executive, insist the Tory Sport store remains very much about sales, though.”
“We definitely want it to be profitable but we also want the experience to be one that people really like and get to know,” Ms. Burch says.
“Two innovative recent board games—Pandemic Legacy and T.I.M.E. Stories—make narrative a central feature of their designs,” The Wall Street Journal reports. “Every play of a game unfolds differently; unlike in a book or movie, the ending isn’t set … From the players’ decisions evolves a narrative or story, with important choices, dramatic tension, surprises and turning points.”
“Pandemic Legacy is a new incarnation of the modern classic Pandemic, a cooperative game in which the players take on the roles of public-health workers and collaborate to vanquish a set of diseases that have spread across the globe.” After each game, players “open a factory-sealed envelope that reveals instructions on how to modify the game before their next play. The board, pieces, cards and even the rules themselves may change.”
In T.I.M.E. Stories, “players are time-traveling agents who have to enter alternate realities (such as 1920s Paris) and solve mysteries to save the world. Once your team wins, you can’t play again—that’s the end of the story.”
“Traditionally, a game is defined by its rules. If you don’t let pawns turn into queens, you aren’t playing chess, and if you make captures optional, you aren’t playing checkers. The success of Pandemic Legacy and T.I.M.E. Stories shows that this rule itself was made to be broken.”
“Binge-watching TV shows is trouncing our mental health,” reports Vice. “That’s according to a new University of Toledo study, anyway, which found that, of 408 participants, 35 percent qualified as binge-watchers, and those binge-watchers reported higher levels of stress, anxiety, and depression than their non-binge-watching counterparts. The study found 77 percent of participants watched TV for two hours or more without a break on an average day, with anyone doing more than that … classified as binge-watching.”
“‘Binge-watching is a growing public health concern that needs to be addressed,’ said the scientists who headed up the study. But so can just watching TV in general. A long-term American Journal of Epidemiology study in 2011 found that watching TV for more than three hours a day put women at 13 percent higher risk of being diagnosed with depression. So can winter weather, or summer weather, or smoking, or sleeping too much, or not sleeping enough. So can, according to about a billion studies from 2010 onwards, too much Facebook.”
Quartz: Many global brands of the last decade have taken names of false provenance and enjoyed great success thanks to a paradigm hereby dubbed, “The Häagen-Dazs Effect.” … Häagen-Dazs ice cream, meant to sound Danish, was born in the Bronx. But the name tells a tale, from that umlaut to the silent “s” on the end, of premium, European origins. And when consumers reach for a pint, they sense the true value this faux identity adds.
“The Häagen-Dazs Effect makes an impact as well in these four notable brand names with made-up or embellished heritage and powerful identities: Sir Kensington’s makes high-end condiments and tells “the tongue-in-cheek ‘saga’ of an Oxford-educated gent who developed the original spiced ketchup recipe for Catherine the Great of Russia.” St. Germain, an elderflower spirit made in the USA, is named for the Saint-Germain-sur-Rhône region of the French Alps, where the stuff was first made.”
Warby Parker “took its name from Warby Pepper and Zagg Parker, two characters from one of Jack Kerouac’s journals … Brandy Melville was created by merchandising veteran Silvio Marsan and his son Stefan in Italy … Purportedly, the name is based on an imagined American girl (Brandy) who falls in love with an Englishman (Melville) in Rome … Ultimately, we’re talking here about the critical importance of a name that succinctly tells a compelling brand story–whether that story is imagined or not, it must be told with richness and believability. These brands are a few to do so, making the Häagen-Dazs Effect, when done right, a tactical tool for naming success.”
“Mark Riedl and Brent Harrison from the School of Interactive Computing at the Georgia Institute of Technology have just unveiled Quixote, a prototype system that is able to learn social conventions from simple stories,” reports The Guardian.
“A simple version of a story could be about going to get prescription medicine from a chemist … An AI (artificial intelligence) given the task of picking up a prescription for a human could, variously, rob the chemist and run, or be polite and wait in line. Robbing would be the fastest way to accomplish its goal, but Quixote learns that it will be rewarded if it acts like the protagonist in the story.”
“Quixote has not learned the lesson of ‘do not steal,’ Riedl says, but ‘simply prefers to not steal after reading and emulating the stories it was provided … the stories are surrogate memories for an AI that cannot ‘grow up’ immersed in a society the way people are and must quickly immerse itself in a society by reading about [it].’”
“The system was named Quixote, said Riedl, after Cervantes’ would-be knight-errant, who ‘reads stories about chivalrous knights and decides to emulate the behaviour of those knights.'”
Hyperallergic: “In plain terms, across the field, in museums, art institutions, performance forums, and even historical societies, the visitor’s experience is now being personalized. This means that not only is the visit marked by enhanced, interactive, and ‘dialogic’ engagement, but also there is an institutional recognition of the visitor as an independent maker of meaning who uses the museum in a variety of ways to fulfill particular, individual needs and desires.”
“Three key means of accomplishing this is first, recognizing visitors’ capacity to make meaning for themselves; two, partnering with them to discover what they personally want from the museum; and lastly, mobilizing the museum’s resources to meet these needs. These tasks can be met by, among other things, new curatorial strategies through which museums partner with visitors to develop activities and events: co-curation projects, and crowdsourcing exhibition content.”
“Visitors are no longer passive receptacles for the curator’s knowledge, but rather active, engaged participants.”