“Richard Sapper, an industrial designer whose sleek, precision-engineered prototypes spawned the Alessi espresso maker, the Tizio lamp and the IBM ThinkPad, died on Dec. 31 in Milan,” The New York Times reports. He was 83.”
“Mr. Sapper also designed for Mercedes, Fiat and Pirelli; conceived an ergonomic executive chair and computer monitor arms for Knoll; and invented teakettles that whistled in two keys, emulating an American locomotive. But he was especially revered by coffee connoisseurs for his lustrous stovetop Coban 9090 espresso maker, a graceful stainless-steel, single-piece machine that was introduced in 1979 by Alessi, the Italian housewares manufacturer.”
He once said: “I am very interested in objects that move and change character. That’s the main theme of the Tizio, for example, or even the ThinkPad, which opens and reveals itself like a box of cigars. The Coban also has this nature — it makes noise, steam comes out of it, you see the condensation drops form. It starts to live.”
At some point, while few were looking, the cassette tape crossed the great divide from a commodity to an experience. Steve Stepp, president of cassette-maker National Audio Co., attributes this to “stubbornness and stupidity.” Anyone who ever owned cassette technology knows it as unbelievable junk that jams, breaks and otherwise frustrates the task for which it is intended.
It many ways, it’s not unlike vinyl, which has also made an unlikely return. Warping, hissing, popping, skipping. Who doesn’t love that? Both comebacks are a function of the rise of CDs, then MP3s and now streaming, and the relative nothingness of the experience. As Bob Dylan once said of the CD: “There’s no stature to it.” Would love his thoughts on Spotify. (I, for one, love it.)
Some claim that these old analog media have a “warmth” that digital does not. Okay, but at least a bit of that warmth is that of nostalgia and, with cassettes, the warm hand of making and sharing mix tapes. It’s also about the importance of “things” as a part of the experience, and vice-versa. If that’s true for the cassette, then it can be true for just about every commodity.
We buy experiences as much as things, and today, it seems, even more so. Those trees we acquired over the holidays: Were they “things” or experiences? How many old iPod boxes do you have squirreled away in your closet? It’s all in the unboxing. With the rise of cassettes, a surge in pencil sales is sure to follow. Artisanally sharpened, of course. A mountain of things are just aching for an experiential rewind.
“Automated music recommendations are hardly new, but Spotify seems to have identified the ingredients of a personalized playlist that feel fresh and familiar at the same time,” reports Quartz. “That’s potentially a big advantage over competitors like Pandora, Google, and Apple, which largely have the same bottomless catalog of music but take very different approaches to picking the best songs for each user.”
“We now have more technology than ever before to ensure that if you’re the smallest, strangest musician in the world, doing something that only 20 people in the world will dig, we can now find those 20 people and connect the dots between the artist and listeners,” Matthew Ogle, who oversees the service at Spotify (said) recently. “Discovery Weekly is just a really compelling new way to do that at a scale that’s never been done before.”
The New York Public Library is releasing “more than 180,000 photographs, postcards, maps and other public-domain items from the library’s special collections in downloadable high-resolution files — along with an invitation to users to grab them and do with them whatever they please,” The New York Times reports.
“We see digitization as a starting point, not an end point,” said Ben Vershbow, the director of NYPL Labs, the in-house technology division that spearheaded the effort. “We don’t just want to put stuff online and say, ‘Here it is,’ but rev the engines and encourage re-use … It’s the old library mission: Take it and run, and make it your own,” he said.
Without question, a brand’s advertising and its visual identity are part of the brand promise and experience, or at least can be dressed up to appear so. However, it is critical to distinguish between brand experiences and the brand experience.
Brand experiences can be fun moments for the customer. This might be an event of some kind, often referred to as “experiential.” As brands move away from traditional advertising, they move toward “happenings,” increasingly involving social media. It’s a remarkable video or clever tweet that goes viral.
These types of transient experiences constitute much, if not most, of what drives marketing today. It is all very cool, and can make even the dullest brand seem hip, but it still comes down mostly on the side of making promises as opposed to keeping them. It’s the 21st century version of a 30-second television commercial. Don Draper is alive and well, and living on YouTube.
Here’s the thing: Of what value is a momentary, fun, marketing-infused experience, if the day-in, day-out experience with the product or service falls short? It’s limited, at best. At worst, it can be fatal, given that nothing exposes a bad experience faster than good advertising.