Ttantta
The big resorts in Las Vegas are like giant laboratories where (on behalf of the rest of the world) they try out what works and what doesn’t. They are perfect Third Places that prodigally give away their gifts but get back far more in return for them. They have proven that gambling in conjunction with shopping and high-quality food service can become a completely new species of “going out” during our holidays.
— Brand Lands, Hot Spots & Cool Spaces. Welcome to the Third Place an the Total Marketing Experience
Christian Mikunda
The biggest question you get from management, are you thinking big enough?
— RJ Pittman, responsable de Google Labs en Wired 09.06.30
…guests only explore premises if they learn their cognitive maps as fast as possible. The reference points they need for this are axes to follow, hubs where paths and views cross, striking mnemonic points tha ease orientation and differently designed districts. Each urban entertainment centre is about promenading in a simulated city centre -which is why all of these reference points have an urban feel about them. The axes are historic streets, a hub could be a market square or a port. mnemonic points would be fountains and bridges, while the districts look like residentials areas to us.
— Brand Lands, Hot Spots & Cool Spaces. Welcome to the Third Place an the Total Marketing Experience
Christian Mikunda
Your question imply an industrial model and a limited model, but that’s not in fact how the world works.
— Erich Schmidt, CEO de Google, entrevistado en Wired 30.06.09
A Third Place naturally requires a core attraction, a central attraction that arouses curiosity as a “must”.
— Brand Lands, Hot Spots & Cool Spaces. Welcome to the Third Place an the Total Marketing Experience
Christian Mikunda
We’re in one of those strange eras where the words of the last century don’t have meaning.
— Chris Anderson en spiegel.de 28.07.09
While in the United States urban entertainment centres are frequently emotionalized by means of the painstaking use of scenery, artifical thunder and lightning and talking robots, we in Europe get this enticing interplay of contrasts almost for free. This method has stood the test of time. […] in many old European cities the image contrast between the old and the new was discovered as a key dramatizing link for emotionalizing museums, urban entertainment centres, stores and hotels. Thaks to the new, the old substance of the building seems refreshed, starts to “glow from within” again and is celebrated.
— Brand Lands, Hot Spots & Cool Spaces. Welcome to the Third Place an the Total Marketing Experience
Christian Mikunda
out of the box
En el documento Future jobs: what might you be doing, que habla de trabajos tan sorprendentes como “body part maker” o “vertical farmers”, aparece este trabajo que, lo mismo, puede acercarse a lo nuestro:
Narrowcasters As content on the television, radio and the internet becomes increasingly personalised, there will be jobs for specialists working with producers and advertisers to create news, entertainment and information tailored to our personal interests. While some personalisation will be done by computers, customised narrowcasting to individuals could be performed by humans.
O algo así, ¿no?
Y creo que nuestro enfrentamiento al futuro pasa por ahí, no reinventarnos sino reencontrarnos. Me asusta un poco el escenario que se abre, porque es de una gran complejidad. Yo creo que uno no puede adaptarse a la complejidad. Uno tiene que posicionarse frente a ella.
— Toni Segarra en Anuncios 1248 07.08
Intuitive “searching and finding” is therefore a characteristic feature of all Third Places, and a decisive factor for feeling at home at a place, for perceiving it as a temporary habitat. What you need is not a paper map but rather an internal map that you use with relish.
— Brand Lands, Hot Spots & Cool Spaces. Welcome to the Third Place an the Total Marketing Experience Christian Mikunda
-Usted es un experto en la liberalización de derechos de autor, ¿cómo le convencería a uno de que se adhiriera a esa idea?
-Hay tres razones: una económica, una artística y otra moral. A un autor que vende poco la piratería le beneficia, a uno que no vende ni mucho ni poco no le afecta y a uno que vende mucho le perjudica levemente. Es como un impuesto progresivo. Además, el principal problema de los autores no es la piratería sino estar en la oscuridad, el desconocimiento de su existencia. Asimismo, la razón moral es quizá más importante que la económica: no se pueden impedir todas las copias, para eso habría que controlar toda la Red.
— Cory Doctorow entrevistado por Cristina Tapia en noticasdegipuzkoa.com 29.07.09
Particularly efficient here is the trick of replicas. “Genuine or not genuine?” was the question posed as early as in the baroque period, when in churches many a column was built, but just as many were only painted hyper-realistically. Visitors approaching the New State Gallery in Stuttgart are surprised to see some sandstone blocks that seem to have just fallen out of the façade and are still lying about in the grass in front of the museum. Of course, this effect is a fake, deceptive impression, but one good enough to make visitors stop and stare. Replicas are true eye-catchers that induce passers-by in a hurry to direct their attention to an object for just those few seconds that “make or break”. Thereby they can turn any place into a striking place.
— Brand Lands, Hot Spots & Cool Spaces. Welcome to the Third Place an the Total Marketing Experience
Christian Mikunda
Para los bárbaros [los post-lectores o nativos digitales] la calidad de un libro reside en la cantidad de energía que ese libro es capaz de recibir desde otras narraciones y verterla sobre otras narraciones.
La lengua del mundo se gesta hoy en la publicidad, en la música ligera, en el periodismo, en el deporte, en la moda, en muchísimos lugares externos a los libros en sí. En ellos abrevan los bárbaros y allí recurren para ser y hacer(se).
— Alejandro Piscitelli en su blog filosofitis.com.ar 27.04.09
Museums, stores and brand lands virtually call out to us “come in” and “photograph me”.
— Brand Lands, Hot Spots & Cool Spaces. Welcome to the Third Place an the Total Marketing Experience
Christian Mikunda
Par définition l’information nouvelle contraste avec celle que nous possédions déjà, elle se distingue du déjà-vu et du déjà-su (sinon c’est de la redondance). Pour la conquérir, il faut renoncer au confort du rassurant et de l’évident. Il faut faire son deuil de la facilité et de la séduction inhérentes à tout ce qui flatte nos stéréotypes et nos préconceptions. Souvent l’information neuve empêche ce que la relation communautaire rend si agréable : penser comme ses ancêtres, comme ses voisins, comme ses camarades ; elle gâche le plaisir de se redire ce qui nous réunit. Elle complique ce que l’idéologie rend trop évident (les réponses précèdent les questions). Il faut un effort mental minimum pour intégrer ce qui est significatif, replacer l’information dans un contexte, la recadrer par rapport à ce que nous savons déjà. Au final le terminal ultime – notre cerveau – a une capacité et un temps limités pour accomplir toutes ces tâches, ce qui veut dire que notre quête connaîtra, elle aussi, des limites.
— François-Bernard Huyghe en su blog huyghe.fr 30.07.09
