Since it is nearly Christmas, I do hope that everyone is getting into the festive spririt. For those that are there already, welcome!
For those that are not, I hope that by reading this blog and possibly downloading some of the suggested apps you will be nudged slowly into the spirit.
A wise man once said that "Creating a successful app is an incredibly difficult task, whichever platform you are using".
So with that in mind, I have diligently researched, trialled and tested Christmas apps suitable not only for children, but for people of all ages.
Creating a successful app is an incredibly difficult task, whichever platform you are using.
For every super-viral Candy Crush there’s a thousand zero download zombie apps littering the floor of the app store.
So what makes a great app? I recently took to Twitter (via an app naturally) to find out what busy digital people loved about apps...
'The quantified self' is a loose term, springing up from the proliferation of smart phone technology and life logging applications.
While it's now in a coming of age stage of more mainstream interest, it could herald a dramatic revolution in how we measure our own lives, and how long we live for...
It isn't always easy to find what you want in the app store, or to browse for apps that might not be in the charts.
With this problem in mind, Magvault brings together digital publications, to be perused on a digital newsstand.
I chatted to Neil Morgan, Founder of MagVault, to find out more about the service.
Since 2009, the British Museum has educated youngsters in Bloomsbury via its Samsung Digital Discovery Centre (SDDC). It’s free, and is the most extensive on-site digital learning programme of any UK museum.
I went along to the British Museum last week to see the launch of a new image recognition and augmented reality (AR) app, A Gift for Athena, helping kids to engage with the museum’s Parthenon gallery.
The app, built by Gamar, is simple in premise and use, but also a lot of fun, showing that augmented reality can succeed when applied in the right manner.
In this post I’ll discuss why the app works, and what’s needed to succeed with AR.
21% of the global population will be using mobile apps by the end of the year. Your company may need an app too, but should you build your app for iPad, iPhone or Android?
One and a half billion people will be using mobile apps by the end of the 2013, equivalent to 21% of the global population.
Of course, mobile-optimised websites are clearly vital to communicate with your audience, with the balance now tipping in favour of responsive website design, but there’s still a strong case to be made for providing one or more apps as well.
But assuming you’re ready to commit, should you go for an iPad, iPhone or Android app?
For some arts organisations, the array of platforms and devices in digital is bewildering.
For small organisations, perhaps a theatre group, how is awareness and ultimately ticket sales to be improved? Beyond this, the prospect of actually engaging and collaborating via digital media can be daunting or perhaps feel like a pipe dream.
And for large arts organisations, how easy is it to compete with big brands, or big online-first non-profits such as the Khan Academy, when it comes to education and engagement online? Is a multi-pronged mobile strategy, featuring a number of apps and a responsive website, the best approach?
Lots of questions! In this post I'm framing a talk I gave for IT4ARTS last week, at the Barbican. I've given some background and fleshed out the challenge for the arts, in digital and on mobile.
I've also reviewed a number of mobile apps, looking in particular at the Tate, and there are also some references and jumping-off points to talks by those working and innovating at museums and galleries.
Real Madrid, and its marketing, is very much in the news at the moment, with the club in talks with Microsoft to rename the Bernabeu stadium, on the back of the €100m mega-signing of Gareth Bale.
I thought I’d take a glance at Real Madrid’s activities in digital, to see whether it is indeed a Galáctico, or merely a pececillo (or minnow).
In May of this year, Forbes judged Real Madrid, despite being the world’s richest club, to be the third biggest brand in the world of football, with a brand value of £409m.
This was significantly behind Manchester United in second, whose social media presence we’ve previously identified on this blog as on the right track but nascent. So how does Madrid compare?
Is the club as successful online as in broader business? Are the digital assets of the club as good as its rivals?
Before we get into it, it's worth noting that we should perhaps expect the club to demonstrate best practice, as it has its own graduate school that runs a masters course in sports marketing.
Digital is becoming ever more important for the comic industry.
Although the industry is guarded when it comes to revealing figures, Comixology (which release digital comics from the major publishers and many independents) has cited reaching 50m downloads in January 2012 and doubling that figure to 100m only 10 months later in October.
Physical comic book sales have been pushing against the tide of declining sales in other print media for some time now, with 2012 showing a 15% increase in sales year on year, and 2013 showing a similar trend.
It's clear the success of digital comics is increasing rapidly and concurrently with print, and it’s Marvel, who in the last few years has shown incredible skill in rebuilding its own brand, which is offering a lot more in terms of technology and service in its range of apps for mobiles and tablets.
With mega-tight regulation for Swiss bank UBS, what are the challenges of going social and mobile, and how do they market to ultra high net worth (UHNW) customers?
At Mobile Marketing Live last week, I listened to Shane Williams, Head of Mobile Development for Platform Services at UBS. I had no idea just what a minefield it is to market a bank, especially in Switzerland.
UBS provides wealth management services for around half the billionaires in the world. It also has plenty of retail branches in Switzerland and an investment arm.
Acting in many countries, UBS is beholden to hundreds of regulators, including FINMA in Switzerland, the SEC in America, and the FCA and PRA in the United Kingdom.
Navigating the barriers to mobile and social usage is massively impacted by Swiss law, which says a bank can’t reveal who its customers are. This is enshrined in law in much the same way as patient-doctor confidentiality.
It even means that UBS has to be careful about knowing the IP addresses of customers using their services, as this can be tied to an address and perhaps a person.