Yule Heibel on 2008-01-30
- here's where the concept of "attention economy" might come in
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Francisco Javier Alcala-SolerDuncan J. Watts's theory on random sources for fad building. Influencers are not the only/major trendsetters. The influence of social contagion and word of mouth.
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James BonTempoMarketers spend a billion dollars a year targeting influentials. Duncan Watts says they're wasting their money.
socialnetworking research social network marketing theory culture
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Emmanuel LMarketers spend a billion dollars a year targeting influentials. Duncan Watts says they're wasting their money.
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Will deBockBy Duncan Watts -- Trendsetting | Fast Company
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ll that money and effort is being wasted. Because according to him, Influentials have no such effect. Indeed, they have no special role in trends at all.
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And last year, Watts demonstrated that even the breakout success of a hot new pop band might be nearly random.
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But here's the thing: In each of the eight social worlds, the top songs--and the bottom ones--were completely different. For example, the song "Lockdown," by 52metro, was the No. 1 song in one world, yet finished 40 out of 48 in another. Nor did there seem to be any compelling correlation between merit and success. In fact, Watts explains, only about half of a song's success seemed to be due to merit. "In general, the 'best' songs never do very badly, and the 'worst' songs never do extremely well, but almost any other result is possible," he says. Why? Because the first band to snag a few thumbs-ups in the social world tended overwhelmingly to get many more. Yet who received those crucial first votes seemed to be mostly a matter of luck.
Word of mouth and social contagion made big hits bigger. But they also made success more unpredictable. (And it's worth noting, no one in the social worlds had any more influence than anyone else.) So yes, Watts figures, if you rewound the world to 1982, Madonna would likely remain a total unknown--and someone else would have slipped into her steel-tipped corset. "You cannot predict in advance whether a band gets this huge cascade of popularity, because the social network is liable to throw up almost any result," he marvels.
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Michel Bauwenshas performed a series of controversial, barn-burning experiments challenging the whole Influentials thesis. He has analyzed email patterns and found that highly connected people are not, in fact, crucial social hubs.
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31 Jan 08
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David JenningsWell it's hardly a shock that The Tipping Point isn't copper-bottomed scientific fact, but Watts is thinking and experimenting intelligently with the way that influence spreads socially. (The research mentioned in this article is also covered in my book.)
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Watts predicted that word of mouth would take over. And sure enough, that's what happened. In the merit group, the songs were ranked mostly equitably, with a small handful of songs drifting slightly lower or higher in popularity. But in the social worlds, as participants reacted to one another's opinions, huge waves took shape. A small, elite bunch of songs became enormously popular, rising above the pack, while another cluster fell into relative obscurity.
But here's the thing: In each of the eight social worlds, the top songs--and the bottom ones--were completely different. For example, the song "Lockdown," by 52metro, was the No. 1 song in one world, yet finished 40 out of 48 in another. Nor did there seem to be any compelling correlation between merit and success. In fact, Watts explains, only about half of a song's success seemed to be due to merit. "In general, the 'best' songs never do very badly, and the 'worst' songs never do extremely well, but almost any other result is possible," he says. Why? Because the first band to snag a few thumbs-ups in the social world tended overwhelmingly to get many more. Yet who received those crucial first votes seemed to be mostly a matter of luck.
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30 Jan 08
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Plus, it strokes their egos: "Think about it. You're saying, 'I am in control--I am the biggest influencer, because I am going to influence the influencers!' It's an arrogance that only the corporate world could enjoy."
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Yule HeibelArticle by FC's Clive Thompson on the latest work by Duncan Watts, who argues against the idea the trends are created by "influentials" who bring matters to a tipping point.
business duncan_watts economic_anthropology fast_company influentials malcolm_gladwell network_theory tipping_point trendsetting
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Any attempt to engineer success through Influentials, he argues, is almost certainly doomed to failure.
"It just doesn't work," Watts says, when I meet him at his gray cubicle at Yahoo Research in midtown Manhattan, which is unadorned except for a whiteboard crammed with equations. "A rare bunch of cool people just don't have that power. And when you test the way marketers say the world works, it falls apart. There's no there there."
And this is not, he argues, mere academic whimsy. He has developed a new technique for propagating ads virally, which can double or even quadruple the reach of an ordinary online campaign by harnessing the pass-around power of everyday people--and ignoring Influentials altogether.
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But a growing group of marketers believes Watts is radically altering the way companies attempt to produce trends.
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Yet even as Watts was conducting his research, marketers were becoming increasingly convinced that trends were the product not of murky social forces, but of charismatic, connected social alphas. In truth, it was an old--even hoary--marketing concept, dating back to 1955, when the pioneering sociologists Elihu Katz and Paul Lazarsfeld wrote Personal Influence. They had argued that advertising affected society through a two-step process: Companies broadcast messages, which were then seized upon by "opinion leaders" who proselytized their peers. They weren't talking about celebrities like Oprah or even Paris Hilton, but about the rare everyday people who catalyze trends. Reach those opinion leaders, Katz and Lazarsfeld argued, and you'd quickly convert the masses.
Gladwell reanimated this concept in The Tipping Point. To help illustrate the cultural sway of his hypernetworked protagonists, he tapped the renowned 1967 "Six Degrees of Separation" study by sociologist Stanley Milgram. In that experiment, Milgram had given letters to 160 people in Nebraska, with instructions to ferry them to a particular stockbroker in Boston by passing the letters along to a colleague socially closer to the target. It famously took roughly six links to deliver each letter. But in a finding that particularly excited Gladwell, it was the same three friends of the stockbroker who provided the final link for half the letters that arrived successfully. They were the Connectors, as Gladwell dubbed them, who govern the flow of social information. If you wanted to get to that stockbroker, you couldn't approach just anyone. You had to go through those three friends. Possessed of huge Rolodexes, these folks are the gatekeepers, Gladwell wrote, "and the rest of us are linked to the world through those special few."
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Gladwell's book laid out many other factors that can "tip" a trend. He described other influential types: Mavens, who love to collect information and help others make decisions, and suave Salesmen of ideas. In order to spread, an idea or product had to be "sticky," and appear in a fertile social context. But as The Tipping Point climbed the charts, marketers fixated on Gladwell's Law of the Few, his suggestion that rare, highly connected people shape the world. For anyone involved in pitchmanship, it was an electrifying notion, one that took a highly complex phenomenon--the spread of memes through society--and made it simple. Reach the gatekeepers, and you reach the world.
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But Watts, for one, didn't think the gatekeeper model was true.
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So he decided to test it in the real world by remounting the Milgram experiment on a massive scale. In 2001, Watts used a Web site to recruit about 61,000 people, then asked them to ferry messages to 18 targets worldwide. Sure enough, he found that Milgram was right: The average length of the chain was roughly six links. But when he examined these pathways, he found that "hubs"--highly connected people--weren't crucial. Sure, they existed. But only 5% of the email messages passed through one of these superconnectors. The rest of the messages moved through society in much more democratic paths, zipping from one weakly connected individual to another, until they arrived at the target.
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Influentials don't govern person-to-person communication. We all do.
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And each person also paid attention to what was happening around him:
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Why didn't the Influentials wield more power? With 40 times the reach of a normal person, why couldn't they kick-start a trend every time? Watts believes this is because a trend's success depends not on the person who starts it, but on how susceptible the society is overall to the trend--not how persuasive the early adopter is, but whether everyone else is easily persuaded. And in fact, when Watts tweaked his model to increase everyone's odds of being infected, the number of trends skyrocketed.
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Yule Heibel on 2008-01-30
- I think this again points to the ideas put forward in "attention economies" -- when you've primed the audience to *pay attention*, viral effects are more likely to occur : "...whether everyone else is easily persuaded..." -- which can only happen if you have their eyeballs in the first place
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Watts's computer models are "interesting," Keller admitted, but too academic to reflect reality. In contrast, Keller argues, his firm has studied tens of thousands of Influentials by identifying people highly active in their communities, an elite 10% that engage in advice-giving conversation up to five times more frequently than the average American. "They're fonts of word of mouth," Keller insists. And ahead of the curve, too: In the 20 years he has been polling them, Keller has found they began using computers, mobile phones, and the Internet years before the mainstream. What's more, his polls have found that more than two-thirds of people who get word-of-mouth product recommendations either buy something based on it, or plan to.
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Yule Heibel on 2008-01-30
- perhaps it would be appropriate to say that some "influentials" can focus attention on a larger scale, due perhaps also to contextual factors?
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Yule Heibel on 2008-01-30
- and that this happens in contexts where the attention is already primed to some extent, possibly to focus on that person or on what s/he represents/ is discussing
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No researcher, he points out--including Keller--ever analyzes interactions between specific Influentials and the friends they're supposedly influencing; no one observes influence in action. In essence, Keller appeals to common sense--our intuitive sense of how the world works. Watts thinks common sense is misleading.
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Mind you, Watts does agree that some people are more instrumental than others. He simply doesn't think it's possible to will a trend into existence by recruiting highly social people.
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As Watts points out, viral thinkers analyze trends after they've broken out. "They start with an existing trend, like Hush Puppies, and they go backward until they've identified the people who did it first, and then they go, 'Okay, these are the Influentials!'" But who's to say those aren't just Watts's accidental Influentials, random smokers who walked, unwittingly, into a dry forest? East Village hipsters were wearing lots of cool things in the fall of 1994. But, as Watts wondered, why did only Hush Puppies take off? Why didn't their other clothing choices reach a tipping point too?
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"The whole reason why Duncan's work upsets people," Pilotta points out, "is that he demonstrates that the world is complex, that it's not that easy."
Actually, if you believe Watts, the world isn't just complex--it's practically anarchic. In 2006, he performed another experiment that chilled the blood of trendologists. Trends, it suggested, aren't merely hard to predict and engineer--they occur essentially at random.
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"In general, the 'best' songs never do very badly, and the 'worst' songs never do extremely well, but almost any other result is possible," he says. Why? Because the first band to snag a few thumbs-ups in the social world tended overwhelmingly to get many more. Yet who received those crucial first votes seemed to be mostly a matter of luck.
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Predictably, the music industry received the analysis--"Experimental Study of Inequality and Unpredictability in an Artificial Cultural Market," published in Science in 2006--with a cocked eyebrow. When Watts presented his findings to executives at a major record label last spring, the younger among them were reasonably receptive. They're accustomed to the unpredictability of hit-making online, so they can grasp the terrifying randomness of success.
But the older execs?
Watts laughs. "They were all like, 'I think it's bullshit. I'm still going to go with my gut,'" he recalls. "And I'm like, Okay, good luck to you. You're going to need it."
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Watts and Peretti set up a regular mass-market ad buy, running banner ads on several prominent blogs and news sites. Like many ads these days, they added a button on the ad that allows people to forward the ad to a friend--a way of collecting eyeballs for free. Typically, people ignore this "share with your friends" pitch. But Watts and Peretti included technology called ForwardTrack, which displays the route the ad travels once you've forwarded it. This turned ad forwarding into a piece of social cartography. People would pass the ad specifically to those friends most likely to keep it moving. It became a Facebook-like contest to sign up the most friends.
The technique marries Watts's two main epiphanies: Cascades require word-of-mouth effects, so you need to build a six-degrees effect into an ad campaign; but since you can never know which person is going to spark the fire, you should aim the ad at as broad a market as possible--and not waste money chasing "important" people. And it worked. The pass-around effect doubled the number of people who saw the Brady Campaign's ad. They paid for 22,582 hits and received an additional 31,590 for free. Another campaign they ran for the Oxygen network quadrupled the audience size, adding 23,544 hits to the initial 7,064.
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The ultimate irony of Watts's research is that, if you really buy it, the most effective way to pitch your idea is ... mass marketing. And that is precisely what the wizards of Madison Avenue, presiding over our zillion-channel microniche market, have rejected as obsolete. "But that's the thing about magic," says Watts. "If it sounds too good to be true, it probably is."
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on't get Duncan Watts started on the Hush Puppies. "Oh, God," he groans when the subject comes up. "Not them." The Hush Puppies in question are the ones that kick off The Tipping Point, Malcolm Gladwell's best-seller about how trends work. As Gladwell tells it, the fuzzy footwear was a dying brand by late 1994--until a few New York hipsters brought it back from the brink. Other fashionistas followed suit, whereupon the cool kids copied them, the less-cool kids copied them, and so on, until, voilà! Within two years, sales of Hush Puppies had exploded by a stunning 5,000%, without a penny spent on advertising. All because, as Gladwell puts it, a tiny number of superinfluential types ("Twenty? Fifty? One hundred--at the most?") began wearing the shoes.
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29 Jan 08
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28 Jan 08
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Ian DelaneyMarketers spend a billion dollars a year targeting influentials. Duncan Watts says they're wasting their money.
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27 Jan 08
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26 Jan 08
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