Topic: Naming

Zinzin news and updates

Here cometh April again, and as far as I can see the world hath more fools in it than ever.
~Charles Lamb

Happy April Fools Day! But no foolin’, here’s a roundup of recent Zinzin news and website updates:


pivot logo

New name: pivot (lowercase) is our name for a new social action and general entertainment TV network from Participant Media. Pivot is all about thinking on your feet, adaptation and informed change. The old ways of thinking and relating to the world aren’t working. It’s time to pivot.

Read the pivot Case Study.


Larky - perks rewards app

New name: Larky is our name for a company and mobile app that keeps track of all your perks and reward program memberships in one place. Larky plays off “lark” — a carefree or spirited adventure, harmless prank, or family of melodious songbirds — in fun, playful, singsong way, and also conjures up a “lucky” feeling.

Read the Larky Case Study.


Gravy

New name: Gravy is our name for a hyperlocal event listings mobile app. Gravy is the good stuff, the “secret sauce,” a source for discovering all the juicy things going on around you. The brand embodies — and the new name demonstrates — a rich and flavorful experience.

Read the Gravy Case Study.


New CAN entries: We have added new entries to the Compendium of Amazing Names (CAN), with more to come soon. The CAN is where we highlight great company, product and services names, wherever in the world we find them.


Some recent articles:

Five steps to avoid defining an empty set in your brand positioning

Venn diagram - those who get it - those who do not get it

Image: Dave Walker, The Cartoon Blog.

When naming, it is often tempting to create a very well-defined, buttoned-down and thorough brand positioning, rigidly specific down to the smallest detail. Such a positioning stance is often the outgrowth of a process in which competing client factions allow too many cooks into the kitchen and draft an overwhelming number of positioning “requirements” meant to satisfy each of those factions. This is a dangerous practice, as it often leads to the outcome of an empty set being created, as conflicting “rules” cancel each other out and leave a hollow space in which no possible name can exist, as in this example, exaggerated to make a point:

Venn diagram - empty set brand positioning

A sure way to spot when this demon rears its ugly head is if you find yourself or members of your team muttering, in reference to the search for the perfect name, “I’ll know it when I see it.” This is the kiss of death for a naming project, because it is highly likely that the impossible outcome of an empty set has been described, or the wrong filters are in place, or both. In such a situation, you could consider every word in the English language (Officially 1,013,913 as of January 1, 2012) as a potential name for your new company or product, plus another million invented or compound names, and still never “know it when you see it,” for the simple reason that no name can satisfy a brand positioning framework that defines an empty set. Such a situation is the cause of most aborted naming attempts.

To transcend the “empty set” conundrum the first thing you need to do is make sure you have no contradictions in the brand positioning. As the example above shows, no name can satisfy the requirements that it be an “invented abstraction with no prior meanings” and simultaneously “evoke our brand positioning, be memorable and help tell our unique story.” Another example of an empty set might be, “available for global trademark and exact match .com domain, be only one syllable, five letters max, easily understood and pronounceable in eastern as well as western languages, and yet be a common word that closely describes our brand position in our industry.” Time to order up a new dictionary, a new language, or a new parallel universe. So the first step toward recovery is to recognize that you have a problem, and make some changes in your approach.

Here are five steps to freeing yourself from the prison of an empty set brand positioning:

  1. Resist the urge to box your brand into a corner. Create a cloud of positioning attributes and know your fundamental story, but don’t try to describe every little detail of the positioning and then expect to find a name that will align with all of them. You won’t.
  2. Understand that while it’s true that a great name will map to and reinforce your brand positioning, such a name will also have the power to inform your brand positioning. It’s a two-way street: brand positioning leads to a name, but the perfect name also influences the brand positioning moving forward. For example, a very similar brand positioning could have led to the names Yahoo! and Excite, but the brand positioning that came after the names were chosen was necessarily very, very different; in the former, very powerful with great marketing legs for years to come; in the latter, well, a me-too derivative long since out of business.
  3. Open your minds. Rather then merely describe your brand positioning with a descriptive or experiential name, like your competitors do, consider creating a highly-memorable evocative name that strongly differentiates your brand from your competition by demonstrating your brand positioning rather than explaining it. The key is to move beyond the literal and into the metaphorical. Think Amazon, Virgin, Twitter, Coach, Caterpillar, Yahoo!, Oracle, Apple. That’s not to say that great invented or experiential names aren’t out there, they’re just few and far between, so you have to work extra hard to identify them.
  4. Evaluating names should be more like a Socratic dialog, not an exercise in democracy. Resist the urge to let everyone on your naming team, or your company, vote on the final name. Nobody’s first choice will survive. The “winning” name will be the one that is most people’s third choice, the one nobody loves but everyone can “live with.” Great brands are not created from such a shrug of the shoulders. A vigorous debate is not only beneficial, it is often a requirement for creating a powerful name. And if half the team loves a name and half the team hates it, you’re in a much better place than if you have immediate consensus one way or the other. When you adopt an amazing name, no matter how contentious the process may have been that got you there, the naysayers will eventually come around and embrace it–they always do. It just takes some people longer to understand the power of a truly different and memorable name that might at first be uncomfortable for them.
  5. Informed outside council can be beneficial, while uninformed outside opinion can be damaging. In other words, if you are truly stuck in your naming process, you will likely benefit by hiring a naming agency (shameless plug here) to come in with a fresh perspective and get everyone on the team to see name development and brand positioning in a new light. The flip side is taking a short list of names to a focus group or other uninformed outside agent to solicit their opinions about the names. Doing so will almost certainly guarantee that the most unique and powerful names will be killed off, and the weakest, most typical or conformist names will be celebrated. This is especially damning, of course, when you are attempting to position your brand as bold, adventurous, and fiercely independent, as it will lead you to a name that betrays all those fine aspirations.

During your naming project, as you generate –> iterate –> regenerate –> and reiterate the name development process, keep the above points in mind and continue to make sure at every step of the way that you have not defined an empty set. Because if you have, you’ll never find the perfect name, since you wouldn’t know it if you saw it.

Cautionary tale: Krafting a failed name: Mondelez, or how not to do corporate rebranding.

Who was Arno Schmidt and what is Zettels Traum? Some evidentiary fragments…

Arno Schmidt -- Zettels Traum

Arno Schmidt, Zettels Traum, 1970.

Setting: The three visitors will begin in two days at Dan. The plot by four o’clock in the morning with showers entering the field. It is crossed, and they leave at the other end. At the bridge at the end…
~Arno Schmidt, Zettels Traum [Quoted/translated in Innovative Fiction Magazine]

(un)justly (un)read

No one reads Arno Schmidt (1914-1979), a little-known major German writer whose corpus ranges from (seemingly) straightforward stories to writing that assails the reader with a literary and linguistic density of the highest degree—he is Germany’s Joyce.

Parsing Schmidt’s trade=mark syntax will reveal, among much else: tremendous wit, metanarratives, caustic social commentary, and passages fully charged with melopoeia.

English readers will have to wait for the amazing John E. Woods to finish translating Schmidt’s magnum opus, Zettels Traum (Bottom’s Dream)—it’s twice as long as Finnegans Wake—but, for the meantime, Woods has already provided us with sublime translations of Schmidt’s works, and he recommends the Collected Novellas as the place to start. In addition, I would suggest beginning with the volume Nobodaddy’s Children, which contains Scenes from the Life of a Faun, Brand’s Heath, and Dark Mirrors. [(un)justly (un)read]


Orchestrating our forgetfulness

Arno Schmidt (1914-1979) is not a well-known figure in German media studies. For the most part, his writings have never enjoyed large audiences and his complex works seem destined to stay at the margins of critical inquiries. Although Schmidt has slowly gained recognition as a “giant of postwar German Literature,” academic criticism so far has produced only a paucity of serious scholarly inquiries. One of Schmidt’s primary concern was to outline the various forms of knowledge formation. The changing nature of these processes of knowledge formation through television and radio posed a special interest. The shift in the transfer of knowledge, from a written text as the storage room of information, to immaterial knowledge production, in the media of radio and television, finds its succinct expression in Schmidt’s literary text Zettels Traum. Embedded in a narrative that claims to preserve our cultural past and present and to serve as a dialogue partner between reader, writer, and text, Zettels Traum, I argue, brings to the forefront the problematic nature of the immaterialities of communication as exemplified in news broadcasting in postwar Germany. The immateriality of communication signals the dissolution of the complex configuration of closed narratives and simultaneously replaces the traditional form of memory with images that orchestrate our forgetfulness. [Watching TV with Arno Schmidt]


An elephantine monster in the service of a dream

Considering the enormous philological and historical erudition of Schmidt’s texts along with the abundance of references, allusions, and parodies of texts from the German, British, French, and classical literary traditions, it should not surprise us that Zettel’s Traum remains a neglected text…. From the outset, Schmidt’s Zettel’s Traum is visually distinguished from other books by its sheer bulk — 1334 pages and dimensions of 12.8 x 12.3 inches (owing to the photomechanical reproduction of the original typescript). With its irregular formatted pages and its division into various columns, the text, as an unknown reviewer observed, gained the status of an “elephantine monster” among postwar German publications. A reader of Zettel’s Traum encounters enlarged letters, advertising materials, photographs, pictorial elements supplementing the verbal narration, alterations, additions, and many other devices revealing the text outside the strict purview of literature.

For over ten years, Schmidt filled 130,000 Zettel (index cards) with information. It took him four years to transform Zettel’s Traum into a narrative of twenty-five hours in the life of the main characters of the text, Daniel Pagenstecher, usually called Dan, Paul Jacobi and his wife Wilma, and their teenage daughter Franziska. All four participants engage in the various problems connected with a translation of Edgar Allen Poe and discuss the life and works of Poe. Throughout the text, the central narrator, Daniel Pagenstecher, to whom the critics often refer as the alter ego of Schmidt, complements the discussions by inserting historical events, psychological findings, geographic discoveries, and cosmological insights. Additional comments and quotations from sources such as literary and historical texts unveil the multilingual texture of Zettel’s Traum as a labyrinthine narration.

…The title and the epigraph of Zettel’s Traum hint at Schmidt’s method of writing in the service of a dream. In this instance, William Shakespeare’s A Midsummer Night’s Dream is one of many allusions. “Zettel,” German for the “warp” of woven cloth, evokes Bottom the Weaver as translated in Friedrich Schlegel’s rendition of A Midsummer Night’s Dream. It is essential to grasp Schmidt’s literary allusions to understand the structure and the signifying practices in Zettel’s Traum. [Arno Schmidt's Zettel's Traum: An Analysis]


Arno Schmidt -- Zettels Traum index cards

Arno Schmidt’s collection of index card notations used in the writing of Zettels Traum.


Wading into the Shower Field

Zettels Traum (1970) by Arno Schmidt is an innovative novel written in three columns with comments in the margins in the style of a scholarly work. This novel which can be translated to mean Slip Dream, is written in the avant garde prose of the Abstract Expressionist style, with concepts such as the Shower Field, which is an erotic metaphor for the Color Field theory of painting. The subtle eroticism of Zettels Traum intrigues the mind, expressing events which otherwise would seem too obvious, and the group consciousness of those involved in a larger project forms two plot lines, which convey the novelistic metafiction to the reader, with the discussion of literary texts, such as Edgar Allen Poe and James Joyce. [Innovative Fiction Magazine]


Continuation of the answers to the meaning of the word “shower box.” Recalling Fouque story, “The rain field, tight summary of it.” Hint: Wilma Johanna Wolff from Lauban.
~Arno Schmidt, Zettels Traum [Quoted/translated in Innovative Fiction Magazine]

The atoms of words

[Schmidt's] writing style is characterized by a unique and witty style of adapting colloquial language, which won him quite a few fervent admirers. Moreover, he developed an orthography by which he thought to reveal the true meaning of words and their connections amongst each other. One of the most cited examples is the use of “Roh=Mann=Tick” instead of “Romantik” (revealing romanticism as the craze of unsubtle men). The atoms of words holding the nuclei of original meaning he called Etyme (etyms).

His theory of etyms is developed in his magnum opus, Zettels Traum, in which an elderly writer comments on Edgar Allan Poe’s works in a stream of consciousness, while discussing a Poe translation with a couple of translators and flirting with their teenage daughter. Schmidt also accomplished a translation of Edgar Allan Poe’s works himself (1966–73, together with Hans Wollschläger). Some critics even dismissed Zettel’s Traum as non-art, or sheer nonsense, and Schmidt himself as a “psychopath.” but Schmidt’s reputation as esoteric, and that of his work as non-art, has faded and he is now seen as an important, if highly eccentric, German writer of the 20th century. [Wikipedia: Arno Schmidt]


A brief introduction to Zettels Traum and its central characters

Schmidt divides Zettels Traum into three columns, each of which corresponds to a particular theme. The center column reflects upon events which took place between 1965 and 1969, the time in which Zettels Traum (ZT) was actually written, and introduces to the reader the texts of Edgar Allan Poe. The center column of Zettels Traum foregrounds the various texts of Poe. Daniel Pagenstecher himself an author, as well as central narrator of the events in Zettels Traum, lives a scholar-hermit’s existence near a village in Northern Germany, and assists his friend Paul Jacobi, likewise a writer, in the translation of Poe’s works into German. The action is confined to the events of a single summer day. Present are Wilma, Paul Jacobi’s wife, and the Jacobi’s teenage daughter Franziska, who thinks she is in love with the much older Dan. Throughout the day, the five discuss Edgar Allan Poe’s writings and what they reveal of his life and ideas. During the discussions Dan offers his explanation of his theory of language, the etym-theory, to the left of the main column. While the figures discuss the works of Poe in the center column, in this left-hand column Dan tells stories about Poe’s life and inserts citations from Poe’s texts that illustrate his etym-theory of language. Serving as a type of footnote, the right-hand column contains citations and comments that supply additional information and references to other texts. [Watching TV with Arno Schmidt]


Arno Schmidt -- Zettels Traum detail

Arno Schmidt, Zettels Traum, 1970. Detail of page 1294.


A fusion of scientific thinking with modernist writing

“In Schmidt, then, we have a fusion of the striving for scientific thinking with a commitment to modernist writing; for him the founding father of his art is not Zola but Lewis Carroll.” – Keith Bullivant, “Arno Schmidt: The German Context”, in the Review of Contemporary Fiction (Spring, 1988). [The Complete Review]


Between text and intertext

By playing on the dialectic between consciousness and the unconscious, Schmidt conveniently centers the use of citation on a lack of memory, a repression, or an inability to differentiate between text and intertext. Hence Zettels Traum breaks from the traditional understanding of citations by questioning their presuppositions. Most fundamentally, Zettels Traum is a text about texts, a discussion and dissemination of the writings of Edgar Allen Poe. [Arno Schmidt's Zettels Traum: an analysis by Voker Max Langbehn, in Innovative Fiction Magazine]


Bottom’s up!

The German Book Office reports that compared to the more than 50,000 foreign titles published in Germany each year, only about 3,000 German books make it into translation worldwide. Of these, fewer than 40 works of fiction are translated into English each year, Woods estimated.

For three decades Woods’ award-winning work has often topped this short list, but not for much longer. He plans to retire within a year after finishing Arno Schmidt’s 1,330-page opus, Zettel’s Traum, which will be titled “Bottom’s Dream,” in English.

“When I’m done with ‘Bottom’s Dream,’ I’ve done my work,” he said. “I plan to enjoy Berlin. I love this city. It sparkles for me.” [John E. Woods: Bringing German literature to the world]


Readymade Nomenclature: The Household Cavalry

household_cavalry

“The term Household Cavalry is used across the Commonwealth to describe the cavalry of the Household Divisions, a country’s most elite or historically senior military groupings or those military groupings that provide functions associated directly with the Head of state.” It should not be used to describe a Cavalry unit that has taken up residency within your home.

Source: Wikipedia & The Household Cavalry Museum.

Announcing our latest name: Gravy

We are proud to announce the launch of our latest name, Gravy, a hyperlocal event listings mobile app. Gravy is the good stuff, the “secret sauce,” a source for discovering all the juicy things going on around you. The brand embodies — and the new name demonstrates — a rich and flavorful experience.

Read the Gravy Case Study.

Naming a company, product or service? Get Zinzin’s free Naming & Branding Manifesto & Guide

For a better understanding of the naming process and Zinzin’s philosophy, in a portable, printer-friendly form, download our free Naming & Branding Manifesto and Guide PDFs. Available on our Downloads page.

Today’s talk: authentic brand stories and names

I’ll be giving a talk at 1:00 pm today, “Get Real: Creating Authentic Brand Stories and Names,” at the Where’s the Money — Access to Capital Business Expo in San Francisco 2012. Stop by if you’re in the neighborhood.

Readymade Nomenclature: “The Actor” Bo Svenson / “The Real” Buford Pusser

Bo Svensen as Buford Pusser and Buford Pusser as Buford Pusser

“The Actor” Bo Svenson / “The Real” Buford Pusser.” Nomenclature extracted from Bing Crosby Productions promotion department. Source: (folder marked) “Part 2 Walking Tall: The Legend of Buford Pusser” Release: September 28, 1975.

Announcing our latest name: Quandary

We are proud to announce the launch of our latest name, Quandary, for a UK-based content marketing agency that solves the paradox of companies that have become too busy to create the valuable content that made them busy in the first place. Read the full Quandary case study.

When naming your company or product, beware of bikeshedding and yak shaving

Yak Shaving

Imagine a software company that makes a very sophisticated and complex software product. The marketing department at the company knows very well what their product does, but probably has scant idea how it does what it does — that knowledge is likely confined to the engineering department. The employees in the marketing department would probably never dream of telling the engineers how to program the company’s software (and imagine howls of derision if they did!), and for the most part, the engineers don’t meddle in the company’s marketing business. That, however, can change quickly when a company decides to rename itself, at which point, seemingly everybody from the CEO to the night-watchman’s second cousin will want to weigh-in, haggle, argue, condemn and second-guess the company naming process.

There’s actually a term for this phenomena: bikeshedding, derived from the wonderfully named Parkinson’s Law of Triviality:

Parkinson’s Law of Triviality, also known as bikeshedding or the bicycle-shed example, is C. Northcote Parkinson’s 1957 argument that organizations give disproportionate weight to trivial issues. Parkinson demonstrated this by contrasting the triviality of the cost of building a bike shed in contrast to an atomic reactor. The law has been applied to software development and other activities, and is known as the “the ‘colour of the bike shed’ effect.”

…Parkinson dramatizes his law of triviality with a committee’s deliberations on an “atomic reactor,” contrasting it to deliberation on a bicycle shed. As he put it, “The time spent on any item of the agenda will be in inverse proportion to the sum involved.” A reactor is used because it is so vastly expensive and complicated that an average person cannot understand it, so one assumes that those that work on it understand it. On the other hand, everyone can visualize a bicycle shed, so planning one can result in endless discussions because everyone involved wants to add a touch and show personal contribution.

In our naming example, writing software is like building a nuclear reactor, while re-naming the company is seen as merely building a bike shed: everyone can understand it, so everyone has an opinion. Poul-Henning Kamp, in a 1999 email posted on Bikeshed.com, further elaborates on Parkinson’s Law of Triviality, and how ego can infiltrate and dominate simple matters like bike shed design:

Parkinson explains that this is because an atomic plant is so vast, so expensive and so complicated that people cannot grasp it, and rather than try, they fall back on the assumption that somebody else checked all the details before it got this far. Richard P. Feynmann gives a couple of interesting, and very much to the point, examples relating to Los Alamos in his books.

A bike shed on the other hand. Anyone can build one of those over a weekend, and still have time to watch the game on TV. So no matter how well prepared, no matter how reasonable you are with your proposal, somebody will seize the chance to show that he is doing his job, that he is paying attention, that he is *here*.

In Denmark we call it “setting your fingerprint”. It is about personal pride and prestige, it is about being able to point somewhere and say “There! *I* did that.” It is a strong trait in politicians, but present in most people given the chance.  Just think about footsteps in wet cement.

The problem, of course, is that naming a company or product is not quite so simple as designing a bike shed, even if many people not directly involved in the process assume that it is, and want to “set their fingerprints” on the process. It is therefore vitally important to keep naming committees as small as possible in order to keep focused on the very important task at hand, rather than be distracted by hours of time-consuming yak shaving.

Yak shaving? Yes, yak shaving, an idiomatic expression meaning, “The actually useless activity you do that appears important when you are consciously or unconsciously procrastinating about a larger problem.” Also known by the variant, “to forget, when up to one’s neck in alligators, that the mission is to drain the swamp.”

The etymology of yak shaving is uncertain. “The term is already used in the 1950 Billy Wilder film Sunset Boulevard by the main character Joe Gillis to describe people at a new year’s party he was going to attend by saying ‘A bunch of kids that didn’t give a hoop just as long as they had a yak to shave.’” Those must have been some bored kids. “More modern use of the term came up in a 1991 Ren & Stimpy cartoon citing ‘Yak Shaving Day,’ a Christmas-like Holiday where participants hang diapers instead of stockings, stuff rubber boots with cole slaw, and watch for the shaven yak to float by in his canoe.” Which is probably exactly what many engineers imagine the marketing department spends most of its time doing.

The point — and there really is one in all this yak shaving and bikeshedding, yakshedding and bike shaving — is to never lose sight of the big picture of what a powerful name can do for your brand, never allow the minutiae of yak shaving and endless bikeshedding meetings to derail your process. And to learn how to differentiate between the harmful flavor of yak shaving, noted above, and the helpful variety: “Any apparently useless activity which, by allowing you to overcome intermediate difficulties, allows you to solve a larger problem: I was doing a bit of yak shaving this morning, and it looks like it might have paid off.

Or, I was doing a bit of yak shaving this morning, and it paid off with a new blog post. But now I have to get back to the difficult task at hand: designing nuclear powered bike sheds.


See also Joi Ito’s and Seth Godin’s interpretations of yak shaving. The yak shaving concept seems to have endless subtle definitions, making even the act of defining it an exercise in yak shaving.

Stay positive!

From the Naming & Branding Manifesto, number 14: You have to set a positive tone for this exercise right from the start – if you’re stuck in a miserable naming rut and the experience seems like torture, realize that you are doing something wrong, and change your approach.

Amtrak renaming project, by Harry Shearer

All aboard the renominalization train

Amtrak “renominalization” — i.e. renaming — by Harry Shearer

The great Harry Shearer gives us a fly-on-the-wall perspective of a hypothetical Amtrak renaming / rebranding project, from his KCRW radio show, Le Show. It’s probably ten years old by now, but it’s a classic. If you’ve ever been involved in naming or branding, from the agency side or the client side, you might experience a little Post Traumatic Stress Syndrome shock of recognition when you hear this. Enjoy (or weep).

Name origins: A Clockwork Orange

Alex from Stanley Kubrick's, A Clockwork Orange

The recent New Yorker science fiction issue, their first ever, included a great essay by Anthony Burgess from 1973, The Clockwork Condition, in which the author comments on his most famous book, A Clockwork Orange, and the “very close film interpretation” by Stanley Kubrick. Most interesting is Burgess’ description of the origin of the title, as well as the various lexicographical connotations of the antihero’s name, Alex:

I first heard the expression “as queer as a clockwork orange” in a London pub before the Second World War. It is an old Cockney slang phrase, implying a queerness or madness so extreme as to subvert nature, since could any notion be more bizarre than that of a clockwork orange? The image appealed to me as something not just fantastic but obscurely real. The forced marriage of an organism to a mechanism, of a thing living, growing, sweet, juicy, to a cold dead artifact–is that solely a concept of nightmare? I discovered the relevance of this image to twentieth-century life when, in 1961, I began to write a novel about curing juvenile delinquency. I had read somewhere that it would be a good idea to liquidate the criminal impulse through aversion therapy; I was appalled. I began to work out the implications of this notion in a brief work of fiction. The title “A Clockwork Orange” was there waiting to attach itself to the book: it was the only possible name.

The hero of both the book and the film is a young thug called Alex. I gave him that name because of its international character (you could not have a British or Russian boy called Chuck or Butch), and also because of its ironic connotations. Alex is a comic reduction of Alexander the Great, slashing his way through the world and conquering it. But he is changed into the conquered–impotent, wordless. He was a law (a lex) unto himself; he becomes a creature without lex or lexicon. The hidden puns, of course, have nothing to do with the real meaning of the name Alexander, which is “defender of men.”

At the beginning of the book and the film, Alex is a human being endowed, perhaps overendowed, with three characteristics that we regard as essential attributes of man. He rejoices in articulate language and even invents a new form of it (he is far from alexical at this stage); he loves beauty, which he finds in Beethoven’s music above everything; he is aggressive.

The new form of language that Alex invents is Nadsat, which “is basically English with some borrowed words from Russian. It also contains influences from Cockney rhyming slang and the King James Bible, the German language, some words of unclear origin, and some that Burgess invented. The word nadsat itself is the suffix of Russian numerals from 11 to 19 (-надцать). The suffix is an almost exact linguistic parallel to the English ‘-teen’….” Thus, Alex invents and speaks a “teen” language, a common occurrence the world over. By propagating a new form of language, he is partaking in creative destruction of the existing dominant language in his culture (English), but that is just an analog to the real violence he perpetrates on society. If only Alex had become a linguist and author like Burgess, (or a namer?) then perhaps he wouldn’t have been so violent. Then again, we can’t retroactively “cure” literary characters any more than the society of A Clockwork Orange could.

Bonus: A lexicon of Nadast words from A Clockwork Orange.

Face off: John Stezaker and John Baldessari show how to create audience engagement

John Stezaker - Pair IV

John Baldessari - Man and Woman with Bridge

Top: John Stezaker, Pair IV. Collage, 2007. Whitechapel Gallery, London. Bottom: John Baldessari, Man and Woman with Bridge, 1984. Black-and-white photograph on board.

I really care about meaning in art. I want things to look simple, but to raise issues, and to have more than one level of comprehension.
John Baldessari

Our lives are inundated with images, and arranging and re-arranging them is often how we tell stories, convey meaning, or throw wrenches into the works of literal interpretation. Advertising creates image juxtapositions to communicate the messages of commerce: “you want this,” or “buy now.” In either case, the story, no matter how inventive, always has a rational, understandable outcome: a product is being peddled, it’s a great product, and you should buy it. Art, on the other hand, creates an open-ended type of non-linear narrative whose meaning is unique to the viewer / perceiver, rather than dictated by the producer (artist). The most powerful brand names function in the same way that art does: they have great depth and multiple meanings, creating manifold pathways for audience participation, which fosters emotional investment and attachment in the brand. By giving people the power to create their own narratives to explain the “meaning” of a brand name, they become participants in the creation of the brand, the very definition of brand engagement.

The works above, by the British conceptual artist John Stezaker and the American conceptual artist John Baldessari, deftly illustrate this concept of creating user engagement. In similar ways, and with a similar economy of means, they each set up a narrative event between a man and a woman, and it is up to the viewer to complete the story. There is no “right” answer. The story isn’t fixed, predetermined, or laden with ulterior motives. And it can evolve and morph over time — just like the best brands.

(Hat tip to Melanie Seyer for connecting the Baldessari to the Stezaker, on her blog melsbox: Stezaker, Baldessari & Hyperreality.)

Disrupt routine perception by slowing things down

From the Naming & Branding Manifesto, number 21: The key to getting noticed in the turbulent sea of cultural messages is not to speed up, but to slow down. If your name can disrupt someone’s ordinary routine, they will stop and pay attention.

Readymade Nomenclature: Proposed Descriptions for a Cutaway Diagram of The Future

Found Fragment Of A Discarded Cutaway Diagram of The Future

Found fragment of the Proposed Descriptions for a Cutaway Diagram of The Future.

Inscribed on the backside of this found diagram (7 in. x 5 in.): Polite dinner conversation! / Proposed Descriptions for a Cutaway Diagram of The Future / For discussion purposes only? Wasn’t this to be rendered in the manor of Arthur Garfield Dove / 194_ (indecipherable). 

  1. OXYGEN RACK
  2. AMPLIFIER OF MICROPHONES AT OUTSIDE VANTAGE POINTS CONVEYING SIGNALS
  3. RACKS FOR WATER BOTTLE SUPPLY
  4. (truncated) CONCRETE SHOCK ROOF
  5. RADIO
  6. CONTROL BOX
  7. (truncated) ACCUMULATOR STORE
  8. TELEPHONE
  9. BUNKS
  10. (truncated)S
  11. PARAFFIN TANK
  12. STORE FOR PROTECTIVE CLOTHING & GAS MASKS
  13. SAND
  14. W.C. & WASH BASIN.
  15. STORE CUPBOARD
  16. PASSAGE THROUGH TO SERVANTS QUARTERS
  17. (truncated)Y
  18. RECESS FOR STOVE
  19. CONVERTIBLE BUNKS
  20. (truncated)ICH KEEPS ATMOSPHERE CLEAR