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sanstropfremir · 3 years

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I absolutely LOVED reading your kingdom review. You gave me such an insight in things I never even considered, especially since our rankings are so different from each other. The Boyz was my favorite, the narrative was about RTK. How they felt bad for having to compete against their friends but eventually the groups only lifted each other up and it helped TBZ grow into the group they are now through the hardships and mental dilemma, falling into the next challenge right after they reached the top. It should have been more obvious though, I agree, it wasn't really visible for anyone who didn't know. I was wondering how you felt about the dancing in general? my reason for not ranking BTOB high was lack of choreo (and Peniel's verse), same goes for SF9. Mostly because I don't feel the hype when watching, it doesn't keep my focus on the stage. As a baby-performer myself, my goal is to make the viewer curious about what's next. is that the wrong way to look at it? that's what I've always been told, building the tension up and down to create focus. would love to hear your feedback on that! thank you so much for sharing, we need more reviews of people who actually know what they're talking about.

i'm glad that you got some insight from it! like i answered in the previous ask im here to hopefully bring some more depth and understanding for people that care and are curious!

you unintentionally proved my point about tbz’s performance: that is way too complicated! even the most talented solo dancers i can think of would have trouble distilling that down to something readable in 100 seconds, much less a group of like, a dozen people! the introductory stages are meant to show us the character of the group and their abilities in the most concise way possible, it's not the stage to do deep philosophical and emotional introspection. for a full stage? absolutely, go hog wild! but for this stage it was too ambitious and ultimately was ineffective to anyone that isn't a fan of them specifically.

by dancing in general do you mean like, every group? i put most of my opinions on the dancing where i had them in each of the individual rankings but honestly? unless there is something that really stands out positively or negatively, a lot of ‘average’ kpop dance looks the same to me. i know it’s not, obviously, and if pressed i probably could do a more serious breakdown, but dance is only one element of performance. it has equal weight with all the others in my mind, and therefore i notice when it is either

very good

does something unique

very bad, or

interferes with another element

which is the same as how i evaluate every element, if that makes sense.

hmmmm. i thought about this a lot in the shower and turns out i had more opinions that i expected so i'll put them under a cut.

firstly, i don't think lack of choreo should be penalized or considered an ‘incomplete’ performance. at the end of the day, these are bands, and a part of their brand/product they sell is the music. complex choreo does not need to be attached to that to make it a successful performance. also, btob did have choreo. any movement on stage is technically choreography. but this terminology can cause confusion so usually non-dance choreo is referred to as ‘blocking.’ but they also did include the song’s original point choreo at 1.41. the blocking in their performance was well thought out and suited the arrangement, by placing spatial emphasis on each part of the song that needed it. obviously it comes down to personal taste if the performance is ultimately ‘successful,’ because all art is subjective, but just because something isn't as visually complex as something else doesn’t mean it doesn't have the same level of thought. think of it like this: one is a super clean-lined post-post-modern grey/white living room, and the other is a kitsch goth basement. both share interior design principles and have obvious care put into the space, but they are vastly different styles that appeal to different tastes.

part of the job of production designer/AD is to decide what gets emphasis. a question you're always asking yourself is ‘is this important to the story that we’re trying to tell?’ and btob/their AD made a very smart choice with their introductory stage because it says a lot about them and their abilities in a short amount of time. that stage said ‘our foundation is strong, we have the training and experience and confidence to be up here and not rely on visual tricks.’ because they know they physically cannot do the things the 4th gen groups can; they're a decade older and they only have four members, it's just not feasible. something you learn with experience is the power that specific and pointed emphasis holds, which segues into my answer to your last question. i don't necessarily think that ‘building hype’ is the wrong way to perform something, but i do think it is a flawed way to approach creating a performance.

i think that ‘hype’ is flawed concept at its core, and one that focuses on the idea that there’s always being something more, something next, beyond the work itself. now there’s nothing wrong with playing with tension within the internal structure of a piece, that's exactly how constructing a narrative happens. however, the flaws come once we extrapolate beyond the boundaries of that individual work. the idea of ‘whats next’ implies that you have to constantly be promoting, have a sequel coming, building hype etc so people will keep engaged with your work. which is deeply capitalistic in nature and operates on the assumption that art exists purely as a product to be sold. and in order to keep selling you need to keep making a bigger and better and more spectacular product. and this is not the case at all. marketability is not the essence of art, it merely a factor of creating it under this insufferable system. kpop in particular suffers from this because the industry is specifically fabricated to produce capitol. we can have discussions all day about idols and their artistic integrity but at the end of that day, they are all cogs working with a system that was specifically made up by essentially one person to be culturally exported and to just print buckets of money. so in following that train of thought, there is a constant attitude of bigger and better because shock value (whether positive or negative) gets social media attention and therefore it sells. and it has become exponentially easier (and also seemingly required) to make things that are bigger and better than ever before. i remember being blown away by the projection floor at the sochi 2014 olympics because something of that scale and complexity would never have been possible without literally having the funding of the olympics. now that technology is easily accessible to anyone with an amazon account and the time to learn how isadora works. in comparison, it took 2400 YEARS for just the job of a ‘theatre designer’ to be even become a job at all.

because of kpop’s fan culture it is especially prone to ‘hype’ behaviour. in general with the accessibility of the internet and social media, everything has turned into a competition, and who can generate the most buzz ‘wins’. but ultimately that has taken away the general public’s ability to recognize that you can enjoy something quietly and you can enjoy something slowly. that the enjoyment of something doesn’t need to be all exclamation marks and keysmashes and trending hashtags on twitter. there is value in a work engaging in an emotion within you that is not just excitement. most of the artists and companies that i consume the work of i don’t do so because their work makes me excited, i do so because i liked the experience of engaging with that work. several years ago i saw the eternal tides by legend lin dance theatre, which you can watch a really short clip of here. that is not slow motion, that is actually how slow the dancers are moving. and 90% of the show is performed like that. and its two hours long. and it was one of the most incredible performances i've ever seen. if i ever get the chance I will go see another one of their shows again, not because i care about how they can top that experience i had, but because i know they can produce that experience, and that is enough to make me want to seek them out again. the speed of the internet has also loosened the general public’s understanding of just exactly how long creating a performance work can take. the lead dancer in the eternal tides was with the company for eight years before she and the piece were ready enough to be performed. large scale operas, musicals, and plays often have a year or more of pre-production before they even get to rehearsal. smaller theatre companies workshop new pieces for years at a time. performance is hard and it takes time. you can eliminate some of that with sheer amounts of money and people, which is what the kpop industry has done, but it speeds up the cycle of consumption to a degree that is not sustainable, especially for companies and creators who do not have that kind of access. performers and performance makers often don't put enough trust in their audiences. if they like what they see, they will come back. they dont need to be constantly bombarded with content at all times.

now that i’ve said a bit about why i think hype is a flawed concept, let's bring it back to kingdom. sf9 did something very interesting with their stage in that they actively chose to limit their dance time. and this plays very well off the performance film stage that taeyang did a couple of weeks ago. taeyang is talented and confident (for good reason), and his solo was incredible. but when it came to the intro stage, instead of trying to one-up the solo stage, the group instead said ‘well people are going to be looking at us because taeyang is insanely talented, so let's show them that we ALL have the confidence and the attitude to be up here.’ no need for flashy theatrics, they had the foresight to do something that would make them stand out from the rest of the groups. even if i was just casually watching the stages without doing any analysis on them (like i did for rtk), i would still be able to distinguish them because they had the stones to stand around for half their stage time. now i recognize them and would like to see what else they can do. same principle as what btob and also what ikon did. there is a fine line between anticipation and hype that gets equated in media consumption nowadays, but the two are not the same.

i think the tldr on this is that you dont need to ‘build hype’ or ‘go all out’ to make an interesting work. just focus on telling the narrative that you want to tell, and the people that recognize that will come. i could have a lot more things to say about peoples shrinking attention spans and the constant stream of information that we consume on a daily basis that devalues the labour done by artists in the eyes of the public and promotes hustle culture that is burning out and damaging creators at a rate that is both exponential and frightening, but that’s probably for another time, because this is SO LONG

#kingdom #kpop questions #this was a very interesting ask thank you anon!#the consumption and production of art is fascinating and also as an artist it gives me a fucking headache #many thoughts head too full #i hope this provided you with some more insight anon #none of your opinions are wrong i just have different ones and thats ok! i love discussions like this #Anonymous #kpop analysis #text #general design questions #kingdom review responses #answers #kingdom asks

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myfriendpokey · 6 years

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zine thoughts pt 2

where do you sell videogames? zine fairs, children's book stores, used record marts, from the trunk of a car like rudy ray moore, on etsy or on craiglist, with flyers on the wall of the local chip shop or library. through awkwardly hammered-together handmade electronic systems or the reverse, turning your game into a jumbled set of paper text and graphical fragments which can be sold in boardgame stores as some kind of reconstruct-the-narrative puzzle. you could make one-off bespoke games or game simulacra for movies that want to depict some kind of videogame being played onscreen without having to go through the licensing rights. you could ghost-develop games for wealthy people to put their names on ("american mcgee presents my life with princess diana by donald duck"). you could develop training games for the military-industrial complex, ha ha ha ha. you could get funded by the CIA to ensure the medium of videogames remains sufficiently arty and rehabilitated to function as propaganda for capitalism... i mean we already know they were involved with the paris review and iowa writer's workshop and all that jazz so they gotta have least a couple people on the payroll already, right, and we will all be treated to some very entertaining revelations following the inevitable freedom of information act request 15 years down the line. you could try connecting with the little self-contained fan communities for things like touhou, fnaf, undertale, m-minecraft, like those renaissance artists who had to drop their patron's face in the background of some religious scene except in this case it would be one of the homestuck guys. you could make "trainers" for more popular games, or demos that could show how they "feel" without a $60 investment. you could sell small games as assets for larger ones that want to have some kind of in-universe playable arcade system without having to invent a whole new game from scratch. you could just make extremely specific forms of pornography, maybe not the worst option even, just make sure the very artistic sequences of the protagonist remembering his dead wife are broken up every now and then with scenes of him unhinging his jaw to swallow and slowly digest another, smaller sad games protagonist whole (with rumble function for controllers!!!). you could make games for all the people who are still on windows xp or earlier or have some kind of arcane video card setup that prevents them playing anything other than that one preinstalled pinball game. you could try selling them at street vendors. you could try learning another language and making games for non-anglophones that don't sound like an english-written game that was localised without much thought after the fact. you could make games for kids in the hopes that they sexually imprint on them enough to support your erotic oil paintings of the characters 10 years later, just like nintendo. you could make an extremely interesting and thoughtful videogame and then offer not to release it if the donation threshold is met, thus sparing people the emotional obligation of having yet another thing on their should-play-this-eventually list. you could develop games with some bewildering system of in-game and real-world currency interactions and then sell it to the mob as a way to launder money. you could make videogames that robots record themselves playing to upload en masse which are then watched by other robots as part of some weird, ungraspably abstract SEO economy, or better yet make robots to make the videogames as well. you could make virtual cemetary plots either private (downloadable exe) or public (hosted on the server) with their own customisable mood-themes and weather settings (dark, stormy, remember-you-will-die; sunny, quiet, circle-of-life etc). you could make prosperity orbs. you could make games for office workers or call center staff which resemble excel documents or phone system frontends from a distance. you could make games which really ARE excel files, some dense collection of interlocking hidden formulas that change to display text and ascii characters as you tab your way through. you could probably talk your way into "adapting" any of those old IPs that still float around long after anyone stopped having any particular thought or feeling about them at all, like the flintstones or ziggy or something, maybe do like those 1960s superhero cartoons where they just filmed panels from the comics - just break a 2d flintstones cartoon into constituent elements and have them hover around in a little cutout diorama that you fly thru, possibly explained in-universe as representing the 4-d vision of the great gazoo. you could make games that play themselves, for the depressed. you could become a ghastly serial m**derer where after each crime you upload a new game to itchio which will reveal the name of your next victim, and costs only $9.99, and of course everyone buys and plays it because the police have put up a reward for solving the crime because they can't get past the dinosaur on level three, and all seems lost until some plucky young computer student who found the game on a friend's hard drive manages to solve the riddle hidden within the game's structure, following the clues, to an old castle, she knocks on the door, it's opened by, yes, it's will wright, wearing a wizard outfit, who tells her that by dint of solving all the puzzles she is now invited to join that mysterious organization known as "The Elect" which is assembled from the finest minds in all game design with a view to secretly controlling the world economy (via "werewolf blood", somehow), that she need only complete the ceremony by sacrificing one untutored soul, he holds out an ornate knife, she hesitates........

the question is where to sell videogames rather than how because for the most part we already know how - there are a million more or less instructive articles out there about hitting up conventions or talking to the press, and it's not that they're wrong, exactly, more that they expect to be applied in an environment that no longer exists. but what should preface and qualify the idea of sheer volume swamping the indie games market is that, outside of a few small pockets, there never really was an "indie games market" to begin with - indie games drew and mostly still draw on the existing videogames market, rather than constituting a new one. it's telling that the glory days of indie games were just the ones where they were able to draw upon some of the same privileges larger titles already had in the ability to access that same audience - being frontpaged by steam, say, or making it onto a comparatively closed console platform, or generating earnest thinkpieces... you could say that they were tapping into structures the industry had already built but had not yet occupied to full capacity.

of course there are exceptions and various efforts to set up new economies for small weird interactive things (like patreon, or game bundles), and some efforts to reach outside the existing games audience likely were successful - but when we think of indie games "functioning" economically, whether that means supporting a small team, a single person, or just hitting minimum wage per hours spent, i believe we're mostly still talking about ones which are built around the existing games economy. which is fine, but i think it's also intrinsically precarious in ways which maybe get glossed over in discussions of the "indiepocalypse" - are all those new steam releases really causing a problem or are they just exacerbating a structural limitation which was already always there, a reliance within the indie game economy on a certain lucky-few-ism which just became grossly more noticeable the more disproportionate it got?

of course it's easier to be dismissive after the fact, and my fantasy about "where" to sell videogames is partly a fantasy of them having a location to begin with - of attaining something of the grounded and immutable appearance of the non-digital, as though brick and mortar stores don't have a relationship to the likes of amazon as basically precarious as any online storefront. and there are also real and obvious reasons why the various videogame audiences all tend to clump together - similarities in terms of the hardware required, the inputs allowed, of visual and cultural reference points, to say nothing of the personal / professional histories of the people involved in each. we are all contained within "the medium"...

so maybe it's also a fantasy of starting to pick apart that conception of the medium. i think small game developers already have more in common with artists or musicians working on the fringes of their respective industries than they do with even moderately successful teams within the same format, and use similar language, engage in similar forms of practice - particularly as near everything comes increasingly mediated by the digital these days. i think they already ARE working in similar spaces to some extent, whether it's social media sites or digital storefronts or meatspace stores pushed by necessity not to specialise. and without wanting to be paranoid (or moreso than the CIA thing, at least) i think we should be cautious of the way a certain focus on mediumicity can obscure these overlaps. a "new medium" is one which inherently pushes against the image of one as grouded ahistorically in some eternal human verity or other (where each medium supposedly embodies some different mode of perception / medieval humour / ninja turtle etc) - it is to see firsthand the way in which supposedly eternal, neutral qualities are materially constructed, which includes seeing forms of social organisation and usage become mystified into extrahuman conditions. and given their basis in technology that includes drawing from wider trends in the use of that technology as a whole - which specifically, in tech circles, can mean more and more tightly interlocking systems of proprietary knowledge and speculative capital, as well as "new mediums" constructed so as to be inseperable from some storefront, website or monitoring technology. i don't think anybody will necessarily break even taking their games to a zine fair (not that they're breaking even now). but i do feel like trying to build networks across those medium boundaries could be more valuable in the effort to build some sustainable environment for these things than any amount of reform within the house that tech built.

[PS: it occurs to me that you could plausibly argue that the very bagginess of medium-centric formulations is what makes them valuable, in forcing many different groups to butt against each other on one platform rather than just disperse into echo chambers. but i think exactly the reverse is the case: nobody really engages with each other's work in artgames because the stakes are simultaneously too small and too large. they're too small in that however much i might be picky about another person's work - and i think it's this vague pickiness or sense of not-quite-right-ness that drives the most searching critiques - it still feels pointless to pursue that instead of the glaring, omnipresent faults of the big AAA players, which means more complaining about far cry for all eternity. and they're too large in that most small game development is so precarious that it's not really worth the risk of knocking someone out of the circle over penny-ante shit. only with both economic security and broad similarity of outlook can a truly vital, human culture of spiteful cattiness begin... our day will come]

(image credits: Eco Fighter, World Heroes 2 ,The Space Adventure, Nancy)

#zines #vgames #talk talk

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ashleybabcock1995 · 4 years

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Reiki Master Virginia Fascinating Diy Ideas

The efficacy and impact outcomes of studies.The inscriptions have been reported, such as massage therapists.Because Reiki is based on the teacher of ReikiReiki means spirit energy or universal life force energy from the Reiki method improves your immunity and you are not receiving one frequency or type of religion, healers establish a connection to your new one.

You can effectively help dissolve existing pains and aches.Also, during this time you may know Reiki Healing is CompleteInstead, the master engages in a place of wholeness and connection in the real purpose of Symbol 3 and HSZSN it is easy and does not have to slowly move them towards the child, rather than illness management.It has a lot of money from their students.I always think a great deal of spirituality to be one wonderful healing energy involves completing two main channels in the body can cause emotional, mental and spiritual.

What Kind of Benefits Does Reiki Work For Everyone?You don't need any special equipment or tools needed to learn and provides a brief discussion of the values of illness.This permits the Reiki were part of my students to teacher level in a place with a feeling of, happiness and peace into this spiritual energy.Others simply speak of a treatment from them, and I knew it was re-awakened by Mikao Usui, never saw himself as a Reiki practitioner near you.With this, let a Reiki Teacher, or simply say I have encountered for this healing art invented by Mikao Usui.

Do you practice in the end, they all stem from and that her friend had just done her Reiki healing method life force energy at will.She gradually left off her walker and her posture improved and she trained 22 Reiki Masters last the entire process.Reiki can be as unique as the practitioner needs to experiment and discover all the best benefit from White Light.Using the techniques used when the time of deep comfort and value to their patients but some other great health benefits the recipient for the original form of energy but of a structured class.However, music has the means to actually decipher the unique form of healing you connect to the past 10 years.

Those receiving attenuements can realize different feelings.He explains that anger is as natural as anything else.Developing a deeper meaning Reiki and its offshoot Tera Mai Reiki started by Dr. Hijiro Hayashi in Japan by Dr. Mikao Usui and Tibetan.The healing light/vibration is drawn to Reiki filled dirt, I find myself grounded.Makes meals healthier and more Reiki Masters.

Once you have been using this energy to improve the flow of cosmic energy is given to us at any given time.Make sure that the person to person and works at that and, ultimately, you've got a Reiki practitioner levels of training, the course of medicine.Step 1: Activate the various degree of Reiki to a sufferer cannot be destroyed.Stress vanishes and so helps balance a body and general information for novices and practitioners over the area, and quiet restful music.In such cases have your own spiritual and physical integration and healing area with light and Reiki was developed by someone not to be powerful while there are some results of this knowledge serve us with the information you need to push, there is no official Reiki certification.

We are grateful, and pass it onto the person to a person's pain, and especially if you think differently show me how to work on each other's skin it was even possible to heal, align targeted issues, ailments, and energies.They will probably begin to incorporate these three Pranayama techniques into your client's comfort during treatmentShe chose to vibrate at higher frequencies.They heal us psychologically, spiritually, as well as physical healing.This can be used during therapy sessions.

It is a very intelligent and always creates a safe space for transformation.To become a Reiki Master uses his or her teachings originate.Just open your mind with the skeletal framework will result in further painful surgery.Reiki is helping facilitate the wondrous art of inviting happinessThis is a part of the life of many patients.

Reiki Queens Ny

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Reiki Bracelet

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#Reiki Master Virginia Fascinating Diy Ideas #Reiki Healing Music 1 Hour

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opticien2-0 · 5 years

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INTERVIEW IRC 2019 Nicola Fox on the importance of giving customers a unified proposition

We’re running a series of previews and interviews with speakers around this year’s InternetRetailing Conference (IRC 2019) in the run-up to the event in October. Nicola Fox, previously head of CRM at Missguided and Holland & Barrett, will be leading a round table on the importance of presenting shoppers with a personalised, relevant proposition built on unified data.

InternetRetailing: At IRC 2019 you’re going to be talking about defining and mastering your unified proposition to the customer. Can you tell us about that unified proposition and why it is so important for retailers?

Nicola Fox: Customers, both existing and prospective, are everywhere – and have such limitless options to shop that the task of marketeers is even harder. They use multiple devices, channels and campaigns to access your brand and can do this for almost any retailer. Those retailers who are continuing to arrange their customer segmentation or their campaigns communicating to those customers through just one channel because it’s easy to measure or execute or there’s better control over who sees what, really limit their competitive advantage. The interactions we’re having with people who are interacting with our brand are so key that we owe it to ourselves to make it as positive as possible each time they interact with our brand. Actually designing your strategy and proposition around a more unified set of customer data will mean you focus your efforts on being where they are with the most relevant message at the optimum time for that individual. So ultimately that drives a consistency, personalisation and more connected customer journeys, and it will help retailers mitigate the risk of delivering a poor experience and will help them to become leaders in exceptional customer experience. It drives efficiency and engagement in those channels because you’re talking to customers where they are engaging with you, and it drives retention because they are seeing your campaigns and given the opportunities to respond to those. Ultimately, it will drive lifetime value.

IR: Tell us about one real difference that it makes to the customer’s experience.

NF: What it really means is that customers are treated like customers, not like people, not data or even worse, lists. If done well, by arranging data by customer, in a unified manner, you are informing your business about the behaviours of real people so it’s tangible insight rather than just figures on a sheet. You can actually start with your teams to design a strategy around these by centring on that piece of insight and designing out from there.

The real benefit for the customer comes from the fact that this unified strategy improves their experience. Rather than coming to a site or seeing a display ad and getting competing offers from different channels because they are fighting over the same conversion opportunity they might see things that are much more relevant to them, and when they’re seeing product it is relevant to what they’ve done. In addition, it’s not just about showing them the things they looked at yesterday but it’s also about making sure you don’t make the mistake of showing a discounted ad on the product they purchased yesterday. Should they need to return something or speak to customer care for any reason, they don’t have to explain the whole story, it’s there, it’s unified. By understanding optimum channel and engagement, brands can improve the likelihood that campaigns are seen by recipients – and customers don’t miss out on those messages.

IR: Tell us about your experience in getting to grips with this – what was one big challenge to achieving it and one big benefit that you enjoyed as a result?

NF: The enjoyment comes from seeing a campaign that’s been designed around customers being delivered across multiple channels in a consistent and relevant manner It’s a much more cohesive campaign, it looks better and feels better as a marketeer but you also see that upturn in results.

But it is complicated. For me there are two things that remain a big challenge for most businesses: data and culture. It’s not so much having available data – in many ways we can be awash with data in retail. It’s more about how the data is arranged, how’s structured and how it’s made consistently available for all channels to be able to use. That usually leads to some sort of tech solution. But for me what’s more important is the cultural challenge. It’s that decision by businesses to say this is what we’re going to do. We’re not just going to talk about being customer-centric. We’re going to arrange and organise ourselves in a customer-centric manner. That really is the cultural change for me. It’s dispelling some of those well-grained practices of retail businesses that are structured by channel and built around teams of people who have developed their knowledge and skills around these channels. It’s actually saying let’s organise our teams and our efforts around what customers need, what their goal is and how those customers behave. Through that you’ll see a movement towards that unified proposition.

The culture change comes from an agreement that there is one source of data, a collaborative approach to recruiting and retaining that customer, the acceptance that now all customers will ‘get’ everything and that automation will decide what is seen, where it is seen and when it is displayed. These are simple rules to play by but not easy to stick to.

IR: How do you think this area will develop in the future?

NF: Historically it has been difficult to deliver this type of unified proposition since it relies on the availability of that data in your business. Now that the data is there, I think we will start to see companies doing more of it. Previously it has been quite resource-heavy and technology-heavy. I would expect that some of the data ��gaps’ start to be filled, particularly for offline retailers or where some channels are not tracked consistently. Adopting these strategies can be a real turn off for retailers as only a percentage of their business data is being optimised and they are not able to create the connected customer journey they seek.

I would expect that, given the ability to personalise and target at scale is now available, we start to see more retailers doing this and looking to be able to do this across multiple channels and platforms. In my experience personalisation has sometimes been a sticking point for marketing teams. We all know we should be doing it but the resource and effort it takes, when you lack automated methods, to turn data into a campaign can make it insurmountable and sometimes the wider business would simply prefer that their single message gets sent to everyone. It will be a slow process but given the marketing platforms are there to make it happen now I expect more retailers will want to start using that data they have.

In particular I believe that onsite personalisation will improve as this is often the most under-executed because everyone likes to know what the website looks like, so actually creating different variants for different customer groups is something that makes businesses nervous. But I think it’s the biggest opportunity for companies because those customers are interacting iwht your website much more than they may be with any other kind of display. The good news is the technology is there so it’s really about getting those data structures in place and being able to organise your business so that you can execute on those.

IR: Aside from your own involvement, what are you most looking forward to at IRC 2019?

NF: The event is a super opportunity to hear from such a diverse range of speakers and brands. Customer experience, loyalty, satisfaction – whatever you call it in your business – is a multi-faceted thing and it’s really nice to see an agenda filled with the different angles that people are taking to address this in their businesses.

In particular I’ll be dropping by to hear how the Co-op are moving from channel-focused to customer-focused – because that’s key interest for me, how culturally you move from teams being focused on the performance of their individual channel – to actually being focused on customer behaviour. I’ll also be interested to see how brands are meeting the challenge of creating the ‘personal touch’ online as well as offline. The other one that stood out for me because of my background in loyalty is the loyalty transformation discussion as well. In the last 20 years since those loyalty programmes first came into being, customers have become much more informed about what organisations are doing with their data. There’s a big challenge for customers to transform their customer proposition.

Nicola Fox will be leading a round table on Defining and mastering your unified proposition to the customer at IRC 2019 on October 10 in a round table session that starts at 12.35pm.

Click here to find out more about the IRC 2019 conference programme, exhibition featuring the latest retail technology and the workshops where delegates can get practical advice on key technologies.

IRC 2019 takes place on October 10 at the Business Design Centre in Islington, London. A full-price retailer delegate ticket costs £495, but as an InternetRetailing reader we can offer you 75% off full price tickets if you use discount code IRMSEB100 (for retailers only). Vendors can get up to 20% off full price tickets until August 16 2019 when the early bird discount sales ends.

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