_“The Old Spice Guy”: Presencing & Synthapticism In Action_http://bit.ly/96Lakc
In 2008, several articles at augmentology.com
examined the concepts of Synthetic Presencing and Synthapticism. Both concepts are part of a theoretical framework that attempts to explain developing cultural > augmentological patterns. Presencing embodies a rethink of conventional entertainment modes:
"...Fiction and non-fiction classifications are designed to map to boundaries of known forms [think: cinema, literature, television and music]. They are so designed to provoke audience responses introspectively and externally. Current synthetic practices are refashioning this entertainment base via the perpetuation of types of unintentional and deliberately augmented recreation. These recreation types are reliant on immediacy of response, play, and Pranksterism. They employ Sandboxing, Gonzoism and spontaneous engagement. This type of entertainment is termed _Presencing_. Presencing involves loose clusters of pursuits that evolve in, or are associated with, synthetic environments. Examples include the Streisand Effect, Supercutting, Flashmobbing, the Slashdot Effect…Geohashing, Image macro generation and Internet meme threading…Presencing showcases accidental or reflexive entertainment elements where the fictional/non-fictional divide is erased; associated validity qualifiers are also removed and reconceptualised. Amateur production is equated with valued expression. Presencing also offers adaptive potential for augmented attempts at mediating geophysical constraints."
The complementary concept of Synthapticism involves:
"…Crowdsourcers [who] produce clusters of user-mediated data through surges of concentrated attention… Synthetics display attentional surges appropriate to synthaptic shiftings. Synthetic environments operate in accordance with this surge potentiality, with users adopting platforms that offer a contemporary catering for the relevant surge…Synthapticism produces unprecedented connections between synthetic participants. Adjunctive relationships are constructed via Identity interfacing and cushioned by support networks with a comparable emotional weighting to those found in traditional sociocentric structures [acquaintance>friendship>family>community]. Synthaptic communication may appear as fractured or trivial to those not connected synthaptically…”
One contemporary example of a Presencing/Synthaptic Campaign centres on a PR-created character called “The Old Spice Guy” or @OldSpice. This campaign, which makes extended use of social media > network dynamics, initialized with a Synthaptic threading system directly developed from conventional advertising:
" Anything is possible when you smell like an Old Spice man and our hero, Isaiah Mustafa, is back to illustrate just a few of the amazing things that an Old Spice man can do. The latest effort is a fully integrated campaign with TV, print and digital executions, targeted at both men and women...." [ http://www.wk.com/campaign/questions
On July 13th 2010 [USA Portland time] the Old Spice brand extended this “personalised” social presence/character via synthetically dependent platforms including Youtube, Twitter, Reddit, and Facebook. “The Old Spice Guy” character urged cross-platform users to AMA [a popular internet thread on several boards which means "Ask Me Anything"]. The humorous > quirky responses included almost instantaneous @OldSpice micro-video answers to selected users, including meta-referencing by Isaiah Mustafa himself [ http://www.youtube.com/watch?v=u-qpEUOtLk8
One response that encapsulates the Synthaptic aspects of this campaign began with the user @Jsbeals asking @OldSpice to make a marriage proposal on his behalf [ http://www.youtube.com/watch?v=_-fLV28SkZ8
]. @Jsbeals later tweeted that his girlfriend had accepted the proposal:
"@Jsbeals: @OldSpice SHE SAID YES!!!!"
….and who then changed his Twitter Biography to:
"The Old Spice proposal was real. Thank you Old Spice for helping me with this."
A second response set resulted in the sending of actual/geophysical roses [referenced in a micro-video response] to Alyssa Milano. Each episodic response illustrates the flattening of traditional entertainment factors [think: @OldSpice responding to "everyday" users as well as more established Hollywood/Internet celebrities]. The campaign realigns passive entertainment construction and distanced absorption via real-time Immediation and Regenerative Comprehension [ http://bit.ly/JvGs3
]. The Old Spice Guy Synthaptic threading is currently ongoing with replies continually being posted via Youtube. [Updated via Owen Lokan: the campaign has now finished].