case cph living lab

- COPENHAGEN LIVING LAB -

- 30. november 2009 - - -

- COPENHAGENLIVINGLAB.COM - - -

LIVE Analysis of the concert experience

COPENHAGEN LIVING LAB

Njalsgade 106,2

DK-2300 Kbh. S +45 2023 2205 [email protected]


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Consultancy with focus on user-driven-innovation Jobs: Project initiation - and management User analysis and user involvement Ethnographers and designers



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•  Early phase of innovation – what are the products of the future?

•  Both public and private projects ( about children, young people,

adults and elderly people)

•  Projects: the resourceful kindergarten, obstaclehunters, the good elderly life, live innovation venue and many others



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Internal understanding: it is important to understand the users needs before we design to them •  Ethnographic methods: interviews, observation, shadowing,

’do-as’, staying in the field



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LIVE INNOVATION VENUE

The project vision is to enhance the concert experience Based on ethnographic methods the projects will identify the most important elements of the concert experience


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DATA


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CONCERTS

Junior Boys Bob Hund

Snow patrol Franz Ferdinand

Balstyrko

Outlandish


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LIVE INNOVATION VENUE

•  The analysis was based on 6 concerts og 27 informants (13-46 år)

•  Interviews og observations during the concerts (from their meeting before the concert until they went home)

•  The concert guests were asked to draw their experiences

•  Pre-interview ½ month before the concert


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Poul 47, Karina 41 og børn 9 og 13, Virum

27 INFORMANTS

Ivan, 27 Kbh. NV

Frederik 26, Ole 27, Thue 27, Line 26, Kaja 21og Kai Arne 27 år - ledsagere til Ivan

Kim, 35 Kbh. S

Elisabeth, 33 Kbh. S

David , 36 Næstved

Signe , 36 Næstved

Thomas, 33 Charlottenlund

Bolette 19 Ishøj

Peter 24 Kbh. Ø

Christian 26 Kbh. Ø

Marie 26 Frederiksberg

Jakob 26 Frederiksberg

Laura 20 Kbh.

Peter 32 Kbh. V

Allan , 33 Valby

Michela 35, Smørum og kollegaer, 29 og 41

Tonni 46 Helsingø

r

Lotte 46 Helsingø

r


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RAW DATA

’Well, we wanted to do a social thing together – and then we thought a concert might be a good idea’ (Michela)

’I think it was on my space I found a message saying that Bob Hund was going on tour. It is a bonus that Facebook and My Space provide this information, otherwise you often miss it when ’your’ band is on tour’ (Ivan)


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’The borrowing people sit on the balcony’ (Christian)

RAW DATA


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TOOLS


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RITUAL THEORY

•  Experience Economy research* identify cultural events as rituals •  Rituals are often used to create a ‘BEFORE’ and a ‘AFTER’ which means you go through a transition

* Dorte Refslund Christensen, AU, 2007, Jens Nielsen, CBS, 2008 & Martin Zerlang, KU 1989


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RITUAL THEORY

Earlier:

•  Confirmation (acknowledged as an adult)

Today:

•  Extreme sport •  Action holidays •  Strong artistic collective experiences i.e. Roskilde Festival

* Dorte Refslund Christensen, AU, 2007, Jens Nielsen, CBS, 2008 & Martin Zerlang, KU 1989


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THE RITUAL PROCESS

Everyday Or ordinary level

Separation phase Separation from the everyday

Climax Feeling high, forgetting yourself

– ’collective buzz’

Re-integration phase Reintegration to the everyday and acceptance /acknowledgement of new knowledge and experience

Ritual process


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Job: A task or activity an individual pursues. To solve the task they search for products and services to help them

1.   Functional jobs: non-emotional tasks A car help people move passengers and goods from one place to another.

2. Emotional Jobs: tasks to achieve personal goals Personal job (How do you want to feel in a specific situation)

Social job (How do you want to be seen by others).

OUTCOME-DRIVEN INNOVATION

Functional

JOB

S

Personal

Social


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ANALYSIS


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BEFORE

Impulse purchase Incubation Planning Take-off

DURING

Timing Transport Entrance & Orientation Establishing Warm-up Break Main Artist

AFTER

What now? Exit Landing

THE CONCERTS EXPERIENCE’S 15 STEPS


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INNOVATIONSMODEL

SPREATION LINONOIDE REINTEGRATION

Ritual proces

IMPULS KØB TILRETTELÆG.

TAKE OFF TIMING TRANSPORT ENTRE & ORI. ETABLERING OPVARMNING HVAD NU? EXIT LANDING

Desitions

steps

Design

parameters Design

parameters Design

parameters

Design

parameters

Design

parameters

Design parameters Outcome

based segmen-tering

Innovation Space (prototyping)

Desired outcome _ _ _

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Ritualet

Innovation Space (prototyping)

HOVEDNAVN

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PAUSE INKUBATION

_ _ _


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BEFORE


DURING


AFTER




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BREAK

•  Time to fill-up, buy beer, smoke, restroom visit

•  Defend your positions and protect the territory

•  A kind of no-mands-land (you do not know what to do with yourself)

•  Waiting means that potentially the happy mood disappear - anti-climax


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’ If it takes too long it becomes anoying. (….) My experience is that your mood becomes low…. And it needs to stay up!

BREAK


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In this step the concert guests can be divied into two categories

The Guards The Break Enjoyers In the break the gards focus on defending the position to make sure you have the perfect view and position. If the guards needs beer or to visit the rest room – they leave one at the time, and the remaining group protect the position .

The people enjoy the break and make sure that they have new supplies, been to the restroom etc. – It is not an issue if that get a new position.

BREAK


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BEFORE


DURING


AFTER




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MAIN ARTIST

Intro: It is time to Sing, Dance, Jump and Scream

•  interaction with band – to be ’seen’ and acknowledged

•  to forget yourself – collective buzz

•  unpredictable - unplanned

•  selfies – to show to the world outside

•  beers are a potential problem


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’The concert experience should be able to create something significant different from the everyday or create a break from everyday trivialities.’ (Jacob, Maria)

MAIN ARTIST


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MAIN ARTIST


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The Collective Buzz-people ’Mood-enjoyers’ The collective-buzzers focus on being part of the musical experience and the collective buzz. They forget themselves and the normal social structures

The ‘moodenjoyers’ can be found on the edge of the collective buzz. They enjoy the buzz and the atmosphere but they are not part of it. They have not forgotten themselves and the social structures remain.

MAIN ARTIST


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BEFORE


DURING


AFTER




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Intro: •  Lights are turned on, clearing and cleaning •  Basic needs emerge (hunger, need to find a restroom) •  Need to cool down and to finish the experience •  New experience added to the old reality

WHAT NOW?


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WHAT NOW?


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WHAT NOW?

Quick home The relaxed The evaluators Party-people It is about leaving the concert venue as soon as possilbe…. To catch bedtimes, nannies or the last train. (Race to the wardrobe)

It is all about taking it easy, leaving the venue slowly – leaving time for a beer or a chat.

This group have a special need to consume the experience or relive the highlights from the concert. They need to be acknowledged for their experience.

They want to stay in the buzz and continius to a bar or club as soon as possible


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DESIGN


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PROTOTYPE IDEAS

Prototypes 1.  The evaluation-room 2.  Extra purchase 3.  Listen to a concert name 4.  One for the road

Quick home The relaxed The evaluators Party-people It is about leaving the concert venue as soon as possilbe…. To catch bedtimes, nannies or the last train. (Race to the wardrobe)

It is all about taking it easy, leaving the venue slowly – leaving time for a beer or a chat.

This group have a special need to consume the experience or relive the highlights from the concert..

They want to stay in the buzz and continius to a bar or club as soon as possible


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SPREATION LINONOIDE REINTEGRATION

Ritual Process

IMPULS KØB TILRETTELÆG.

TAKE OFF TIMING TRANSPORT ENTRE & ORI. ETABLERING OPVARMNING HVAD NU? EXIT LANDING

Decitions

STEPS

Desired outcome _ _ _

_ _ _

_ _ _

_ _ _

_ _ _

_ _ _

_ _ _

_ _ _

_ _ _

_ _ _

_ _ _

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Ritualet

HOVEDNAVN

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PAUSE INKUBATION

_ _ _

Design

parameters Design

parameters

Prototypes

Guidelines

USER-test

Design

parameter Design

parameter

Prototypes

Guidelines

USER_test

USING THE ANALYSEN

case cph living lab

Education