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The world is getting closer to a boom with the Internet of Things, according to Statista, by 2023 it is estimated that global spending on this technology will reach $ 1.1 trillion. With such important growth, the impact it will generate will reach various sections, including marketing. Thinking about it, in this post we highlight some ways you will modify it.

According to Marketing Insider Group, here are some of the ways the Internet of Things will make marketing smarter:

IoT in advertising

In relation to this first section with the Internet of Things, he highlights that it can make advertising become more relevant. Currently, the surface of what this technology can do in the advertising field has hardly been touched.

The challenge marketers and advertisers face is to use the ties they have available non-intrusively to people. The line you have to walk on is very thin, so you have to keep balance to get the most out of the IoT.

Devices with this technology not only imply that you will be able to know more about the people to whom the ads are taken, it can also open a line of communication so that brands get real-time feedback on their products and can offer more personal advertising messages .

IoT in branding

In the area of branding, smart packaging is an example of how brands are already using the Internet of Things to strengthen the history of their brands and connect with customers.

A firm that is already developing it is the Malibu rum brand. They developed a smart bottle using NFC technology, which allows customers to interact with the brand in stores or at home. Customers can tap the bottle with their phones or scan a QR code they contain to access promotional materials, recipes, and other things like prizes they can win.

IoT in content

Finally, regarding this last section, it is possible to say that smart devices have already begun to affect the way content is created. The SEO landscape in particular has changed dramatically in recent years.

This means that the way content creators and brands develop their materials is changing.

And it is already possible to notice that search strings are getting longer and more similar to the natural discourse of people as users increasingly use technologies such as voice assistants.

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Ways the Internet of Things will drive marketing - Explica

Kevin Mayer, the chief executive of TikTok said on Wednesday that the popular short-form video app complies with all data privacy and security requirements under Indian law, two days after New Delhi banned 59 apps including Mayers citing security concerns.

Addressing TikToks 2000 employees in India on Wednesday, Mayer said ByteDance, the parent firm of the Chinese app, would do everything in our power to restore the positive experiences and opportunities that they can be proud of.

With more than 200 million of its users in India, TikTok counts Asias third-largest economy as its biggest overseas market.

New Delhi announced late Monday that it was blocking 59 apps that have been developed by Chinese firms. Among the apps that have been blocked include Tencents WeChat and Alibaba Groups UC Browser and UC News. An Alibaba Group spokesperson in India did not respond to a request for comment.

The Indian government alleged that these apps were compiling, mining and profiling users data that posed threats to national security and defence of India.

In his address today, which TikTok later published on its blog, Mayer said that his firm places the highest importance on user privacy and integrity. TikTok was working with various stakeholders in India to address their concerns, he said.

Mayers address to his employees comes a day after TikTok pulled its app from the Google Play Store and Apples App Store in India and revoked existing users in the worlds second-largest internet market from accessing its service. Visiting the TikTok app or the mobile website in India currently returns an error that states TikTok is in the process of complying with New Delhis order.

Today, it is a staple and reality for TikTok users even in remote cities, towns and villages across the country. Empowered individual creators have become the most sought-after for digital marketing campaigns. Small and medium enterprises and entrepreneurs have been able to realise their growth ambitions and dreams by reaching out to thousands of potential customers and consumers on a daily basis through the platform, said Mayer.

It remains unclear at this point when and if India would reverse its ban on TikTok and other apps. TikTok, the most popular app among the 59 apps blocked by India, has been particularly hit by New Delhis order.

Google and Apple said Tuesday that the Indian government had asked them to only pull the TikTok app from their stores and that TikTok had voluntarily delisted its app from the nation.

Other apps remain available on the Google Play Store and App Store at the time of writing. Though Indias Department of Telecommunications has since ordered Vodafone, Airtel and Reliance Jio to block access to all the banned apps on their networks with immediate effect.

TikTok has been facing backlash in India for several weeks as an anti-China sentiment gains pace in the nation. A skirmish between the two neighboring nations at a disputed Himalayan border site that left 20 Indian soldiers dead last month further escalated that tension.

In May, several users unearthed and shared numerous recent TikTok videos on Twitter that appeared to promote domestic violence, animal cruelty, racism, child abuse and objectification of women. This prompted many in India to leave a poor rating of the TikTok app in the Google Play Store to express their disgust.

Our partnership efforts with credible national and global organisations such as UN Women, United Nations Development Programme, UNICEF and CRY have raised awareness and advocated for concerted action to end gender-based, domestic violence and child marriage, Mayer said today.

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TikTok is engaging with India over ban and already complies with local privacy and security requirements, CEO says - TechCrunch

Consumer leads generation company eGENTIC Asia Pacific has appointed Benedikt Becker as its country manager for operations in Singapore and Malaysia. Based in Singapore, Becker will be managing the country teams and helping to drive the growth of the company by exploring new potentials and partnerships in his new role.

eGENTIC Asia Pacific wasfounded in 2001 in Germany and since then, has expanded into over 20 countries around the world focusing on Europe, Asia Pacific and South America. The company helps consumer-facing businesses in the sectors of insurance, finance, education, health and beauty, charities, energy, telecommunications and broadband, travel, home services, eCommerce and publishing houses to generate scalable business growth via online marketing channels, as stated on its official website.

Prior to eGENTIC, Becker was head of sales of Internet marketing service Audience Serv, a global direct marketing agency. Based in Hanoi, he was responsible for the APAC expansion as well as growing global relationships with key accounts and strategic partnerships. With marketing and sales experience of more than five years and guest speaking opportunities in Europe and Asia, he has built a strong global network according to the press statement by eGENTIC. Additionally, based on his LinkedIn profile, Becker took on a regional sales manager role at Rockland radio, based in Germany for almost three years before joining Audience Serv.

Chee Ser Chen, managing director of eGENTIC Asia Pacific said the company was pleased to welcome Becker to the organisation, where APAC was a fast-growing market for performance leads. We are confident Becker will bring excitement to eGENTIC business in Singapore and Malaysia, Chen added.

Meanhwile Becker said he was delighted to be working in the new role for eGENTIC in one of its key markets. I love the intensity and the everchanging landscape of the lead generation space and therefore I am absolutely thrilled to join the global leader working from their APAC HQ in Singapore, Becker added.

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eGENTIC APAC looks to grow in SG and MY, appoints new country head - Marketing Interactive

The global challenge of Covid-19 threw up unprecedented opportunities to rethink the way we organise jobs and the workplace. Digitalisation has become a part of everyday life, and partnered development of technologies has become ever more relevant for the whole world. It is time for countries to work together to find new solutions.

At the 2019 edition of the biennial WorldSkills competition in Kazan, the Russian arm of the international WorldSkills organisation showcased a new section, Future Skills, focused on activities in the digital economy and high tech. The initiative garnered a lot of interest internationally, and a number of countries worldwide have signed up for a Future Skills Camp, held from June 23 to August 30.

A series of collaborative practical training modules, it will be conducted online and will allow participants to demonstrate and improve upon their skills across a range of vocational competencies.

The Future Skills initiative is a response to the changes in the workplace brought about by globalization and technology, and a way to predict and harness the skills that will be in demand in a digitalised world. Automation as machines and robots take over many of the tasks formerly undertaken by human beings will lead to an increase in demand for creativity, digital literacy and ability to control these new processes.

There is currently a lot of discussion about the future and what it will hold, said Alina Doskanova, director of international relations at WorldSkills Russia and Russias technical delegate to WorldSkills International and WorldSkills Europe. The rapid change in technology; the development of artificial intelligence, and universal digitalisation contribute to the emergence of convergent skills, as well as the expansion of multisectoral and intersectoral cooperation.

As new technological and social trends become apparent, the demand for appropriate training grows exponentially, and meeting these demands in a timely fashion is a challenge for modern education, as well as industry. Future Skills aims to address the problem, identifying the ways in which the labour market will be most affected in the new digital landscape, and shaping educational programmes accordingly.

The educational component is key to the work of WorldSkills Russia, and working with government leaders, academic institutions and teachers themselves to introduce the vocational training programmes into national curricula worldwide is a core objective.

As part of the Future Skills project, says Doskanova, we are implementing a full cycle of development in these areas: research, competency development, software development, testing in competitions and the training system. At the same time, our focus is always on the person and his or her interaction with technology.

The research and development carried out on Future Skills by WorldSkills Russia is already shaping the direction of the movement internationally, and five of the nine new competencies that have been selected for the WorldSkills Competition in Shanghai in 2021 additive manufacturing; building information modelling; industrial design technology; mobile apps development and robot systems integration were also developed by the Russia arm.

Some of the central features of the organisations work are its competitions, and as industry conditions changed during the Covid-19 pandemic, WorldSkills Russia has worked hard to create innovative formats.

Holding the Future Skills Camp remotely allows participants from many different countries including Brazil, China, South Africa, Tunisia and Portugal, as well as Russia to expand their skill sets even within the constraints of the current circumstances, and creates opportunities for participating countries to later implement Future Skills within their educational systems and national competitions.

The organisation is also preparing a distance format for the eighth WorldSkills Russia National Competition in September, and the BRICS (the group of emerging economies comprising Brazil, Russia, India, China and South Africa) Future Skills Challenge, to be held at the end of 2020.

The BRICS Future Skills annual challenge is an important moment of recognition of how vital skills development, industry 4.0 and technical and vocational education are to the development agenda of BRICS countries," says Frederico Lamego, executive manager of international relations at SENAI (National Service for Industrial Training). "The BRICS economies face different challenges for achieving a sustainable economic and social growth path. Equally, cooperation among BRICS institutions through knowledge and skills transfer could help improve the quality of technical education the cornerstone for industrial and technological development."

Sherrie Donaldson, CEO of African Innovators and member of the South African BRICS Working Group thinks that certain skills must be acquired for the economic growth of any country. The shortage of skills in South Africa has become a core issue in discussions on economic growth, service delivery, social development and productivity, she says.

The skills shortages and associated challenges in South Africa are exacerbated by changes in the world of work, driven by changing technologies and business processes. In forecasts, the global impact of these changes ranges from 50 to 70 per cent of current jobs being lost due to technological advances. However, at the same time many new, unknown jobs are being generated. To achieve economic growth relevant future skills must be identified and developed. The Future Skills Camp and BRICS Future Skills Challenge facilitate identification and development of the required skills, and allow BRICS partners to learn from and support each other.

The Future Skills Camp is more than just a competition. Its remit includes a determination to build a network of potential Future Skills partner countries and create a system of collaboration between experts around the globe. As the needs of industry are identified, further competencies will be added, and training given in how to incorporate these into education, and how to evaluate the results.

The range of skills that was included at the time of the 2019 WorldSkills Kazan competition has since been developed and expanded, and in addition to those that will feature in Shanghai, now includes: digital factory; space systems engineering; digital capabilities; the Internet of Things; quantum technology; enterprise information systems security; IT software solutions; big data and machine learning; industrial robotics; robotic welding; lifecycle management; manufacturing team challenge; internet marketing; drone operating, and service robotics with more ideas being added in response to every new shift in industry predictions.

Observed by experts in their respective fields, competitors in the Future Skills Camp will complete test projects at home or at suitably equipped venues in their home countries. Training modules will take place over a period of a few days and form one of the ways in which WorldSkills Russia aims to export its expertise to other countries. These presentations provide a way of introducing ideas to b2b and b2c markets in partner countries, with a view to developing short education programmes and laboratories.

Participants will be provided with suggestions and opportunities for further personal growth throughout their careers, partly through the launching of new digital services and platforms. Above all, the Future Skills Camp will provide experts, trainers and participants with the tools they need to face this new industrial and social reality with a broader and more flexible skill set one which can adapt to the changing needs of this dynamic new environment.

The Future Skills Camp is supported by Rosatom, Rostec, Roscosmos, 1 Company, FANUC, InfoWatch, Autodesk, Siemens, Coex, hatka, Russian Quantum Center.

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WorldSkills Russia creates new possibilities with the launch of the remote Future Skills Camp - Euronews

Written by Prasoon Joshi | Updated: July 1, 2020 9:24:10 am Some will misconstrue and say that I am hinting at some sort of policing. (Illustration by C R Sasikumar)

Currently, discussions are on about a few web series that have come into focus, not so much for excellence but for their unbridled content. It would be interesting to explore this era of entertainment and understand the building blocks of this emerging industry, which is slated to snowball. BCG estimates Indias OTT (applications and services accessible over the internet) market to be in the range of about $5 billion by 2023. Moreover, whether as marketers, brand custodians or informed citizens, we need to decode and understand the sentiment unleashed more intricately.

Comparisons between cinema and OTT are apparent. While cinema is a more mass, public consumption product, web series and OTT platforms are ostensibly more individualistic and watched over personal screens. The content codes, therefore, are considered different.

However, the pandemic has changed perspectives and consumption habits. The lacuna that cinema viewing and other outdoor leisure activities have left has resulted in an increased intake of content on OTT platforms. Since most people across age groups are confined to their homes, there is also an increase in collective viewing. This new reality, in some ways, has led to a greater scrutinisation of content by the viewers.

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I have always believed in the power of informed choice, especially with regard to children. Transparent classification of content is imperative. Many will point to the 13+, 16+ or other age ratings of online series. We need to understand more clearly how this classification is done. Are these categorisations done solely by the content creators who seek to gain commercially from them? Or by independent minds who take on board concerns of parents, teachers, experts in child psychology and those well-versed with socio-cultural nuances? What are the standardised norms, due diligence followed by the content creators specific to the Indian context? There needs to be more transparency and a fair sense of informed choice.

Reports in the media cite the instance of a Digital Content Complaint Council (DCCC), which has been joined by a handful of players, but most of the OTT players are said to have opposed the move and refused to join the council.

Some will misconstrue and say that I am hinting at some sort of policing. Please do not be misled or trivialise what I am honestly putting up for a rational and civil discussion. One is talking about responsibility and regard for the audience and its milieu. After all, shouldnt cognisance be taken of the share of voice of the people, whose wallets share is desired?

Lets peer through another lens: Companies often term their content as entertainment products. Through my professional life, I have observed branding and products carefully. Every industry values its consumer and marketing books are replete with references to treating the consumer as the king. After all, a sound product reflects an inherent concern for the consumer. The cultural fabric of the market is crucial to responsible companies around the world. There are fabulous and robust codes of conduct in reputed organisations as well as a fair degree of mindfulness and restraint.

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Yes, you want to entice your consumer or viewer; sure, there is hyperbole in the communication. But nowhere is consumer sentiment devalued. And in case, if that does happen, there are checks, balances and redressal forums.

Given that OTT, web content is at its initial stage, it will hopefully mature in its approach to the consumer. The nascent industry needs to be ready to evolve and heed contrarian points of view. In many countries, there are robust frameworks in place. However, trying to import business practices and force-fitting them will create only turmoil if the indigenous, nuanced point of view is disparaged.

My experience in brand building and designing communication for various international and national brands has taught me that though one can have a global outlook, cognisance needs to be taken of the inherent cultural sensibilities in varied markets. They need to be embraced, not flouted. After all, culture gives us a context for life. A mundane object finds meaning and significance because we attribute a certain narrative to it. Societies cherish their narratives deeply. Understanding the cultural underpinning of the overt is vital, for lifes beauty lies in intricacy, in nuance. Significant brands keep this context in mind and are not driven by a short-sighted, opportunistic mindset.

I understand artistic products are more complex than many others. Creative thinking and artistic prowess need to be finely balanced with market needs and consumer sensibilities. Self-expression and experimentation are intertwined with business realities. I do not doubt that many seek this balance, but deep down, it also boils down to intent. Fundamentally, I believe a true artist has immense respect for the audience, knowing that their audience makes them. But when this gets compromised, the very intent gets corrupted, it results in a distorted reality.

The highest price we pay for this distortion is the loss of trust between the creator and the audience. There could be disillusionment, and the audience can become wary of content creators.

This loss of trust can destroy the very fundamentals of the creative world, especially the commercially creative world. For, there is a difference between pure art and an artistic product. When art is packaged and sold as a commercial product, it acquires another hue. As far as entertainment products are concerned, in an industry with a balance sheet, art is more commercial. Its different when we speak of fine artists. In their case, self-expression is the dominant emotion. An intense inner compulsion exists, and creation takes place regardless of consequences. Market forces matter little, for a restless soul is in the quest to find meaning, not money. And its important for humanity that this unadulterated introspection and expression takes place unhindered.

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One cannot, and is not, undermining the calibre of popular genre products. In commercial art, there are instances of staggering self-expression and many of them are deliciously poised between art and commerce. But there is undoubtedly a difference when you tailor-make an entertainment product after analysing and pressing convenient buttons aimed to please or cater to the lowest common denominator. One invoking pure artistic license while promoting a commercial art product will be seen through eventually.

Lets not forget that a piece of creative work is almost like a journey, where the audience has practically surrendered and submitted to the will of the artist and content creator. Literally a frame of mind of, take me where you want, I want to see what you see and experience what you experienced, sense every bit of joy, pain, despair, jubilation, melancholy that you did. I am undoubting, and I hope that you wont abandon me midway. You may want to shake me, but not with the intent to destroy. To make me finer and evolve. This sentiment is a reflection of the relationship that makes a piece of art connect and resonate.

Currently, introspection is required whether this very fundamental relationship between the creator and the audience is being compromised.

Let me reiterate, no matter how frantically we want our entertainment products to succeed, certain things must be non-negotiable. Many of us talk about womens empowerment and give lofty lectures. However, when it comes to the portrayal of women in cinema and entertainment products, we turn a blind eye. There has to be a correction dare one say, over-correction in this regard. Also, we cannot, in the name of art, and for commercial gains, compromise the vulnerable section of our society like children. As makers, lets not take clever shelter under context or other such nomenclature; or conveniently blame it on the audiences muddied understanding. This should be the last justification for creators, especially when concerns loom about a trust deficit between them and the audience.

Whilst we collectively explore the next phase, for starters, I believe we need to stop defending missteps. And with an open mind, course correct and discuss the emerging reality, genuinely and honestly.

Then, the road ahead will be brighter and smoother.

This article first appeared in the print edition on July 1, 2020 under the title Regard for audience, its culture. Joshi is a writer, poet and communication professional. Views expressed are personal

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As OTT gains prominence, we need to ask if due diligence is followed by content creators specific to the Indian context - The Indian Express