#Video Engagement Metrics

[theseoblogspace]

Leveraging Video Content for Small Business Growth

Are you a small business owner in Australia finding it hard to stand out online? Video content could be the answer. It’s a powerful tool that helps businesses of all sizes connect with their audience and drive traffic to their sites. Video offers an immersive experience that grabs your customers’ attention. It lets you show off your products and share your brand story. This way, you can build a…

[pangolinmarketing]

Unlocking Video Engagement: Essential Metrics to Monitor for Optimal Performance

Enhance your video strategy with these key metrics for monitoring engagement. Discover insights into viewer behavior, optimize content, and drive audience interaction. Stay ahead in the competitive digital landscape by tracking crucial performance indicators.

Visit https://pangolinmarketing.com/video-marketing-for-saas-product/

[kota07]

How Content Marketing Works?

Introduction:

Content creation & marketing has been a core part of Marketing for a long time. But what many people get wrong when creating a content marketing strategy is Storytelling!

Storytelling can be the difference between marketing that is impactful and something which is just another Ad on social media.

Needless to say, storytelling is not the only thing that is important for content marketing, there are many things that one has to determine when creating their content marketing strategy. Target audience, brand voice, consistency, quality, brand colours, type of content etc. In this article we’ll look at the needs & ways to create a content marketing strategy that works best for your brand & business.

Why do you need Content Marketing?

Content Marketing is the process of creating & distributing various types of content like videos, articles, social media posts, blogs etc. to attract the attention of your target audience, spread awareness about your brand & convert the same audience into loyal customers. 

Content marketing has been around since old times. From the town crier selling newspapers in the city square to the pop-up ads that you see after visiting a website. The most visible difference is the priority given to the way we market our content today.

Research shows that businesses with blogs get 67% more leads & 67% marketers claim to have seen an increase in leads due to B2B content marketing.

With the current algorithms of social media platforms which pushes short video content, Instagram reels & Youtube shorts have shown to be nearly 88% more effective when included in content marketing plans. 

Benefits of Content Marketing: 

Online Visibility

Better Lead Generation

Customer Loyalty 

Creating a Content Strategy from Scratch

To be able to take full advantage of content marketing one needs to prepare a well researched strategy. A usual content marketing strategy consists of the following: 

Goals & KPIs 

Determining Target Audience

Content Research & Type

Distribution Channels 

Re-evaluation & Optimizations

SEO’s role in Content Marketing

SEO or Search Engine Optimisation is the king of marketing your content organically to your target audience. Thus, it is imperative to optimise your content as per the latest SEO standards set by search engines like google chrome, firefox etc. 

It is also important to make sure that you:

Avoid keyword stuffing

Use relevant & specific keywords

Optimise meta-tags &  description properly

Content Marketing using A.I

Content Marketing is no exception to this, with A.I you can boost your work efficiency  in many stages of your plan, such as:

Automated Creation 

Personalisation 

Predictive Analysis

Evaluation & Measuring your Success

Understand that marketing is a never-ending process. This is because the factors that drive the market & the customers are always changing. Thus, making it detrimental to your content marketing efforts.

Measure your content’s marketing effectiveness by:

Tracking Engagement Metrics 

Monitoring Website Traffic 

Lead Generation 

Social Shares 

SEO Performance

[neturbizenterprises]

Supercharge Your YouTube Channel with VidIQ!

Unlocking YouTube success is within reach with vid IQ, the ultimate analytics and optimization tool designed for creators at any stage. This video dives into how vid IQ can supercharge our channels by enhancing keyword research, competitor analysis, and video performance insights. Whether we’re aspiring YouTubers or established creators, vid IQ offers features that help us optimize titles, descriptions, tags, and even thumbnails to boost engagement. With real-time statistics and trend alerts keeping us informed about what’s hot in our niche, it’s time to leverage these powerful tools for growth!

#VidIQ #YouTubeSuccess

[prokopetz]

It was inevitable that "can I pet the dog?" would evolve from a basic litmus test for a video game's willingness to permit the player to engage in non-productive interaction with the game's world to a cynical marketing device, but I think the basic idea is sound. We just need to refocus on types of non-productive interaction that are inherently unphotogenic or otherwise difficult to turn into marketable video clips, like "if the game's level layouts include bathrooms, can you use them?". I propose calling this the "Can You Shit" metric.

[ohnoitstbskyen]

re: Somerton

Not for nothing, but I think we should remember that James Somerton's fans and subscribers are normal people, just like you. They are people who received his output in good faith, and extended to him a normal amount of grace and benefit of the doubt, which he took advantage of.

I don't think it's helpful to respond to the exposé on Somerton with sentiments along the lines of "wow, how could anyone ever think THIS GUY'S videos were any good, ha ha ha, how did he ever get subscribers?" because 1) you have the substantial benefit of hindsight and a disengaged outsider perspective, and 2) it's a rhetoric that creates a divide between you (refined, savvy, smart, sophisticated) and Somerton's audience (gullible, unrefined, easily taken advantage of, terrible taste), which is a false divide, with a false sense of security.

Somerton's success happened because he stole good writing. He found interesting, insightful, in-depth work done by other people, applied the one skill he actually has which is marketing, and re-packaged it as his own. He targeted a market which is starving for the exact kind of writing he was stealing, and pushed his audience to disengage from sources that conflicted with him.

Hbomberguy makes this point in his exposé video: good queer writing is hard to find and incredibly easy to lose. The writers Somerton stole from were often poor or precarious, writing freelance work for small circles under shitty conditions, without the means or the reach or the privileges necessary to find bigger markets. And, as Hbomb demonstrated, when people did discover Somerton's plagiarism, he used his substantial audience to hound them away and dissuade anyone else from trying to hold him accountable.

He stole queer writing by marginalized people, about experiences and perspectives that people are desperate to hear more about, and even if his delivery and aesthetics were naff, his words resonated with people because the original writers who actually wrote them poured their goddamn hearts and souls into it.

Somerton also maintained a consistent narrative of persecution and marginalization about himself. He took the plain truth, which is that queer people and perspectives are discriminated against, and worked that into a story about himself as a lone, brave truth-teller, daring to voice an authentic queer perspective, constantly beset by bigots and adversaries who sought to tear him down. As @aranock, who works with some of the people he targeted, writes in this post, Somerton weaponized whatever casual bias and bigotry he could find in his audience to reinforce his me vs them narrative (usually misogyny and various forms of transphobia), which is what grifters do. They find a vulnerable thread in a community and pull on it. And while you may not have the particular vulnerability that he exploited, you do have vulnerabilities, and they can be exploited too.

People felt compelled to support him, even if his work was sometimes shoddy, because he presented himself as a vulnerable, marginalized person in need of help, he pulled on that vulnerable thread.

Again, he has a degree in marketing, and just like propaganda, nobody is immune to marketing.

YouTube as a system is set up to push for more, constantly more. More content, more videos, more output, more more more more, and part of Somerton and Illuminaughty's success was their ability to push out large amounts of content to the hungry algorithm, even if it was of inferior quality. The algorithm rewarded their volume of output with more eyeballs and attention, and therefore more opportunities to find people who were vulnerable to their grift.

It is a system which quite literally rewards the exact kind of plagiarism that they do, because watch-time and engagement are easily measurable metrics for a corporation, and academic rigor is not. There is pressure to deliver, and a lot of rewards to gain from cutting corners to do it.

Somerton and Illuminaughty and Internet Historian are extreme and very obvious cases, so blatant that you can make a four hour video essay exposing what they've done, but the vast majority of this kind of plagiarism isn't going to be obvious - sometimes it might not even be obvious to the people who are doing it. Casual plagiarism is endemic to the modern internet, and most people don't get educated on what the exact boundaries are between proper sourcing and quoting vs plagiarizing. We had an entire course module at my university aimed at teaching students the exact differences and definitions, and people still made good faith mistakes in their essays and papers that they had to learn to correct during their education.

All of this to say: it is extremely easy in hindsight to call Somerton's work shitty and shoddy, his aesthetics flat and uninspired, and to imagine that as a sophisticated person with good taste and critical faculties, you would never be taken in by this kind of grifter. It is extremely easy to distance yourself from the people he preyed on, and imagine that you will never have to worry about your fave doing your dirty like that.

But part of the point of Hbomberguy's video is that plagiarism is extremely easy to get away with, and often difficult for the average person to spot and call out, and with the rise of AI tools blurring the lines even further, it is not going to get any easier.

So I think we should resist the temptation to think of Somerton's audience as people with bad taste and poor faculties. We should resist the temptation to distance ourselves from the perfectly normal people he preyed on. Many times in your life, a modestly clever man with a marketing degree has fooled you too.

On a personal note, by the same token, I am resisting the temptation to assume that I am too good to be vulnerable to the systemic pressures that produced Somerton and Illuminaughty. No, I've never made a video by word-for-word reciting someone else's work, but I know for a fact that I could do a better job of double-checking my work and citing my sources. I feel the exact same pressure to get a video out as fast as possible, I have the exact same rewards dangled in front of me by YouTube as a platform, and I can't pretend it doesn't affect my work. To me, Hbomb's video felt like a wake-up call to do better.

[monkey-wrench-series]

One month on; The future of Monkey wrench as a fully animated indie series.

It’s been exactly one month since Ep 3 of Monkey was released to the public, and as the ever want to be as transparent as possible with indie production it’s time we sat down and had a very important discussion on the future of the series…

So, as we said above, one month has passed from the public release of episode 3, and everything hinges on how well it does.

Below are the metrics for it on Youtube;

Our hope was to have ep 3 hit 500k in two weeks. After 31 days we’re still under 470k views, ad rev as you can see is pitiful and engagement has evaporated. Maybe we set our hopes a little too high?

It’s not all doom and gloom though, this is the first ep to get this many views in this amount of time. Our patreon support has grown by 1/3 after the ep came out and our Scratch & Scritch plushies did ok, see images below;

So as of now, we have enough money for voices, sound and music for episode 4. Voice recording begins next week and I hope to start the animatic for the ep sometime after.

As for the animation portion of production… things are looking a little tricky.

As you should know, animation, especially frame by frame stuff like we do, it’s obscenely time intensive and expensive. For ep 3 we had a rough animation rate of $20.83 per 1 second of animation and the same for clean up with very minimal edits and redos.

Seeing the recent animation pay discourse has honestly shaken us up pretty bad, we had no idea how pitiful our pay had been compared to other indies and we in no way want to exploit anyone for their work on the series.

With both Ash and I putting everything we had saved in Eps 1, 2 and 3 and seeing how below average they’ve all performed and with how little we can afford to pay our animators, on top of burning myself out horrifically doing 3 eps in a row, we’ve sadly had to come to the conclusion that full animation for this series is no longer financially possible at our current support level.

That does not mean we’re stopping production, however.

There are two possible routes we can take;

Route 1; Animatic hybrid.

Over the past week and a half I managed to solo out 5 minutes and 15 seconds of animatic keyframe animation for our recently released outtakes video.

At our current support level I can do the animatic keyframe route for most of the mundane stuff in an ep, and then go into full animation for the ‘good bits’, that way we can pay our animators an actual decent wage. Over time if our support grows we can return to full animation.

Route 2: Kickstart ep 4 for $100k

We have thought about doing a kickstarter type thing to get the $100,000 we’d need for the animation portion of the ep. We want to pay our animators properly for their time and skill and this would be the best route to go if we want to have ep 4 fully animated.

However with our current viewership and engagement with eps 1, 2 and 3 I’m not sure we could hit a goal of $100,000 in the 30 days we need.

Is it a risk worth taking?

What would we do for rewards?

Physical rewards would take money away from animation production and things like animated rewards would take time away from myself working on the ep.

That’s pretty much where my mind has been at the past few days. I’d love to hear your input and thoughts on how you would like us to proceed.

[mintedwitcher]

in all seriousness, the tiktok ban is something that people should be concerned about in the US. censorship at this level is a major red flag and a surefire sign that you are living in a fascist state. the fact that this ban was also an act of political theatre is also something to be genuinely concerned about.

however.

the very few hours on tiktok where the Americans didn't have access, were genuinely some of the most peaceful hours on that app since its creation. for hours, there was no political infighting, no bots, no ads, no hate comments. I saw content from creators in countries that I never usually see, because my feed is usually so flooded with American content. and yes there were a lot of jokes at the Americans' expense, jokes about the metric system and people "auditioning" to "replace" popular American accounts. but none of it was aggressive, none of it was cruel.

meanwhile, today, with the Americans back on tiktok, I have seen nothing but anger and rage and hate. not levelled at Trump or the government, but at other people on tiktok. hate comments are back in full force. I scrolled past eight ads in the span of ten minutes.

and it's not just me. other people (non-Americans) have been trying to talk about how their feeds instantly got flooded with American content as soon as the ban lifted. there are videos now talking about how their comment sections have become full of cruelty again as soon as the Americans returned to the app.

all this to say. Americans, you might just be the problem. I'm not saying the ban is good, or that it should be reinstated. what I am saying, is that Americans need to seriously contemplate how they engage with content online, and how they engage with other people online, especially people who are not from America. because we had fun while yall were gone, and now you're back and all you want to do is scream in every single one of your videos about how we're so mean and so heartless and so hateful, when literally the hate disappeared - and reappeared - with you.

log off. disengage. consider your behaviour. and please for the love of all things good in this world, stop fucking yelling all the time. lower your goddamn volume, please.

[tainbocuailnge]

the thing with "rendering" and "polishing" and "cleaning up" your art is that the human brain actually loves it when there's some ambiguity in an image to use its pattern recognition on. years, decades, centuries of artists joking and complaining about how the sketch looked better than the finished thing, all because the sketch had that sweet unpolished ambiguity.

"rendering" is a tempting thing to chase because it is very easy to identify and quantify, including and especially for people who don't know all that much about art. "realism" in visual art is a metric that people grasp pretty much instinctively. you can tell the amount of detail something is rendered in regardless of if you can tell whether rendering this amount of detail meaningfully contributed to the work.

and i think the relative commercial popularity of "realistic" "clean" "polished" styles is because statistically a lot of people just don't engage with art all that often or intently, so their looking-at-art skills aren't developed enough to see how and why something more stylized or abstracted or indeed "unfinished" would be interesting or impressive. the amount and realism of the details rendered is easier to identify and quantify than the composition and color use and movement and so on. this is why we keep being presented with video games with ultra HD textures and hyperadvanced ray tracing and so on that look like shit, too. these are visual qualities that have numbers attached in a way that "style" does not.

that other post mentioning that specifically fanartists seem to often fall into this trap of exchanging a dynamic loose style for a stiff and polished one is, i think, because these fanartists are hobbyists, amateurs if you will, who at some point stop further developing their ability to look at art, and thereby their ability to quantify their own progress as an artist. technical skill is the easiest measure of quality, and if you don't develop an eye for the more abstract aspects of art, you won't be able to see your skill or lack thereof at employing those aspects. if your primary engagement with visual arts is looking at images of the guy from the show, then you don't necessarily /need/ a better eye for art to get your enjoyment, but without it you won't become better at making art either.

also, you can talk about "making weirder art" all you want, but that "weird" art is inherently in conversation with "normal" art by virtue of being called weird. what does it mean for art to be "weird"? if "normal" art is this type of technically skilled but visually uninteresting art, does that mean "weird" art is technically unskilled? there exist plenty of painstakingly rendered surrealist works. does it mean that any art that is visually engaging is "weird"? extremely traditional schools of art, the kind of classics that most anyone can agree are "real" art, the baseline of what should be considered art, are classics for a reason. what are you really saying when you call art "weird"?

thinking about all of this is, of course, a surefire way to become a pretentious elitist.

[doctor-yaoi-phd]

Confessions of a Rotten Girl MV References to Fujoshi and Yaoi Culture

0:13 In the background of Miku’s room we can see dakimakuras hung on the wall, as well as a poster of a bara esque character wearing a face mask. Dakimakuras, or body pillows, are a common piece of anime merchandise.

0:17 All of Miku’s speech bubbles within the video are stylized like manga bubbles, even using the same font (wildwords). Also, the object she’s holding behind her is a yaoi paddle, a long pine wood paddle that were sold in the mid to late 2000s as decorative props, but were also used by some convention goers to spank others as a prank. While they typically read ‘Yaoi’, ‘Seme’, ‘Uke’, or other similar terms, hers reads ‘sinner’.

0:24 We get a better look at the manga she’s buying in this scene. The illustration is of a man getting his pec grabbed, with “Knockers” written up at the top. The text on the front reads “The best ever.”, and is subtitled “Time to see some old man hole”. The character seems to be one of Hokawazu’s, an NSFW artist who appears to have drawn this image, or at least been referenced by it. Additionally, the cover advertises a free CD that comes with the manga. BL CDs are a form of media in the yaoi genre in which the story is constrained to an audible form. Audio dramas that can be either explicit or safe for work in their content.

0:34 The cream on their faces is a reference to the trope of frosting/cream being used as pseudo-semen to imply a sensual undertone to images that may otherwise be SFW (I believe, the aprons might also be a reference, but I’m not sure as to what). Also, Yuuma and Len are the only two of the five without frosting on their faces - they’re also the only two who aren’t sexualized throughout the MV, presumably because they’re Miku’s classmates and therefore high schoolers and most likely underage.

0:36 Lemon slices float upwards, referring to the Citrus Scale, an older metric of labeling explicit fan works. ‘Lemon’ in this context indicates that the work is erotic or explicit in nature.

0:40 Example of classic seme/uke dynamic. Note Kiyoteru’s smaller and less muscled frame, as well as his more pointed jaw as compared to Gakupo’s square chin. Gakupo’s lanyard reads ‘Soft Seme’, and the camera effects imply Miku is recording all of this. Additionally, the lyrics and the outfits the characters are wearing imply that they are students and faculty members at Miku’s school, which means she’s shipping real people, as Fujoshi’s are often criticized for doing.

0:43 This whole image is a Given reference.

0:44 The lyric “Just watch! Look beyond the smoke and mirrors” refers to shipping culture, and how some fans with theorize that their pairing would be canon if not for an outside acting force such as management, producers, writers, etc. The most popular example I can name in reference to this is the Johnlocke conspiracy.

0:47 Luka is scribbled out and labeled ‘Delusional’ by Miku, in reference to how female characters and actors tend to be treated poorly by some fans for ‘getting in the way’ of slash ships.

0:51-0:57 Kaito, Kiyoteru, and Gakupo are bound in bondage ropes, except for Gakupo, who is bound with jump ropes because he’s the gym teacher.

1:03 Miku is holding a Death Note, except it’s not a Death Note, it’s a ‘Yaoi Note’. May be a reference to Lawlight, a popular Death Note ship.

1:06 “The lord sayeth “halt thy child, don’t give into sin”” is a reference to how some Fujoshis have referred to yaoi as ‘sin’ in the past, and the act of engaging with it as ‘sinning’.

1:15 Omegaverse referenced on the chalkboard next to bananas and donuts; bananas referring to penises, donuts referring to assholes. Anal sex.

1:27 Rotten tomatoes, as are thrown in disapproval at a poor performance. At first I thought this was a Hetalia reference, but figured that might be a bit too deep of a cut. They’re also used in reference to the ‘rotten’ in ‘rotten girl’ (“rotten girl” is a translation of the word “Fujoshi”), rotten tomatoes for a rotten girl.

1:38 This whole segment is a Danganronpa references, a fandom with many popular slash ships.

1:43 Top left and right of the chalkboard are Ao3 symbols, specifically the ones for Explicit, M/M, Author Chose Not To Use Archive Warnings, and Completed Work.

2:00 Most of this is obscure to me, but if I were to hazard a guess, I’d say the fruit is referencing forbidden fruit (as brought up earlier in the song), the ping pong paddles yaoi paddles, and the tarts the desserts the boys were holding earlier.

2:10 MikuMikuBeam in the bottom right corner. Not yaoi, but a cute reference to another of Sawtowne’s works.

2:13 She’s using some website on the computers in the back, but the pixelation makes it hard to tell which. I’d guess maybe a manga reading website? But none I’m familiar with.

2:21 Refers to a trend on TikTok where the speed at which the circles are moving implies the speed at which the corresponding character is having sex (top or bottom).

2:25 Another reference to the Citrus Scale.

2:33 Penis in the reflection of her glasses.

2:52 And finally, slowburn is a fanfiction trope.

I probably missed a few, but these were the ones I was familiar enough with to speak on! Please stream Confessions of a Rotten Girl by Sawtowne :)

[pangolinmarketing]

Unlocking Video Engagement: Essential Metrics to Monitor for Optimal Performance

Enhance your video strategy with these key metrics for monitoring engagement. Discover insights into viewer behavior, optimize content, and drive audience interaction. Stay ahead in the competitive digital landscape by tracking crucial performance indicators.

Visit https://pangolinmarketing.com/video-marketing-for-saas-product/

#VideoEngagement#DigitalMarketing#MetricsMonitoring

[writingquestionsanswered]

how does one manage when there's no feedback, no engagement, no... anything? the last few things i've published have gotten zero. it's frustrating. it's discouraging.

Getting No Feedback/Engagement

It's frustrating when you put your work out there and don't get any engagement or feedback. However, what to do about it (if anything at all) depends on how you're publishing and what you want the feedback for.

Whether you're publishing books/e-books or publishing online via your blog or a fiction-sharing site like AO3, it's never a good idea to rely on reader comments for feedback to help you improve your writing. If you want feedback for improvement, it's best to utilize alpha and beta readers, critique groups, critique partners, and feedback exchanges with other writers.

If you want the feedback an engagement because you want to know that someone is enjoying your work, or because you want to make sure you're building a following, you'll need to spend some time learning how to build an audience on the platform you're using. It's so important to remember that there are over 6 million registered users on AO3, for example, and over 11 million stories. Kindle Direct Publishing on Amazon hosts a couple million authors, with millions of books being sold each year. Tumblr has 135 million active users with 21 million new posts created each day. So, you no matter where you're publishing your stories, there is an unimaginable amount of competition. Unfortunately, you can't just post your stories and expect people to flock to them. That's why it's so important to learn how to build an audience on the particular platforms you're publishing on, and then you'll want to learn how to utilize social media to help get your work out there. For example, if you publish on a fiction-sharing site or your blog, you'll want to make sure you're using all the right tags and other metrics to draw people to your story. It's also extremely important that you support and engage with other writers... read and comment on their stories, boost them when appropriate. You might also consider starting a social media page specifically to find more readers. For example, let's say you write Supernatural fic and post it to AO3. You might make an Instagram page for your fiction, post SPN related memes and content, and update potential readers when new stories go up. Again, symbiosis is super important. If you don't engage with others, they won't engage with you.

If you're publishing books/e-books, you'll want to spend some time learning the best ways to promote your books, which will include things like figuring out who your audience is and where to find them, learning the proper tags, figuring out what kind of advertising speaks to them most, and learning to create promotional images and videos.

No matter what, it's really a matter of taking the time to get your work out there and find your audience. Because regardless of where you publish, they're unlikely to find you if you don't do the work to find them first.

Best of luck! ♥

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[dentpx]

No because this is my metric for whether or not a Bojack analysis / video essay is worth engaging with because if they say anything like “Mr Peanutbutter represents the shallowness of Hollywood society because he asks how Bojack is but then leaves immediately” I do not want to hear it. You don’t GET IT. he has a short attention span. Because he’s a dog.

[srbachchan]

DAY 5973

Jalsa, Mumbai June 25/26, 2024 Tue/Wed 2:07 AM

Birthday - EF - Anamika Gupta .. 🙏🌹

Ef Özen Eren Wednesday, 26 June .. and all ur prayers and wishes for this special day for the Ef ..

the Agenda .. an act of predetermined thought and conveyance .. what shall bring attention recognition be the intent .. any express that can remotely be given the spin, and mastered is the guile and expertise of such ..

it is lamentable , ignominious to witness the impotency of content .. to somehow in any which manner , to be able to draw attention in storied form, just so it can be put up and seen or read , in favourable condition to them that devise it ..

devise .. for the right is not needed to be devised ..

pity ..

never ever underestimate the generation that follows , or is about to follow .. they are aware and alive to every situation and knowledged to hold their own in debate or discussion ..

we are enriched by the circumstance that often fall upon us .. and then we find a way .. even when there be none ..

"In today's digital age, the ubiquitous nature of content has paradoxically led to a dilution of its potency. With the democratization of content creation, anyone with an internet connection can produce and distribute information, leading to an oversaturation of the digital landscape. This phenomenon has profound implications, rendering content less impactful and more ephemeral.

First, the sheer volume of content available online has created a paradox of choice. Every minute, hundreds of hours of video are uploaded to platforms like YouTube, thousands of blog posts are published, and millions of social media updates are posted. This relentless flow of information makes it difficult for any single piece of content to stand out. The audience, overwhelmed by options, often resorts to skimming or entirely ignoring vast amounts of content, diminishing its overall impact.

Moreover, the quality of content has become highly variable. While the ease of content creation has empowered many voices, it has also led to an influx of low-quality, poorly researched, and sometimes misleading or false information. This glut of mediocre content competes with high-quality, well-researched pieces, making it challenging for audiences to discern value and trustworthiness. As a result, even content of genuine worth can struggle to achieve the recognition and engagement it deserves.

Another critical factor contributing to the impotency of content is the algorithm-driven nature of content distribution. Social media platforms and search engines prioritize content based on engagement metrics such as likes, shares, and comments rather than the inherent quality or informational value. This prioritization often leads to the virality of sensational, clickbait content at the expense of substantive, insightful work. Consequently, the attention economy favors superficial engagement over deep, meaningful interactions with content.

Additionally, the fast-paced consumption habits of modern audiences further erode the potency of content. The average attention span has dwindled in the face of constant digital distractions. People increasingly consume content in bite-sized formats, such as tweets or short videos, which limits their exposure to in-depth analysis or comprehensive narratives. This shift towards brevity undermines the ability of content to foster nuanced understanding or sustained engagement.

The commercialization of content also plays a significant role in its diminishing impact. Content marketing has become a dominant strategy for businesses, leading to a proliferation of branded content. While this can provide value, it also contributes to the noise and can sometimes prioritize promotional messages over genuine, informative content. The blending of editorial and advertising content can lead to skepticism and diminished trust among audiences, further reducing the impact of the content they encounter.

Lastly, the fleeting nature of digital content means that it often has a very short lifespan. Unlike traditional media, which could have a lasting presence, digital content is quickly buried under the avalanche of new information. This ephemeral existence means that even impactful content can be forgotten rapidly as attention shifts to the next trending topic.

In conclusion, the impotency of content in today's times is a multifaceted issue stemming from the overwhelming volume of information, variable quality, algorithm-driven distribution, changing consumption habits, commercialization, and the ephemeral nature of digital content. To reclaim the potency of content, creators and platforms must prioritize quality, foster trust, and find ways to engage audiences meaningfully and sustainably amidst the cacophony of the digital age."

Love and more ..

Amitabh Bachchan

[luxe-pauvre]

What we hardly talk about is how we’ve reorganized not just industrial activity but any activity to be capturable by computer, a radical expansion of what can be mined. Friendship is ground zero for the metrics of the inner world, the first unquantifiable shorn into data points: Friendster testimonials, the MySpace Top 8, friending. Likewise, the search for romance has been refigured by dating apps that sell paid-for rankings and paid access to “quality” matches. Or, if there’s an off-duty pursuit you love—giving tarot readings, polishing beach rocks—it’s a great compliment to say: “You should do that for money.” Join the passion economy, give the market final say on the value of your delights. Even engaging with art—say, encountering some uncanny reflection of yourself in a novel, or having a transformative epiphany from listening, on repeat, to the way that singer’s voice breaks over the bridge—can be spat out as a figure, on Goodreads or your Spotify year in review. And those ascetics who disavow all socials? They are still caught in the network. Acts of pure leisure—photographing a sidewalk cat with a camera app or watching a video on how to make a curry—are transmuted into data to grade how well the app or the creators’ deliverables are delivering. If we’re not being tallied, we affect the tally of others. We are all data workers. Twenty years ago, anti-capitalist activists campaigned against ads posted in public bathroom stalls: too invasive, there needs to be a limit to capital’s reach. Now, ads by the toilet are quaint. Clocking out is obsolete when, in the deep quiet of our minds, we lack the pay grade to determine worth.

Thea Lim, The Collapse of Self-Worth in the Digital Age

[guncelgun]

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