#vue storefront development

[elightwalk-technology]

Vue Storefront vs. Other E-commerce Solutions: A Comparative Analysis

The e-commerce market has become increasingly competitive, with many businesses turning to e-commerce solutions to keep up with their competitors. A comparative analysis between Vue Storefront and other e-commerce solutions involves evaluating various factors such as architecture, flexibility, scalability, performance, community support, and ease of use. With so many options, selecting your business's ideal solution can be challenging. 

In this blog post, we'll look at Vue Storefront, one of the most popular e-commerce solutions on the market, and compare it to other e-commerce solutions to see which one is best suited for your business. 

Vue Storefront is a modern, open-source e-commerce platform that helps businesses set up online stores quickly and securely. But how does it compare to other e-commerce solutions? Here's a comparative analysis of the features and benefits of Vue Storefront versus other e-commerce solutions.

Architecture:

Vue Storefront: Vue Storefront is a Progressive Web App (PWA) storefront built with Vue.js. It follows an API-driven approach, making it platform-agnostic and allowing integration with various backend e-commerce systems.

Magento PWA (PWA Studio): Magento PWA Studio enables the development of a PWA storefront using React.js. It works with the Magento backend, offering a flexible and modular architecture.

Shopify with Storefront API allows developers to build custom PWAs using their preferred technologies. It decouples the front end from the backend, providing flexibility.

Flexibility and Customization:

Vue Storefront: Known for its high flexibility, it empowers developers to create highly customizable and feature-rich front-end experiences. It supports various backend integrations.

Magento PWA (PWA Studio): Magento PWA Studio provides flexibility and customization options, allowing developers to extend and modify the storefront based on specific business requirements.

Shopify with Storefront API: While Shopify allows customization using the Storefront API, it may have some limitations compared to entirely headless solutions like Vue Storefront.

Scalability:

Vue Storefront: Vue Storefront is designed for scalability, supporting large product catalogues and high traffic. It employs caching strategies and optimized data fetching to enhance performance.

Magento PWA (PWA Studio): Magento is known for its scalability, and PWA Studio extends this scalability to the front end. However, performance optimization may require additional considerations.

Shopify with Storefront API: Shopify is highly scalable, and the Storefront API supports efficient data fetching and customization for improved performance.

Community and Support:

Vue Storefront: Vue Storefront has an active and growing open-source community. Regular updates, documentation, and support are available through forums and GitHub.

Magento PWA (PWA Studio): Magento has a large and active community, and PWA Studio is part of Magento's commitment to modernizing its front-end architecture.

Shopify with Storefront API: Shopify has a large user community, and the Storefront API is part of Shopify's commitment to providing headless commerce solutions.

Ease of Use:

Vue Storefront: Vue Storefront is known for its developer-friendly environment, but it might have a steeper learning curve for those less familiar with Vue.js.

Magento PWA (PWA Studio): Magento PWA Studio provides a modular architecture for developers but might require some learning for those new to Magento and React.js.

Shopify with Storefront API: with its hosted nature, Shopify can be more user-friendly for those seeking a managed solution. However, customization may have some limitations.

Selecting the right platform for your project can be tricky. It requires taking into account the specific demands of your venture, the degree of customization needed, and the development preferences of your team. Between Vue Storefront, Magento PWA, and Shopify each offer different advantages, so it is important to evaluate each one in the context of your particular project.

Elightwalk provide Vue Storefront services to our clients according to their needs in e-commerce, marketplaces, and content management systems. Our highly skilled team of developers will fulfil all your requirements regarding Vue Storefront development.

[addwebsolution]

Benefits Of Implementing PWA Technology For Ecommerce

As the adoption of PWA technology continues to increase, so will the demand for eCommerce businesses to implement these technologies in their operations.

The main reasons that retailers and brands are now embarking on this journey with the help of reliable Vue storefront development services are the myriad ways PWAs help them.

Here is a list of reasons how eCommerce PWAs help online businesses:

Better user engagement with push notifications

Just like a native app, PWAs can send push notifications to users. These notifications help ensure better user engagement and provide the users with timely updates on new product arrivals, offers and discounts, and shipment details.

Improved user adoption via home screen installation

PWAs can be said to be an amalgamation of native apps and websites. It brings all the performance and value of a native app without the hassles that come with it.

As PWAs can be installed easily onto the home screen on mobile phones, it becomes convenient for users to access them even more frequently.

PWAs are undoubtedly easy to use

With the advent of the latest technologies, such as Vue storefront PWA development, PWAs have become increasingly light. This attribute makes these PWAs easy to use by the users.

People want a better user and shopping experience. They would love to come back to your site more frequently when you offer just that.

Quick and effortless development

When you develop an eCommerce native app, it takes extensive effort. On the other hand, with the latest technologies like Vue storefront PWA development, the development is quick, hassle-free, and timely. And businesses are all for it. All they have to do is to find and hire Vue storefront developers that are experienced and established.

PWAs ensure better conversion

Improving your website’s conversion rate is another important factor that retailers are looking toward when implementing eCommerce PWA systems. With PWAs helping with better performance, the conversions will be better as customers will be more frequent in visiting your site because you offer a top-notch user experience.

Shorter development time and cost

When a business wants to enter the eCommerce industry, they need to work with an eCommerce development company for many months. The development process is extensive and expensive. However, with PWAs, the development time is very less. And you can work with any established Vue storefront development company to get your PWA live.

A PWA solution is one of the most effective ways to do this. With more businesses entering the eCommerce business model, it is imperative to implement a strategy to encourage your visitors to return again and again. And developing PWAs needs to be one of the major strategies you have in the pipeline.

As eCommerce PWAs have been specifically designed with your eCommerce business in mind, they leave you with little to no effort required to implement them.

You can speak to our client support team if you want to work with a leading service provider in the field offering top-notch and customized Vue storefront PWA development support.

We can help you with the best Vue storefront development services and strategies to take your online business to the next level.

This article was originally published on AddWeb Solution

[john-carle123]

10 Best Platforms for Headless Commerce: Your Guide to E-commerce Superpowers

Hey there, e-commerce trailblazer! Are you ready to give your online store a serious upgrade? Buckle up, because we're about to dive into the world of headless commerce platforms – the secret weapons that'll turn your digital storefront into a lean, mean, selling machine!

Why Go Headless? The Superhero Transformation Your Store Needs

Before we jump into our top 10 list, let's chat about why headless commerce is the hottest trend since sliced bread hit the shelves. Imagine your online store is like a LEGO set. With traditional e-commerce, you're stuck with a pre-built model. But headless? It's like having infinite LEGO pieces to build whatever your heart desires!

Headless commerce separates your store's pretty face (the frontend) from its brain (the backend). This means you can switch up your store's look faster than a chameleon in a candy store, all without messing with the behind-the-scenes magic.

Now, let's meet the superstar platforms that'll help you achieve this e-commerce nirvana!

Shopify Plus: The Cool Kid on the Block

First up, we've got Shopify Plus – the varsity quarterback of headless commerce platforms. It's like the Swiss Army knife of e-commerce: versatile, reliable, and oh-so-powerful.

Why You'll Love It:

Plays nice with any frontend framework (React, Vue, you name it!)

Storefront API that's smoother than a fresh jar of Skippy

Scalability that'll make your head spin (in a good way)

Perfect For: Brands that want to grow faster than Jack's beanstalk, without the technical headaches.

BigCommerce: The Flexibility Guru

Next up is BigCommerce – the yoga instructor of headless platforms. It'll bend over backward to give you the flexibility you need.

Why It's Awesome:

API-first approach that developers drool over

Multichannel selling capabilities that'll make you feel omnipresent

Open architecture that welcomes third-party integrations with open arms

Ideal For: Businesses that want to sell everywhere from Instagram to eBay, without breaking a sweat.

Magento Commerce: The Customization King

Magento Commerce struts in like a tailor with an endless supply of fabric in ecommerce development. Want a bespoke e-commerce suit? Magento's got you covered.

What's to Love:

Customization options that'll make your head spin (in the best way possible)

Robust B2B features for those serious business dealings

A community larger than a small country, always ready to help

Perfect Match For: Enterprises that need a platform as unique as their fingerprint.

Contentful: The Content Maestro

Contentful isn't just a platform; it's like hiring a content orchestra conductor for your headless symphony.

Why It Rocks:

Content modeling that's more flexible than a gymnast

API-first approach that plays well with others

Multilingual support that'll make your store a global sensation

Ideal For: Brands where content is king, queen, and the entire royal court.

Commercetools: The API Whisperer

If APIs were a language, Commercetools would be fluent in all dialects. It's the platform for those who dream in JSON.

What Makes It Special:

Microservices architecture that's more modular than a LEGO set

Cloud-native design for that sweet, sweet scalability

Flexible data model that adapts faster than a chameleon on a disco floor

Perfect For: Tech-savvy brands that want to build their e-commerce empire from the ground up.

Elastic Path: The Composable Commerce Champion

Elastic Path is like the cool art teacher who encourages you to break the rules and create your masterpiece.

Why You'll Dig It:

Composable commerce approach for ultimate mix-and-match fun

Hypermedia APIs that make integration a breeze

Business user tools that empower your whole team

Ideal For: Innovative brands that want to color outside the traditional e-commerce lines.

Saleor: The Open-Source Dynamo

Saleor bursts onto the scene like a caffeinated coder at a hackathon – full of energy and open-source goodness.

What's to Love:

GraphQL API that's developer catnip

React Storefront for speedy PWA development

Did we mention it's free and open-source?

Perfect Match For: Startups and developers who want powerful features without breaking the bank.

Fabric: The Headless Commerce Tailors

Fabric is like having a team of e-commerce tailors on speed dial, ready to stitch together your perfect platform.

Why It's Fabulous:

Modular architecture that lets you pick and choose features

Experience management tools for non-techies

PIM, OMS, and other acronyms that'll make your operations silky smooth

Ideal For: Mid-market and enterprise brands looking for a tailored headless solution.

Nacelle: The Speed Demon

Nacelle zooms in like a cheetah on roller skates, promising speed that'll make your competitors' heads spin.

What Makes It Zoom:

Blazing-fast PWA storefronts that load faster than you can say "add to cart"

Pre-built integrations for popular tools and platforms

Data orchestration that's smoother than a jazz quartet

Perfect For: Brands obsessed with performance and ready to leave slow load times in the dust.

Netlify Commerce: The Jamstack Jammer

Last but not least, Netlify Commerce struts in like a rock star, ready to make your Jamstack dreams come true.

Why It Rocks:

Seamless integration with Jamstack architecture

Git-based workflow that developers will swoon over

Built-in CI/CD for deployments smoother than butter

Ideal For: Tech-forward brands that want to ride the Jamstack wave to e-commerce success.

Wrapping Up: Your Headless Commerce Adventure Awaits!

There you have it, folks – the crème de la crème of headless commerce platforms! Each one is like a different flavor of ice cream in the e-commerce parlor. Some are rich and complex, others are simple and sweet, but they're all designed to give your online store that extra scoop of awesome.

Remember, choosing a headless commerce platform is like picking a dance partner. You want one that matches your rhythm, understands your moves, and helps you shine on the e-commerce dance floor.

So, which platform has caught your eye? Are you ready to go headless and give your online store superpowers? The world of flexible, fast, and fabulous e-commerce is waiting for you!

Now, go forth and conquer the digital marketplace, you headless commerce hero! Your e-commerce adventure is just beginning, and trust me, it's going to be one heck of a ride!

[pcplblogs]

Tips For Future-Proof Website Development

Ensuring that your website design is future-proof is essential to start with planning for a website for your business.

Simply building a website and hoping for the best won't cut it. Savvy businesses and organizations understand that constructing an office complex requires the right foundations, plumbing, and air conditioning to ensure the building remains relevant for years to come. The world of web development mirrors this reality, as websites are akin to valuable real estate on the internet.

What should be top of mind when embarking on a new web development project or contemplating updates to your existing site?

Having a robust online presence is crucial for businesses and individuals alike. Your website serves as a virtual storefront, and as your online traffic and user base grow, you need to ensure that your website can scale to meet these demands. Future-proofing your website with the help of Website development services in California is essential to keep it running smoothly and to avoid costly redevelopments down the line.

Tips for scaling a website that professional developers can help you with-

Embrace a Scalable Architecture- When you first build your website, consider the architecture. Choose a content management system (CMS) or framework that is known for scalability. WordPress, Drupal, and Laravel, for instance, have strong communities and a wealth of plugins and extensions to help you scale. Also, opt for cloud hosting solutions like AWS, Google Cloud, or Azure, which offer the ability to scale resources as needed.

Optimize for Performance- Website speed and performance are crucial for user experience and SEO. As your site scales, you'll need to optimize its performance continually. Images need to be compressed, HTTP requests minimized, and browser caching leveraged. Use a content delivery network (CDN) to distribute your site's content to servers around the world, reducing loading times for users, regardless of their location.

Mobile Optimization- With an increasing number of users accessing websites from mobile devices, it's essential to have a mobile-responsive design. Ensure your website is not only visually appealing on smaller screens but also optimized for speed. Google's mobile-first indexing also emphasizes the importance of mobile optimization for SEO.

Use a Decoupled Architecture- Decoupling your front-end and back-end with the help of Website development services in Sydney can enhance scalability. With this approach, your website's presentation layer (front-end) and data management (back-end) are separated. This allows you to scale each independently. You can use JavaScript frameworks like React or Vue for the front end and powerful back-end systems like Node.js or Django to handle data.

Invest in Content Delivery- Content is king, and as your website grows, managing and delivering content efficiently becomes critical. Implement a robust content management system (CMS) and utilize a headless CMS if necessary. A headless CMS allows you to store and manage content independently from the front end, facilitating scalability and content distribution.

Security and Data Protection- With scalability comes increased exposure to security risks. Regularly update your website's security protocols, use SSL certificates for data encryption, and employ a web application firewall (WAF) to protect against cyber threats. Make sure you have a robust backup and recovery plan in place as well.

Plan for Traffic Spikes- Your website may experience sudden spikes in traffic, especially during special events or marketing campaigns. Website development services in California will help you stay prepared to handle such situations by setting up auto-scaling for your server resources. Cloud providers offer auto-scaling features that automatically adjust server capacity to meet traffic demands.

Regular Testing- Continuously test your website's performance, security, and user experience. Implement load testing to determine how well your site handles high-traffic volumes. Regularly check for broken links, errors, and compatibility across browsers and devices.

Monitoring and Analytics- Implement monitoring tools to keep a close eye on your website's performance and user behavior. Tools like Google Analytics can help you understand your audience and make data-driven decisions to improve user experience and scale effectively.

Stay Up-to-Date- Web technologies evolve rapidly. Keep an eye on industry trends, and be ready to adapt. Regularly update your CMS, plugins, and frameworks to benefit from the latest features, improvements, and security patches.

Scaling your website for future-proof development is an ongoing process. By focusing on the tips mentioned above and hiring a reliable Website development services in California to support the task, you can ensure your website remains efficient, secure, and responsive, even as your audience and demands grow.

The key is to be proactive, embrace change, and continually invest in the future of your digital presence.

[fredikjohn]

The Art and Science of Web Development: A Comprehensive Guide

Introduction

In the digital age, the online presence of any business or organization is paramount. Your website is often the first point of contact for potential customers, clients, or users. It's not just a digital storefront; it's a platform to communicate your brand, deliver services, and engage with your audience. The success of your online venture depends on the art and science of web development. In this article, we'll explore the world of web development, its importance, and key considerations for creating a successful online presence.

The Foundation of Web Development

Web development encompasses the creation, enhancement, and maintenance of websites. It involves a combination of creative design, logical programming, and technical implementation. Let's dive into the fundamental elements of web development:

1. Front-End Development: Front-end development focuses on the user interface (UI) and user experience (UX) of a website. It involves designing the visual layout, navigation, and overall aesthetics to create an engaging, user-friendly experience.

2. Back-End Development: The back-end is the engine behind the scenes, handling server-side operations, databases, and application logic. It's responsible for data storage, security, and the functionality of the website.

3. Full-Stack Development: Full-stack developers are skilled in both front-end and back-end development. They can create a cohesive, end-to-end solution that combines design and functionality seamlessly.

Key Considerations in Web Development

1. Responsive Design: In the mobile-first era, your website must adapt to various screen sizes and devices. A responsive design ensures that your site looks and works well on smartphones, tablets, and desktop computers.

2. User Experience (UX): User experience is the heart of web development. Intuitive navigation, fast loading times, and visually appealing layouts are essential to keep visitors engaged and satisfied.

3. Content Management Systems (CMS): Many websites are built on CMS platforms like WordPress, Drupal, or Joomla. These systems simplify content creation and management, allowing non-technical users to update their websites easily.

4. Web Performance: Site speed and performance significantly impact user satisfaction and search engine rankings. Optimizing images, reducing HTTP requests, and employing content delivery networks (CDNs) can enhance your website's performance.

5. Security: Cybersecurity is a critical concern. Protecting your website and user data from threats like hacking and data breaches is vital. Regular updates, strong passwords, and secure coding practices are essential.

6. SEO (Search Engine Optimization): Your website must be discoverable on search engines. Implementing SEO best practices, such as optimizing content, using relevant keywords, and acquiring quality backlinks, will improve your site's visibility.

7. Scalability: As your business grows, your website must be able to scale with it. Plan for future growth by designing a scalable architecture that can handle increased traffic and functionality.

8. Testing and Quality Assurance: Thorough testing is essential to identify and fix issues before launching your website. Conduct usability testing, cross-browser testing, and performance testing to ensure a seamless user experience.

9. Accessibility: Ensure that your website is accessible to all users, including those with disabilities. Following web accessibility standards (e.g., WCAG) is not only inclusive but also a legal requirement in many places.

The Evolution of Web Development

Web development is a dynamic field that constantly evolves to keep up with changing technologies and user expectations. As we move forward, emerging trends such as Progressive Web Apps (PWAs), serverless architecture, and the adoption of JavaScript frameworks like React, Vue, and Angular are shaping the future of web development.

Phone: +91 7975244680

Email: hello@rectoq.com

Website: https://rectoq.com/

[noitechnologie]

One of the best aspects of Vue StoreFront development is that it provides an architecture that is free from the interdependence of backend and frontend, allowing businesses to focus on better consumer experiences.

[meghanironak]

An outline of Progressive Web App improvement

Conventional portable applications don't appear to work any longer. The quantity of applications in the App Store and Play Market is predominantly colossal. This is a test both for organizations, who need their applications to be noticeable, and for clients, who attempt to discover the application they need. 

Also, the improvement of customary portable applications is expensive and tedious, while the client experience is slow and tangled. 

To address these issues and to give ideal business openings and client experience, Progressive Web Apps enter the game. What is pwa development. For what reason does reformist web application advancement comprise what's to come? What does a reformist web application advancement organization do? We will respond to these inquiries in this article. 

What Are Progressive Web Applications? 

In the least difficult terms, a reformist web application is a site made to look like an application introduced on your cell phone, PC, tablet, or work area. 

pwa development company is a bunch of ideal programming improvement rehearses pointed toward making a web application work likewise to a portable or work area application. Additionally to a versatile application, PWAs send pop-up messages and have a symbol on the home screen. Simultaneously, reformist web applications are easier and quicker than customary versatile applications, and they can be shared through a URL hire vue storefront developer.

Reformist web application engineers enhance web applications since they give application like route and great visual substance. This is carried out with the assistance of javascript records, called administration laborers, which empower disconnected execution of the application and disconnected data stockpiling.

[elightwalk-technology]

Unlocking E-commerce Potential with Shopify Headless Development

Shopify has become a popular e-commerce platform for businesses of all sizes. Its UI/UX interface and customizable features make it easier than ever for companies to establish an online presence. However, some businesses are now turning to Shopify Headless Development to unlock even more potential for their e-commerce websites. As the e-commerce industry continues to evolve, the demand for more advanced and flexible solutions has also increased.

Headless development is a relatively new concept in e-commerce. Simply, it refers to separating a website's front and back end. Usually, when a customer visits an e-commerce store, the platform's front and back end work together to provide a seamless shopping experience. However, with headless development, the front end (what the customer sees) and back end (the engine that powers the store) are disconnected, and each can be managed independently.

So, what does this have to do with Shopify? Traditionally, Shopify has been a platform that handles both the front and back end of an e-commerce store. However, with the rise of headless commerce, Shopify Plus (the enterprise-level version of Shopify) now allows merchants to separate the front end from the back end while still integrating with Shopify's robust backend functionality.

This means businesses can now build online stores using any frontend technology they prefer, such as React, Angular, or Vue. This flexibility allows developers to create a more customized and unique user experience than traditional Shopify stores. It also means merchants can integrate their Shopify store with other content management systems (CMS) or use a custom-built frontend that better aligns with their brand's aesthetic.

Critical Benefits of Shopify Headless Development:

1. Flexibility and Customization: With Shopify Headless, developers can design and tailor the user experience to specific brand requirements. From unique storefronts to personalized checkout flows, the possibilities are endless.

2. Enhanced Performance: By leveraging modern frontend frameworks, Shopify Headless ensures blazing-fast page load times and seamless user interactions, leading to higher engagement and conversion rates.

3. Scalability: Scalability is paramount as businesses expand. With Shopify Headless, accommodating growing traffic, expanding product catalogues, and integrating complex functionalities becomes seamless while maintaining optimal performance.

4. Omni-channel Integration: Seamlessly integrate your e-commerce platform with various channels, including mobile apps, social media platforms, IoT devices, and more, providing customers with a unified shopping experience across touchpoints.

5. Future-proofing: Embracing Headless architecture future-proofs your e-commerce infrastructure, allowing you to adapt quickly to emerging technologies and market trends without overhauling your entire platform.

Getting Started with Shopify Headless:

Embarking on a Shopify Headless journey requires careful planning and execution. Here are some steps to kickstart your Headless development:

A. Define Your Objectives: Clearly outline your business goals, target audience, and desired user experience to inform your Headless strategy effectively.

B. Choose the Right Tools: Choose the headless CMS, frontend framework, and other technologies based on your development experience and project requirements.

C. API Integration: Use Shopify's robust APIs to easily include order processing, inventory tracking, and product administration into your frontend application. This guarantees improved operating efficiency and seamless connection.

D. Design and Develop: Leverage the flexibility of Headless architecture to create stunning, user-centric interfaces that reflect your brand identity and drive engagement.

E. Testing and Optimization: Thoroughly test devices and browsers to ensure compatibility and usability. Use performance analytics and user input to iterate and optimize your headless configuration.

Embrace the Future of E-commerce with Shopify Headless Development:

Shopify Headless Development empowers businesses to transcend traditional e-commerce boundaries, unlock creativity, and deliver unparalleled shopping experiences. By decoupling the frontend presentation layer from the backend infrastructure, companies can achieve accessibility, scalability, and performance in online retail endeavours. Stay ahead of the digital curve with Shopify Headless for e-commerce.

[thehauntologicalsociety]

The body is under threat in the city—The cinema is under threat in the city—The digital city is antipathetic to both ...

1.

In early 2016 I was standing in the ballroom of the Duke of Cornwall Hotel in Plymouth (UK), chatting with a kilted Dee Heddon, co-founder with Misha Myers of The Walking Library (see Heddon & Myers 2014), and waiting for a performance of a scabrous Pearl Williams routine by Roberta Mock, author of a key account of walking arts (2009, 7-23). Conversation drifted to films and Dee wondered what kind of resource for wandering a passion for movies might offer.

It was an appropriate space for Dee’s question. The ballroom is on the ground floor of the hotel, which rises to an impressive tower topped by a single room. It was to this room that Roberta’s partner, Paul, and I had gained access on a ‘vertigo walk’ some years previously. We had walked from Paul’s childhood home town of Saltash on the other side of the Hamoaze, a stretch of the River Tamar, into Plymouth. This involved us crossing high above the river gorge on the 1961 road bridge. Although he had crossed this bridge many hundreds of times by car and bus, Paul, susceptible to vertigo like myself, had never walked it before.

Having successfully negotiated the bridge, we sought out all the highest points in the city that we could access. The manager of the Duke of Cornwall led us up winding stairs and opened the room in the tower for us. A telescope stood at a window; above the bed (and this was after 9/11) hung a framed photograph of the twin towers of the World Trade Centre in New York. I might have thought of ‘Wolfen’ (1981), or the anachronistic underwater shot of the twin towers in Tim Burton’s 2001 ‘Planet of the Apes’, or ‘Man on Wire’ (2008) even, but the opening scene of Fulci’s ‘Zombi 2’/Zombie Flesh Eaters’ (1979) was how I immediately cross-referenced through film what I was feeling on coming into the room; to be precise, the moment when the music reaches its climax not for the monster, but for the Manhattan skyline. Flying in the face of Ivan Chtcheglov’s assertion that “[W]e are bored in the city, there is no longer any Temple of the Sun”, in Fulci’s movie solar rays spill from behind the twin towers, just as they have from behind the zombie cadaver. The two monoliths cancel each other out and the movie almost stalls before it can begin; landscape and body equally ruinous.

2.

I want to propose that by systematically drawing on such associations – of the ambience, shape or narrative of particular places with memories of movies – the effectiveness of a certain kind of political and critical walking can be enhanced. Ironically, this walking springs from the dérive of the Lettrists/situationists who, subsequent to their exploratory walking, developed a theory of the ‘Society of the Spectacle’, a deeply negative attitude to the predominance of the visual, and produced anti-art and anti-cinema works like ‘Hurlements En Favour De Sade’  (1952) in which the screen throughout is blank, either dazzling white or dark. While what follows skirts a narrow adherence to the asceticism of later situationist theory, drawing upon the Lettrist/situationist experimentation with art processes recovered in more recent publications such as McKenzie Wark’s trilogy (2008, 2011, 2103), it also implements the orthodox situationist technique of détournement, hacking up and depredating the movies drawn upon and redeploying their images, themes and narratives in ways that are often aggressively at odds with their makers’ intentions.  

3.

The body is under threat in the city. The cinema is under threat in the city. The digital city is antipathetic to both. The cinema offers the urban walker a chance to return as an immanent and imaginative body to the city.

Stephen Barber, in considering the turbulent confluence of body, performance, film and digital screens, makes this damning assessment of the contemporary city: “[T]he city’s surface, as a scoured and excoriated environment.... precludes and voids the eruption of performance acts.... forming an exposed medium that is already maximally occupied with such visual Spectacles as digital image-screens transmitting corporate animations, along with saturated icons, insignia and hoardings.... surface has no space for the corporeal infiltration of performance, unless that performance is commissioned.... to fully serve corporate agendas” (2104, 89). Barber’s portrait of urban surface is extreme, but it explains the absurd policing of image-making and the suppression of the most innocuous of non-retail behaviours by mall security guards, the tendency, akin to conspiracy, among consumers to mistake advertising logos for ornament and the strange brutalist sculptural contraptions placed to inconvenience rough sleepers.

When the screen was digitised, the Society of the Spectacle became architectural. A new intensity to the integration of the Spectacle (Debord 1998, 8), beyond and subsuming free market and authoritarian manipulation, now commits it to an invasive, algorithmic pursuit of the preferences of the online majority. An authoritarian redesign of the city, complementing the ‘nudge units’ of its happiness industry, is under way; engineered to encourage the preferences that the Spectacle prefers. This new city space wraps free market around free interiority; then, by scandal-dramaturgy and pseudo-spirituality, it demands a confessional revealing of all things to the Spectacle’s algorithms.

Against such tides, I want to propose a means of ambulant, contemplative and corporeal resistance, drawing upon the anachronisms of the cinema screen, on an unsentimental deployment of our memories of movies, and on our walking bodies. I want to propose that we, walking artists, pedestrians, anyone who will listen, should perform our walking; as a matter not of life and death, but as part of the struggle between vivacity and morbidity; in resistance to a society that seeks to exploit not just our labour, but our entire lives. We should “perform” our walking because in this mode it is “integrally concerned with survival.... not necessarily its [performance’s] own survival as a medium.... but always of the body, and of the inhabitable spaces of corporeality in the digital world” (Barber, 2014, 211). Such talk of survival signals just how antagonist circumstances are for the immersive walker, repeatedly prodded for digital access or visual seduction. The luxury, once, of distinguishing between the heightened and super-sensitised walk of the derive or flânerie or whatever we want to call it and the humdrum everyday shopping trip or walk to the call centre has increasingly withered; the new city centre surface is an intense, demanding and closely woven battleground. Where, before, an exulting in finding the accidental poetry of damaged signs, long-abandoned esoteric communications or dust from Mars all constituted a little taking back of the surplus joy and ecstasy extracted from their production on the part of the sensitised walker, the digital city changes that relation. Now we are not only consumers, but the unpaid producers of what we pay to consume – our reflections on or images of the pleasures of our latest ‘drift’ are turned through the alchemy of social media into instantly scalable and exploitable product – and the deficit is already so wide that being able to perform a heightened journey through the city is no longer about bonus additions to the pleasures of everyday life, but about the survival of our subjectivities and of the meaningfulness of our agency.

I am not suggesting that cinema is a unique resource; nor that the films cited below could not be replaced by better ones, nor that a subjective choice of films by any walker is not more important than an argument over the objective worth of any one film over another. There may be similar resources to be found in obscure branches of religious iconography, in literature or philosophy, in gaming or in folk traditions. What makes film such a valuable resource is its availability in multiple forms, its formal self-entanglements, its susceptibility to a spectatorial-edit and the historical architecture of its projection: that large, off-white and flawed screen. Carrying a memory of that fragile means of crude reflection, mediating the plethora of images in your hoard of movie memories, constitutes a ‘screenplay’ by which to act the streets and perform your own trajectory through them; preserving by enacting your memories and subjectivity, without revealing anything to either security guard or digital algorithm; walking discreetly with morphing hallucinations, learning to look through multiple eyes and settling, eventually, on long shots and gentle pans.

To make my argument for a cine-dérive, I will reference a number of movies and a few key concepts: unitary urbanism, actuality, ‘anywhere’, doubleness, the released or floating eye, separation, landscapity, effacement and totality.                              

4.

In 2008 at the Vue in Exeter I attended a midnight showing of ‘The Mist’, directed by Frank Darabont and based upon a Stephen King story. Those of us present were considered questionable enough to be repeatedly monitored by an anxious cinema manager; standing to the side of the screen. The movie’s paranoid narrative was thus enhanced. Halfway through the screening, the imagery of the genre movie was loosened; at a moment when the screen itself suddenly re-appeared from behind the movie as a blank.  

The eponymous miasma of ‘The Mist’ makes its appearance early on in the movie and hangs around until just before the final credits. It seems to watch the movie’s characters; just as, that night, the manager was watching us. At one point the camera drifts, as if it is the viewpoint of the mist itself, across a glass storefront behind which fugitives from the mist’s deadly inhabitants are sheltering. A miasma looking through transparency! When a handful of the survivors briefly leave the store, the moment occurs: the characters (in search of medicine in a neighbouring building) disappear into the mist. For a few seconds there is only whiteness on the screen; indeed, there is nothing on the screen! The screen itself emerges from behind the colour reflections of the projection, reaching through the image directly to the cinema-goer. Of course, this effect does not occur for anyone watching a streamed or dvd version, but in the cinema, at the moment of stripping away, the film enters itself, becomes its own subject, the confined melodrama of the besieged store falls away: cars, road signs and even a freeway appear like sketched line drawings, almost not there at all. A beast of extraordinary scale appears and looms, indifferent, a mass of extraneous claws; a gigantic Spectacle just passing through.

There is something Deleuzian about this screen landscape, a kind of ‘anywhere, anytime’ where “a collection of locations and positions which coexist independently of the temporal…. moves from one part to the other, independently of the connections and orientations which the vanished characters and situations gave to them” (Deleuze, 2005: 123). This space – or rather the making of this space from representations of place (the cinema’s counter-digital alchemy) – subverts, within an un-subversive film, cinema’s privileging of “the human face, the human body, the relationship between the human form and its surroundings, the visible presence of the person in the world” (Mulvey, 1993: 114-115), effacing what Delueze calls “landscapity”, the characterisation of the landscape as face-like, replacing it with a barely tangible, elusive, ideal and unscalable space that resists reproduction. From this negation emerges a screen that is more like a translucent membrane or a cloud of dust than a reflecting and re-presenting mirror.  

5.

Landscape is rarely filmed without the representation of human form, character or mind. This is partly a residue of the romanticist practice of ‘pathetic fallacy’ and of the correlationist tendency in phenomenology; the idea that objects have influence, not as a result of the properties inherent in them, but as a result of those imagined for them. In an ‘experimental’ film like Nina Danino’s ‘Temenos’ (1998), consisting almost exclusively of long shots of sites associated with apparitions of the Virgin Mary, or critical films like Patrick Keiller’s ‘Robinson’ trilogy (1994, 1997, 2010), of which Iain Sinclair writes “(M)ovement becomes a function of voice” (25), or a mainstream mystery-movie like M. Night Shyamalan’s ‘The Happening’ (2008) in which landscape and climate are granted autonomous agency, it is still the human discourses about these landscapes – through consecration, narration or fear – that predominate. The vibrancy of objects, as vividly expressed by neo-vitalists or Object-Oriented Ontologists, only very occasionally permeates cinema.    

A rare exception is the brief fūkeiron (landscape theory) movement in Japan. Its seminal movie, ‘AKA Serial Killer’ (Ryakushô renzoku shasatsuma, 1969), the work of a number of filmmakers including Adachi and Matsuda Masao, consists entirely of a series of fixed shots, with (mostly lateral) pans, of locations in Japanese cities: pedestrians come and go, trains arrive and leave, alleyways and jazz clubs are deserted. An intermittent voiceover describes the rationale for these shots: they follow the life trajectory of teenager Nagayama Norio who in 1968 murdered four people in a chaotic crime spree. The sequence of shots tracks Nagayama’s rootless wandering across Japan after leaving his rural home.

The movie rejects not only the sensationalism of the Japanese media coverage of Nagayama’s case, but also the ‘rapid fire’ editing and frantic scenes characteristic of contemporary militant Japanese counter-cultural documentaries. ‘AKA Serial Killer’ was filmed at a time of violent student uprisings, with which the film makers were in general sympathy, and it is against images of the violent clashes between thousands of riot police and armed and helmeted students that the film was expected to be ‘read’. By adopting a method similar to the ‘actuality’ films of the very early pre-dramatic cinema, Adachi and Matsuda seek to shift an attention already attuned to violence to find it within the repetitions, circulations and orderings of un-dramatic urban goings-on; in the “mechanisms of control and governance built into the everyday environment.... which operates through subtle, noncoercive, and economic forms of policing and managing the urban population”. What the movie shows is “[W]hat remains in place after the departure of the student protestors and riot police.... the ubiquitous presence of the state” (Furuhata, 118, 138).  

The calm, but critical viewing that ‘AKA Serial Killer’ solicits, by playing a simple, sparse and spectral documentary narrative across the relentless flows of homogenous, economic cities, encourages the viewer (and dériviste) to learn to be static in the city, to be in a state of ‘static drift’, to allow the streets to pan slowly by, to ignore the blurs of what passes close up and focus on what is ‘background’ and that is, for once, the main performer. This calm and stable viewpoint pre-empts the cool and indifferent gaze of the fixed video surveillance cameras that makes geographical and dreadful the blighted town of Santa Mira in ‘Halloween III’ (1982), and haunts the characters of Michael Haneke’s ‘Hidden’/’Caché’ (2005) with a shared memory of violence.  

Matsuda Masao remarks that when the film makers were considering Nagayama’s story “we became conscious of the landscape as the antagonistic ‘power’ itself”. Inverting Walter Benjamin’s description of an early Parisian photographer representing landscapes as if they were the deserted scenes of crimes, they “filmed crime scenes just like landscape [photographs]” (Furuhata, 135, 134); thus making viewers detectives in the city, but turning around (détourning) the usual function of a detective and redeploying their forensic skills to examining a suspect state’s undemonstrative coercion. By shifting focus from the state’s human agents (riot police, etc.) the portrayal of the state is rendered hyper-materialist; not a human ordering of neutral and inert materials but the order of certain materials imposed (or adopted) on the humans – “to grasp oil as a lube is to grasp earth as a body of different narrations being moved forward by oil” (Negarestani, 19) – by which the state becomes landscape.

By drawing on a memory of such restrained filming of ‘backgrounds’ as agents, a critical walking becomes more possible. The walker becomes the camera, not simply walking in response to the terrain, but with a particular, cinematic discipline of looking; in this case, one that detaches itself from the narrative-of-the-walk that is often generated by exploratory and hyper-sensitised walking. For radical walkers, this means that rather than seeking out spaces and relations where social violence becomes explicit, spectacular and reproductive, they can watch for the behaviours of materials that organise violence in an undemonstrative way, where relations can be disrupted or diverted by the gentler means of installation, sabotage, détournement and re-telling.        

In Nagisa Ôshima’s ‘The Man Who Left His Will On Film’ (1970), fūkeiron filmmaking is criticised by student radicals as “morally and politically bankrupt.... wast[ing] film by shooting mundane settings that could be filmed ‘anywhere, anytime’” (Furuhata, 131). It is exactly that ‘anywhere, anytime’ (Wrights & Sites, 110) that is the radical contradiction of the urban landscape portrayed in ‘AKA Serial Killer’; the violence of homogenisation and the circulation of goods creates a slipperiness and connectedness that can be turned to particularities that resist the flow of the state’s ordering and distribute different contagions, constructing situations at odds with the violence of the mundane.    

6.

Landscapes in movies very different to ‘AKA Serial Killer’ achieve a similar naive ‘actuality’, a non-dramatic coolness, that makes them susceptible to, even welcoming of, their appropriation as part of a walker’s memory hoard: the deserts of Werner Herzog’s ‘Fata Morgana’ (1971), the eventless landscapes of Chantal Akerman’s ‘News From Home’ (1976), ‘the Zone’ in Tarkovsky’s ‘Stalker’ (1979), the fragments of a ruined English park in ‘The Pleasure Garden’ (1952), the swimming pools of the Connecticut suburban rich in ‘The Swimmer’ (1968) or the route in ‘Yellowbrickroad’ (2010): “you think that the trail will understand you, and that’s the worst part, it does”.

By assembling a memory-library of movie sequences or images, the walker can slip between different modes of looking in the same walk, spontaneously and in response to a changing terrain (triggering a different movie memory) or in a planned way that attempts to triangulate a terrain through a range of different lookings and the (potentially) different kinds of information that they detect. ‘Useful’ sequences, suitable for retaining in such a memory-library, are not necessarily restricted to serious, political or art movies. In the past I have drawn on, even at times favoured, fantasy and genre movies, enjoying how work derided as ‘hack’, ‘commercial’, ‘too violent’ or ‘artless’ sometimes peels, embroiders and embrocates the spaces I walk. The point of the memory’s leverage on the real landscape may be some visual similarity, or an association of ambiences, or even where the terrain or events in it have been shaped in response to movies.

I have often drawn on movies that divulge certain patterns at odds with their movie’s intentions, which then fold back on their image systems in accidental critiques; for example, the psychopath test in ‘The Parallax View’ (1974) which implicates both conspiracy and whistleblower, or the discovery/destruction of the underground murals in ‘Roma’ (1972) that throws in doubt the efficacy of Fellini’s luxuriating imagery. As means to the magical-in-the-ordinary, such excerpts can be reliable allies for a radical walker, standing in for utopias in the face of “our incapacity to imagine the future” (Jameson, 1984, 247). They are useful kit for filling newly found holey space; for making interventions against inbuilt systems of dismantlement.

All this could have been applied at any time since moving pictures became one of the forms of mass media; however, what I am proposing here is that, for the first time since then, the ‘grounds’ have changed, the same for psychogeographers and radical walkers as for everyone else. What is newly at stake in the digital city is our subjectivity; not in the sense of our individuality, but of our interiority out of public view. It will be harder to be playful; from now on the cine-dériviste may find her archive is bombarded with uninvited totalities along with the brief sequences she has personally snatched from the genre pool which, if she discloses them, will form the basis for the algorithms’ future bombardments.

With that proviso in mind, I turn to Joe Chappelle’s monster-horror ‘Phantoms’ (1998). In its opening sequence two sisters are negotiating space in a car-bound dialogue; by talking out one family melodrama they make room for another, metaphysical, one. The camera, also released, moves outside the car to establish the limits of a Colorado town and when it returns to the car it now looks out, lingering on the frontages of suburban houses in a pre-digital town as if they were the faces of human characters; the ghosts of the soap-opera narrative we never get to see.

Distinct from the movie male who constitutes “a figure in a landscape” (Mulvey, 1981, 210), in ‘Phantoms’ the doubleness of the central female characters is a quality both of and dividing the two women. This provokes a negation-reflection within the material of the landscape; the houses assume the iconic face in close-up, an oppressive ‘landscapity’, face-like features of the landscape that exist in a perpetual moment (mediatised, stale, self-reflecting and immaterial), less and less able to “adroitly negotiate[s] and enforce[s] its own mass within the image” (Barber, 2002, 20). This becomes more explicit, through another doubleness, in Tom Holland’s Stephen King TV movie adaptation ‘The Langoliers’ (1995), where a young girl intuits and a male ‘mystery writer’ explains their fellow characters’ predicament, awaking on an airborne plane to find that all the crew and most of the passengers have disappeared and that they are travelling in a space stuck a few moments before the present in an inert past: “what is happening to [us] is happening to no one else”. Such radical separateness is characteristic of dramatic film in general; but this is a very average movie which, by making the structural conditions of its own discourse the subject of itself, becomes collectable in parts, particularly its geography of the very recent past. This includes a deserted and echo-less airport, the untimely fading of daylight, and the wholly unpopulated world below their flight. This is a terrain that aches with loss, like the landscape of a Makoto Shinkai animation; it effaces “landscapity” and generates objects and ‘grounds’ that are blank, screen-like, collapsible and radically isolated. Despite its clumsiness, ‘The Langoliers’ makes explicit the feint of many movies: revealing that its action has been happening, in a real illusion, just a few moments back in its own past, but now, in its final reel, is returning to where it always was and will always be. It reproduces Marc Augé’s non-places – airport terminals, institutional boardrooms, airliner interiors – as spaces of political repetition, of a perpetual present and the eradication of the deep, historical past, for the reproduction of present relations; a double effacing in a “contemporary social system… (which has) begun to.... live in a perpetual present and in a perpetual change that obliterates traditions’ (Jameson, 1997, 205).

‘The Langoliers’ evokes a society that has begun to cohabit with the images and representations of itself, recycling the present as a repeatable moment, already just a short while in its past, represented as soon as lived. Its tendency to auto-destruction ushers in a “sheer description” (Jameson, 1988: 95) without visage; and, for a while at least, all that remains in ‘The Langoliers’ is an airborne dérive without a destination, a plane in flight above a world without airports whose surface is being visibly eaten up by its own past.

To plunder such images and such a precarious trajectory, often from “the proliferating corporate zones of Europe’s multiplex complexes, [where] the would-be spectator finds everything except the traces of film” (Barber, 2002, 158) – from the groundless flights of fantasies and super heroes – and from tinier and tinier often handheld screens, is to sometimes float precariously in search of any central urban surface onto which to cling. However, by walking with a memory of ‘The Langoliers’, or of similar landscape-effacing movies, from ‘The Truman Show’ (1998) to ‘The Final Girls’ (2015), it becomes possible to map contradictions within the economy of the Spectacle: specifically, the small folds and hiatuses that are opened up by its relentless pursuit of our subjectivities, within which we can hide our subjective life from that pursuit. Similarly, at a bigger scale, the combination of the fragmentation and appropriation of appearance and the gentrification of Spectacle-resistant areas is now pushing psychogeographers, and all those in search of an ambient city, to the margins, in the literal sense of suburbia and the edgelands. From the inner city of ‘Lights Out For The Territory’ [1997] the trajectories shift to the outer limits of ‘London Orbital’ [2003]), or in the case of Fife Geography Collective’s superb collection of dérive accounts ‘From Hill to Sea’ (2016) the journey is even further afield. This suggests that radical walkers now require a kind of binocular vision (one familiar from these movies which reveal that theirs is a doubled world) in order to simultaneously navigate across to physical margins while seeking havens for interiority within the detail and texture of their immediate terrain.        

7.

In 1938, H. G. Wells proposed a ‘World Brain’, a library with branches in every community across the globe, stocked with a core canon of books chosen by international committees, “knitting all the intellectual workers of the world through a common interest and a common medium of expression into a more and more conscious co-operating unity” (23).  Some have claimed that this was the ‘first Internet’. However, the ‘web’ has been far more of a diversifying and fragmenting force than intended by Wells. Cinema, limited by costs, its collaborative technology, the experiential primacy of projection and a monopolised industrial structure, can still offer a ‘World Terrain’ of sorts; an accessible and exchangeable (look at the explosion of fan and lay critical writing!) canon of landscape images that is striated by exclusions, translations and the wounding centralisations of focus and rapid-fire puncta.  

The constitution of such a canon of landscapes is always far from purely aesthetic. To pluck one counter-example, arbitrarily: in 1950s England, local authorities lobbied to be placed “on a waiting list for the honour of having their buildings and monuments modelled for film destruction” in a wave of sci-fi and horror movies that re-enacted, fantastically, the precarity of the Blitz for an audience barely old enough to remember it (Conrich, 88). Nor are these landscapes in any way neutral or universal; the integrity of the body of the viewer is as much in play in them as the fabric of their fictions. These are mostly male and often violent landscapes. Innumerable movies propose ways for how the viewer/walker might take themselves apart in order to take the movies apart; from the use of double exposures in early cinema, influenced by ‘spirit photography’, through the surgery of ‘Les Yeux Sans Visage’ (1960), the eruptive and steely objectification of the ‘Tetsuo’ movies (1989, 1992, 2009) and the jouissant mutilations of ‘Hellraiser’ (1987), the bodies of those keen, or forced, to experience materiality are regularly dispersed to the landscape, their corporeal materials escaping from their container, to combine trangressively and ‘miscegenously’ with inorganic vibrancies. All these are fictions that the walker can archive and re-deploy in order that their own gaps entangle with the ‘voids’ – “empty corridors that penetrate the consolidated city, appearing with the extraneous character of a nomadic city living inside the sedentary city” (Careri, 188) – of the material landscapes.

In Higuchinsky’s ‘Uzumaki’ (2000) the nomadic eye is released; previously opened with a razor in ‘Un Chien Andalou’ (1929), with scissors in ‘Spellbound’ (1945), and dilated by hypnotism in ‘Herz Aus Glas’/’Heart of Glass’ (1976). In ‘Uzumaki’, it peers vividly through a broken windscreen, popped from its socket, until, by a sudden, stuttering, stabbing  zoom, as if the camera is exaggeratedly reaching out for information like the sensory organs in James J. Gibson’s theory of perceptual systems (1983), it dominates the screen.

Metaphorically released from its organism in this way, the eye is free to roam, moving between a satellite-seeing, where space, viewed from above, is defined by trajectories, and a zooming descent into super-detail through “layered surfaces that successively cover over one another” including an “outer wrapping (that) is none other than the human mind and its products” (Ingold, 1993: 37). The model for the dériviste’s hybridisation of these lookings (“to see the world from multiple viewpoints at any one time” [Smith, 113]) is right there in the modern movie camera’s capacities to pan and zoom – sometimes simultaneously, as famously in ‘Vertigo’ (1958) and ‘Jaws’ (1975) – and then by cranes and drones to fly out of situations or plunge down into them; so nurse Ana Clark’s accelerating trajectory through the rabid Milwaukee suburbs in Zack Snyder’s remake of ‘Dawn of the Dead’ (2004), with concentrated domestic melodramas flooding onto gardens and roadsides, is abruptly released and flung upwards on the bloom of an explosion to a malevolent bird’s eye view reminiscent of the gulls’ in ‘The Birds (1963), or of the scene in David Lynch’s ‘Inland Empire’ (2006) when the camera moves out from the socially abject and emotionally intense death of Sue Blue to reveal a sound stage and its fabricated scenery.

When ‘Uzumaki’ (like ‘The Langoliers’) introduces a force from the past – a mirror found under the water of a nearby lake – corporeal fragmentation increases, eyes swivel in their sockets, mutilations (as in ‘Dark City’ [1998]) and hairstyles become subject to the vortex of the eye; “wanting to be seen” contorts a girl gang, a father obsessively videos snails, and corpses twist like corkscrews, until finally the eye is ejected from its body, wounding the movie through its shattered screen. ‘Uzumaki’ is infused with these exploratory spirals of seeing; it constitutes a kind of ‘unitary cinema’ (counterpart to the situationists’ ‘unitary urbanism’) – subjecting each and every part (snails, washing driers, hairstyles, streets, clouds, bodies) to the sensory pattern of the whole – doing for the movies what the situationists longed to do, reparatively, for the city: overcome separation. This is the contradiction – the emergence of a stilled, synchronic pattern from a forward-lurching linearity – by which the violence of the dramatic cinema, editing bodies when not diegetically dismembering them, can be cooled, returned to the calmer ‘actuality’ of pre-dramatic cinema, restoring a slow and meandering flow to life; for example, in the painfully and beautifully extended shots of a Béla Tarr movie, or in the intense weavings of bodies and cameras in Miklos Janscó’s. First by separation, the floating free or deregulation of the senses through cinema’s technology, and then seeking to restore itself to a transformative connectivity by an anachronistic pedestrian pace and a historic cinematic reserve. The cinematic memory archive here serves as a parallel to what the radical walker seeks to achieve by placing a pedestrian and anachronistic torque upon a hyper-accelerated society, while deploying her senses, enhanced (in the sense of imitating techniques like zoom and pan) by an equally anachronistic, estranging and disruptive analogue cinema technology.    

8.

The need for radical walkers and walking artists to navigate certain contradictions in the streets – between the hyper-acceleration of information and architecture’s solid frame, between the overwhelming of the sensorium by the onrushing data of the ‘drift’ and a cool organisation of it for future use – partly explains the continuing influence of situationist theory and practice among ambulatory activists. The vitality of the dérive in experimentally and experientially joining ambience to ambience, resistant space to resistant space, is still resonant.  

Situationist critique identified separation as the means by which the Spectacle subordinates social activity to itself; “a social relationship between people that is mediated by images” (Debord, 1995, 12), a relationship of separation by representation and reflection. This separateness is both the ends (patriarchal, statist and bourgeois dominance over everything else) and the justification (the heroic individual male figure in the landscape) of the totality of social relations, the ruling and ruled ‘grounds’ for being/becoming. However, there is no restitution in a simple re-unification. The “unitary urbanism” counterposed by the situationists to the totalised separateness of the Spectacle is not a restoration to just any available connection of things, but an interrogation of those connections, a feint that allows separateness to be re-separated, individualised, to be further floated free, to be made an outcast from outcasts before it can return, unrecognisable and hungry to connect in novel ways. The origins of “unitary urbanism” lie in ‘hypergraphics’, a ‘Lettrist’ post-writing method for communicating in multiple vocabularies; not so much a unification as an assemblage of multiplicities, creating (as yet meaningless) gaps and voids, new levels of a-communication and materiality, unhuman and unthinkable, to which the terrain can return as an agent, and the pedestrian as a poet/sculptor/paramedic/dramaturg, collapsing functions. Just as in ‘Uzumaki’, the world of the urban locale is dismantled in order to make explicit, and relatable to, its subjection to unhuman patterns.  

The Spectacle, however, also has a similar predilection for such dismantling ‘leaps to faith’; reproducing itself as both the logic and product of its separateness, repeatedly escaping its subordination to any totality other than its own. This, though, comes at a cost, for it too is “developing for itself” (Debord, 1995: 16) and is endangered by its self-referential ends and means, always having to start from scratch and wipe the slate clean, increasingly reliant on natural disasters, wars and economic crises; and vulnerable to a future totality – democratic or fascistic or unimaginable – that can ‘get in’, after a future disaster, before it does.

9.

None of this can be successfully opposed by confronting the Spectacle with what is ‘real’ or by a simple stripping away to what is ‘true’ (something powerfully demonstrated by the Trump and Brexit campaigns in 2016); this is what John Carpenter’s ‘They Live’ (1988) shows, but does not know. The film exposes its city as a blanket illusion, revealing (through the eyes of its proletarian hero, John Nada, equipped with special sunglasses) the ‘real’ city of 1980s America, a landscape of monochrome, geometrical buildings, and homogenous main drags lined with hoardings transmitting subliminal slogans: SLEEP, CONSUME, OBEY. There is, however, a debilitating contradiction in Carpenter’s conceit. If the monochrome revelation effected by John Nada’s dark glasses is the true city (controlled by Reaganite, free-marketeer aliens), disguised electronically as what we take for real, colourful life, then why, when Nada has destroyed the masking system does the monochrome city not appear to everyone? Why, instead, are the aliens exposed in our colourful world of illusion, rather than us discovering ourselves in their real world of subjection?

‘They Live’, like other ‘trash’ 1980s movies – such as ‘CHUD’ (1984) and ‘The Stuff’ (1985) – that indicted corruption, profit and property, and celebrated acts of resistance (a kind of movie revived by the recent ‘The Purge: Anarchy’ [2014]), addresses the Spectacle as a pattern of corporate and entrepreneurial misrepresentation. It fails to grasp (it shows, but does not explain) that in the Society of the Spectacle appearances are all you get; “reality erupts with the Spectacle, and the Spectacle is real” (Debord, 1995, 14) and the promise of a truth ‘behind it all’ (the ‘grail’ of conspiracy theory) is the greatest deception, and that we, like so much else in the Spectacle, produce that deception ourselves. The crime of the Spectacle is not that it erects a screen between us and the truth, but that it distributes everything, including us, to screens.

Like much occult psychogeography and radical binary narratives of illusion/truth, the problem of ‘They Live’ is not its escapism, but its failure to take its fantasy seriously enough. For the hoard of a cine-dériviste, a totalised whimsy is of little help, but a rigorous realist fantasy (as Carpenter’s movie at first promises to be) can be; yet there are few examples. Where, we might ask, is the situationist ‘Turner Diaries’? Perhaps ‘V For Vendetta’ (2005) is the closest, generating the most popular image of contemporary resistance. But without rigour and realism in fantasy, far better, then, to chisel off something like the pre-credits sequence from ‘Predator 2’ (1990), where the camera races over tree tops, monkeys screech, setting up for a return to the jungle setting of the original ‘Predator’ (1987), only for the camera to rise up and reveal a Los Angeles skyline beyond its fringe of palm trees. Such transitions in the archive are reminders not only of just how quickly the landscape can shift, but that we are always in more than one place at any one time.

The dériviste effaces the Spectacle by reading the codes of the Spectacle and then re-encoding its surfaces with subjective codes of her own; not according to a repetition of survival behaviours or a quest for revelation, but by what she can encode, with pleasure and the coolness that ‘actuality’ brings to looking. When subjected to a separated, calmed and cooled eye, the abject canon of movies fragments, its particles serving not as keys to solving the codes in urban space, but as miasmic screens for dissolving and traducing their meanings and ‘realism’ in the letters and sounds of a new language: “external action and character interaction are suspended.... almost to zero…we peer into an opaque landscape via a slowly tracking survey without clues to help us decipher it… We share effectively in the intensive movements onscreen as we input speculative mental activity in place of dramatic action” (Powell, 2007, 138).  

When I look at almost any hilly rural scene, or see a cliff or gorge, I pleasurably fear that the slow, unfeasible, whirring Kenwood Chef-like dalek spaceship from ‘Daleks – Invasion Earth 2050’ (1966) will emerge, in all its kinkiness, from behind the green landscape. I grasp the fabricated nature of the English rural scene; its grasses, hedges, cattle and copses as artificial as Linoleum, the fruit of generations of genetic and environmental manipulation, England’s ‘green and pleasant land’ turned paper-thin. Even my sardonic Nan could not mediate the sheer horror of life (at least to my 11 year old self) conjured by the creak of metal and the Bernard Herrman soundtrack for a bronze mega-soldier, ‘Talos’, astride the beach in ‘Jason and the Argonauts’ (1963). It is not any fear of death I feel, on my beach, but a fear of the life in inert, inorganic and constructed things; hard and statuesque one moment, hot and streaming the next: the “anorganic metal-body trauma-howl of the earth” (Land, 498).

I am still in mental dialogue with these image-trajectories on my walks, as I find sand blowing against a thousand pink ink cartridge cases on the beach or skirt the floods encircling electricity pylons; I have not found the ends of their trails yet: “you think that the trail will understand you, and that’s the worst part, it does”.

10.

The films, above, beginning with those chosen for their exemplary qualities, are shifting more firmly towards my personal preoccupations; inevitably, but necessarily. For the hoard of sequences, camera positions and soundtracks, to have any resonance with the dérive, must spring from strong personal memories of screening and spectatorship, in tune with a key principle of mythogeography: that the walker is as much the mutable site of the walk as their route (Smith, 115).  

In brief, my personal hoard might contain some of the following:

The anachronistic ‘actuality’ of suburbia – “[T]he city’s peripheral terrains remain under the visual sway of cinema rather than that of the digital image” (Barber, 2002, 182) – crossing class divides in ‘One Hour Photo’ (2002).  

The potency of the landscape to produce a sur-reality, an over-reality, like the Kenwood Chef ufo hovering into view across the hills or the swooping and levitating shots in Gaspar Noé’s ‘Enter The Void’ (2009).

A city-totality or a transport network defined by the absence of a single person (and how that reverses the prioritisation of commodities over people): ‘Spooloos’/’The Vanishing’ (1988), ‘Ne le dis à personne’/’Tell No One’ (2006), ‘En la Cuidad de Sylvia’/‘In the City of Sylvia’ (2007).

Fabulous bodies capable of exceeding corporate agendas within a skin’s soggy container: the shadow folk in Dreyer’s ‘Vampyr’ (1932), the supine rather than upright, slithering rather than walking, beings of Żulawksi’s ‘Possession’ (1981) and Benson and Moorhead’s ‘Spring’ (2014); and bodies subjected to those corporate agendas, like the mother and daughter’s walking a hillside road and gazed upon in Cattet and Forzani’s détournement of a giallo, ‘Amer’ (2009).

Monuments and monolithic buildings, seen as if through the eyes of Larry Cohen’s ‘Q The Winged Serpent’ (1982), such as the warehouse in ‘Nosfertu’ (1922), the Seattle Space Needle in ‘The Parallax View’ (1974) or the Transamerica Pyramid in the 1978 remake of ‘Invasion of the Body Snatchers’, are monstrous and not “iconic”.

A Fortean historicist-uncanny, like that of the village in Ilya Khrzhanovskiy ‘4’ (2004), anywhere that strangeness is historic rather than supernatural.

‘Tenten’/’Adrift in Tokyo’ (2007): a healing reminder that even the permanent dérive must, and should, end sometime.  

11.

When Jean-Michel Mension called, unannounced, on Guy Debord at his room in Rue Racine he was surprised to find him “in the role of a gent in a dressing gown” (47) For Debord, and many of the other situationists, to ‘drift’ the city was a disruption of their everyday lives. For Mension, and the other youthful ‘delinquents’ in the situationists’ circle, it was simply one part of a life of rebellion: “[T]he first true dérives were in no way distinct from what we did in the ordinary way” (101). Mension’s “milieu of destruction” (Debord, 2004, 15) was idealised by Ivan Chtcheglov in the idea of permanent dérives, a subjection in the form psychological distress to what Constant built into his situationist models of a new city: permanent rush and transformation, more accelerationist than ‘unified’.

Under the conditions of the nascent digital city – even in these very earliest days of the ‘internet of things’ (which by its title alone expresses something of the Spectacle’s overwhelming ambitions, comparable to Google’s plans for immortality, to digitize matter) – a future ambulation will need to walk both sides of a binary of permanence and disruption. Disruption of the everyday, as a portal to the ambient, occulted imaginary or taking back surplus pleasure, as a means to edit and reassemble the codes of the city, will continue to serve walkers as a tactic, but not as a strategy. Fighting separation with further separations may work up to a point, but beyond that lies all kinds of New Babylons additional to those visualized by Constant, all of them fulfilling what “dérive experiences lead to proposing… the constant diminution of these border regions, up to the point of their complete suppression” (Debord, 2006, 62). Caught between Stalinism and Nazism, twentieth century critical modernism backed rapidly away from “an embrace of totality in aesthetics.... [as] it led to an embrace of totality in political communities” (Levine, 5); but we live now under different conditions, in the peculiar circumstances of a global totality rested on the anti-totality principles of neo-liberalism and prosecuted by a plethora of invasive, algorithmic ‘Skynets’. In the situation of our subjectivity in peril, jump cuts between atmospheres, ‘catapults’ and cutting a ‘V’ through the city are challenged to disrupt their own disruptions, to ‘leap’ the borders of their own separations; the epic walks, sensitized and often social, of Monique Besten, Anthony Schrag, Thomas Bram Arnold, Elspeth Owen, Esther Pilkington, Mads Floor Andersen and others seem to point to a permanent drift, and to a daily serious adventure through variegated zones of ambience as predicted by Ivan Chtcheglov (6). To that flow I am adding the suggestion of a cinematically-bathed daily practice as a provisional-totalising of ambulatory tactics on the way towards a strategy for more than surviving the apocalypse, based upon the revival of the subjective: an intense hyper-sensitization in the streets once “lived and suffered through the eye” but now for the whole body of senses.

What the static camera and gentle pans of ‘AKA Serial Killer’ and the landscape-privileged sequences from movies as different as ‘Stalker’ and ‘The Langoliers’ offers such a whole-body dériviste is an ‘actuality cinema’ default consciousness, a pre-dramatic sensitivity and a pre-romantic realism; a shift away from occult adventures and romanticism (by passing through them and beyond them) to a cooler re-exploring of landscape and a return of the primacy of terrain to psychogeography.

This bathing of the terrain with cinema images, and letting the terrain bathe back “imbu[ing] the film image with an imposed dimension.... negotiat[ing] and enforc[ing] its own mass within the image (Barber, 2002, 20), will enwrap the walker in a controlled intensity, within which they can order and direct their suffering and separated mind/body/eye: a discreet and subjective psycho-cinematography for an invasive digital city where, “alongside its powerful web of media screens, [it] is assembled from the delicate visual and emotional projections of its inhabitants” (Barber, 2002, 156).      

Phil Smith is a performance-maker, writer and ambulatory researcher, specialising in performances related to walking, site-specificity, mythogeographies and counter-tourism. A core member of site-based arts collective Wrights & Sites; and a co-author of the company’s various ‘mis-guides’. He writes and performs ‘mis-guided tours’, and creates inter-disciplinary performance. He is an Associate Professor (Reader) at the University of Plymouth.

Bibliography

Barber, Stephen. (2002). Projected Cities: cinema and urban space. London: Reaktion Books.  

Barber, Stephen. (2014). Performance Projections: film and the body in action. London: Reaktion Books.

Careri, Francesco. (2002). Walkscapes. Barcelona: Editorial Gustavo Gili.  

Chtcheglov, Ivan. (2006). “Formulary for a New Urbanism”. In Situationist International Anthology. Edited and translated by Ken Knabb. Berkeley: Bureau of Public Secrets.

Conrich, Ian. (1999). “Trashing London: the British colossal creature film and fantasies of mass destruction” in British Science Fiction Cinema. Edited by I. Q. Hunter. London: Routledge.

Debord, Guy. (1995). The Society of the Spectacle. Translated by Donald Nicholson-Smith. New York: Zero Books.  

Debord, Guy. (1998). Comments on the Society of the Spectacle. Translated by Malcolm Imrie. London: Verso.

Debord, Guy. (2004). Panegyric Volumes 1 & 2. Translated by James Brook & John McHale.  London: Verso.

Debord, Guy. (2006). “Theory of the Dérive”. In Situationist International Anthology. Edited and translated by Ken Knabb. Berkeley: Bureau of Public Secrets.  

Deleuze, Gilles. (2005). Cinema 1: the movement-image. Translated by Hugh Tomlinson and Barbara Habberjam. London: Continuum.

Furuhata, Yuriko. (2013).  Cinema of Actuality: Japanese avant-garde filmmaking in the season of image politics. Durham & London: Duke University Press.

Gibson, James J.. (1983). Senses as Perceptual Systems. Westport: Greenwood Press.

Gombin, Richard. (1975). The Origins of Modern Leftism. Translated by Michael K. Perl. London: Penguin.

Heddon, Deidre & Misha Myers. (2014). “Stories from the walking library.”  Cultural Geographies 21 (4), pp.639-655.

Ingold, Tim. (1993). “Globes and Spheres: the topology of environmentalism”. In Environmentalism. Edited by Kay Milton. London: Routledge.  

Jameson, Frederic. (1984). “Progress versus Utopia; or can we imagine the future?” in Art After Modernism: Rethinking Representation. Edited by Brian Walls. New York: New York Museum of Contemporary Art.

Jameson, Fredric. (1997). “Postmodernism and Consumer Society”. In Studies in Culture: An Introductory Reader. Edited by Ann Gray and Jim McGuigan. London: Arnold.

Jameson, Fredric. (1988). “Of Islands and Trenches” in The Ideologies of Theory: Essays 1971-1986, Volume 2: The Syntax of History. Minneapolis: University of Minnesota Press.

Land, Nick. (2011). Fanged Noumena: collected writings 1987-2007. Falmouth: Urbanomic.

Levine, Caroline. (2015). Forms. Princeton: Princeton University Press.

Mension, Jean-Michel. (2002). The Tribe. Translated by Donald Nicholson-Smith. London: Verso.

Mock, Roberta. (2009). Walking, Writing & Performance. Bristol: Intellect.

Mulvey, Laura. (1981). “Visual Pleasure and Narrative Cinema”. In Popular Televison and Film. Edited by Tony Bennett, Susan Boyd-Bowman, Colin Mercer & Janet Woollacott. London: BFI.  

Negarestani, Reza. (2008). Cyclonopedia: complicity with anonymous materials. Melbourne: re.press.

Powell, Anna. (1997). Deleuze, Altered States and Film. Edinburgh: Edinburgh University Press.  

Sinclair, Iain.  (2002). “London: Necropolis of Fretful Ghosts” in Science Fiction/Horror: A Sight and Sound Reader, ed. Kim Newman. London: BFI Publishing.

Smith, Phil. (2010). Mythogeography. Axminster: Triarchy.

Sobchack, Vivien. (2004). Carnal Thoughts: embodiment and moving image culture. Berkeley: University California Press.

Wark, McKenzie. (2008). 50 Years of Recuperation of the Situationist International. New York: Princeton Architectural Press.    

Wark, McKenzie. (2011). The Beach Beneath the Streets. London & New York: Verso.

Wark, McKenzie. (2013). The Spectacle of Disintegration. London & New York: Verso.

Wells, H. G.. (1918). World Brain. London: Methuen.

Wrights & Sites. (2006). A Mis-Guide To Anywhere. Exeter: Wrights & Sites.

[synergytop]

COMMERCETOOLS LAUNCHES ACCELERATOR: SET UP A PWA ENABLED MODERN COMMERCE STOREFRONT IN WEEKS

The leader of next-generation commerce software, commercetools, launches the commercetools Accelerator. It helps the brands and retailers to set up a modern commerce storefront in weeks, not in months. This is a flexible solution empowering enterprise to smoothly connect to their back-end systems such as ERP, OMS and others. It also allows integrating complex product catalogues, easily add other channels and running with commerce initiatives right away.

What Exactly is the Accelerator?

The commercetools accelerator offers brands and retailers in launching enterprise commerce initiatives in weeks not in months. This solution is very flexible and enable the enterprises to connect to their backend systems easily. In the commerce integration marketplace, the available options are already included in the storefront and frontend options.

To get a Progressive Web App (PWA), the newly launched Accelerator combines vue storefront with the powerful commerce platform. It can be personalised and evolved based on the requirements. A PWA is a website which interacts, browse items and make purchases as the frontend of the customers. When compared to a typical website, PWA’s main benefit is that they provide app-like features like app-like look and feel, working offline without installing anything.

Both Vue Storefront and commercetools:

·         Are Headless: This means the frontend and backend are independently interchangeable.

·         Supports GraphQL and microservices, a new and compelling way to query APIs.

·         Allow the use of modernized JavaScript stack.

·         Are favourable for development for getting up and running quickly and speedy prototyping.

They also help in solving the following issues:

·         The commerce platforms which are currently used are not designed to handle high demands and performances.

·         The issues related to time-to-market and click and collect solutions.

·         Making the import data easily available to any sales channel.

This excellent combination empowers the businesses to implement a great customer experience for the mobile and desktop in a fast and efficient way. Once the store is established, the user is enabled to grow into a very flexible commercetools platform and take benefit of all the enterprise competencies offered.

Accelerator: Who Desires it the most?

The commercetools Accelerator enables the businesses to initiate the process quickly along with being flexible to expansion in future after the initial steps. This is perfect for the businesses who want an MVP to market quickly. The enterprises might be dealing with either complex business models and product catalogues which require a more flexible solution, for whom time-to-market is a critical factor or the businesses who already have an online presence but face peak-performance issues because of poor legacy commerce solutions and implementations.

The Accelerator empowers the enterprises to get an online commerce presence within weeks and not months. This creates a smooth first step to drift away from the rigidity of legacy platforms.

Final Words

As per a study from Digital Commerce 360, 30% of the retailers believe that COVID-19 will enhance their E-commerce business. 36% of them are being precautious and following a wait and see approach with regards to COVID-19 and rest of them are being proactive. The commercetools Accelerator is a chance to be proactive and enhance your E-commerce business as it gives a platform to initiate the business in a few weeks. It also helps in solving the retail pain points including the time to market issues, product data importing challenges and handling peak performances.

commercetools is a platform that is needed to create and launch the enterprise-class commerce store faster than ever. It also provides essentials such as lightweight frontend frameworks, cloud based deployment, full-blown CMS integrations, and many more.

About SynergyTop

SynergyTop is a proud commercetools partner and it's working towards achieving commercetools vision to help the rest of the industry embrace #MACH with the same passion as the 250+ commercetool'ers around the world.

SynergyTop leverages all the facility provided by commercetools like Accelerators, Integrators, Merchant center, Marketplace etc. to provide seamless commercetools implementations.  At SynergyTop, we have a team of best in the industry consultants on headless commerce experience and cloud solutions. Write to us at info@synergytop.com.

To know more about the benefits of building a website with commercetools, read our blog: https://synergytop.com/blog/benefits-of-building-an-e-commerce-site-using-commercetools/

[statzyreportsmarketresearch]

Global Non-Glare Glass Market

The report forecast global Non-Glare Glass market to grow to reach xxx Million USD in 2019 with a CAGR of xx% during the period 2020-2025 due to coronavirus situation. The report offers detailed coverage of Non-Glare Glass industry and main market trends with impact of coronavirus. The market research includes historical and forecast market data, demand, application details, price trends, and company shares of the leading Non-Glare Glass by geography. The report splits the market size, by volume and value, on the basis of application type and geography. First, this report covers the present status and the future prospects of the global Non-Glare Glass market for 2015-2024. And in this report, we analyze global market from 5 geographies: Asia-Pacific[China, Southeast Asia, India, Japan, Korea, Western Asia], Europe[Germany, UK, France, Italy, Russia, Spain, Netherlands, Turkey, Switzerland], North America[United States, Canada, Mexico], Middle East & Africa[GCC, North Africa, South Africa], South America[Brazil, Argentina, Columbia, Chile, Peru]. At the same time, we classify Non-Glare Glass according to the type, application by geography. More importantly, the report includes major countries market based on the type and application. Finally, the report provides detailed profile and data information analysis of leading Non-Glare Glass company.

Key Content of Chapters as follows (Including and can be customized) : Part 1: Market Overview, Development, and Segment by Type, Application & Region Part 2: Company information, Sales, Cost, Margin etc. Part 3: Global Market by company, Type, Application & Geography Part 4: Asia-Pacific Market by Type, Application & Geography Part 5: Europe Market by Type, Application & Geography Part 6: North America Market by Type, Application & Geography Part 7: South America Market by Type, Application & Geography Part 8: Middle East & Africa Market by Type, Application & Geography Part 9: Market Features Part 10: Investment Opportunity Part 11: Conclusion

Market Segment as follows: By Region Asia-Pacific[China, Southeast Asia, India, Japan, Korea, Western Asia] Europe[Germany, UK, France, Italy, Russia, Spain, Netherlands, Turkey, Switzerland] North America[United States, Canada, Mexico] Middle East & Africa[GCC, North Africa, South Africa] South America[Brazil, Argentina, Columbia, Chile, Peru] Key Companies Abrisa Technologies Frame USA Tru Vue Oak Creek PSC GrayGlass Market by Type Tempering Process Silk-Screen Process Others Market by Application Storefronts Large Displays Art Galleries Museums Restaurants Television Production Studios

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CONTACT US

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[simicartnew-blog]

New Post has been published on https://www.simicart.com/blog/magento-pwa-studio-vs-vue-storefront/

Magento PWA Studio vs Vue Storefront: Which one is for you?

Having been on the market for quite a while, Magento PWA Studio and Vue Storefront are the current go-to platforms for brands that want to expand their presence. But to know which one of them can really help your business is, of course, no easy matter.

Realizing that there’s a gap in the current public knowledge about popular PWA eCommerce platforms such as the two above-mentioned ones, today in SimiCart’s article, we’ll be having a deep-dive on the matter—in order to help you finally choose a fitting platform for your business.

Contents

Progressive Web Apps and why should you care

A brief introduction to Magento PWA Studio and Vue Storefront PWA

Magento PWA Studio

Advantages of Magento PWA Studio

Cons of Magento PWA Studio

Vue Storefront

Pros of Vue Storefront

Cons of Vue Storefront

A detailed comparison

Overview

Technical Comparison

Features Comparison

What the customers say

Magento PWA Studio

Vue Storefront

Make an informed decision

Progressive Web Apps and why should you care

First, let’s start with the whys.

If you’ve been catching up with the development trends within the eCommerce sphere, chances are you’d know that Progressive Web App is the hot right now.  The reason for this is relatively simple—PWA offers everything online stores need in this omnichannel time.

Customers who shop on PWA-powered stores oftentimes realize a noticeable difference in their shopping experience, which includes changes such as reduced touch-points, instant load time, offline capability and most importantly—the app-like interface of Progressive Web Apps.

A client of SimiCart who had their shopping experience revamped with PWA

With its cutting-edge features utilizing the latest technological advancements, PWA is capable of revolutionizing the typical web experience and transforming the shopping experience for the better. The new shopping experience powered by PWA is poised to be fast, engaging and responsive across all devices.

Recommended reading: Benefits of a Progressive Web App for your business

A brief introduction to Magento PWA Studio and Vue Storefront PWA

Magento PWA Studio

Recently introduced by Magento themselves, Magento PWA Studio is a set of tools to help merchants optimize their stores to the fullest by implementing elements of Progressive Web Apps on top of Magento 2. With Magento PWA Studio, merchants can have access to the latest front-end architecture and open web APIs to rebuild their stores into the latest standard.

Advantages of Magento PWA Studio

Access to up-to-date development tools: Tools provided by Magento PWA Studio are always up-to-date and with the most extensive documentation.

Ease of development: Magento PWA Studio was created with the aim of moving adoptions of PWAs forward, thus ease of development was put at the highest priority.

Strong community: The Magento PWA Studio community is always there to help new-comers.

GraphQL: Using GraphQL as its leading technology, PWAs built with PWA Studio can have next-to-none over-fetching and better handling of multiple users from various sources.

Cons of Magento PWA Studio

Platform-specific: Magento PWA Studio requires that your store must be on Magento 2.3 and above. This is both a good and a bad thing, as in this way there’s more leeway to develop and improve on Magento PWA Studio and not having to worry about platform-compatibility.

Lack of compatibility with older versions: One reason that makes stores hesitant to adopt Magento PWA Studio is because of its lack of compatibility with older versions, mainly due to GraphQL schema changes between updates.

PWA Studio versions and their compatible Magento core version

Vue Storefront

Another recently emerged platform for eCommerce PWA development is Vue Storefront – the open-source, platform agnostic PWA. Vue Storefront requires no specific type of back-end for full functionalities, as the platform itself is headless and works on any eCommerce platform.

Pros of Vue Storefront

Platform agnostic: Vue Storefront works on all eCommerce platform

Open-source: Anyone can contribute to improve the front-end platform

Cons of Vue Storefront

Incompatibilities: Lots of unresolved issues with existing eCommerce platforms

Does not allow the use of jQuery or other dependencies

Documentation is lacking: There are various complaints about the troublesome installation process with Vue Storefront and its lack of comprehensive documentation.

A detailed comparison

For those of you who feel that just looking through the pros and cons shouldn’t be enough, we’ve got you covered. Below, we’ll be having a deep-dive comparison of the two eCommerce PWA platforms:

Overview

Looking at the general comparison, it’s clear that Vue Storefront should be the superior choice here. But upon closer inspection, it doesn’t seem that way.

While Magento PWA Studio was only released back in late 2018 (which is almost one year later than Vue’s release date), the platform takes no time at all to mature. It now has the number of contributors comparable to that of Vue’s. The community is strong and known to be helpful toward anyone who wants to learn. It has a lot of potentials.

Technical Comparison

Tech-wise, these two eCommerce PWA platforms are quite similar, with both of them offering server-side rendering to partially help with your store’s search engine optimizations; but the minor differences —i.e. ReactJS—that we can see here consequently are the reason that one platform is superior in terms of performance than the other. Compared to VueJS which is used by Vue Storefront, ReactJS is vastly better for both the developing and shopping experience. With ReactJS, Magento developers can enjoy the support from the largest, strongest and most famously supportive community of users in and outside of Magento.

Features Comparison

When it comes to features offered, these two PWA platforms are toe to toe with each other, with Vue Storefront being a little behind in terms of features. It’s worth noting that not too long ago, Vue Storefront was the platform to have the high ground here, so Magento’s development progress is actually impressive and in fact, better than many of its counterparts thanks to the nature of the platform itself being a platform-specific approach.

What the customers say

After all, it’s the customers who should know best. Let’s dig in to see what other store owners who have tried out either one of these platforms have to say:

Magento PWA Studio

As a brand whose mission is to provide awe-inspiring collections of haute couture for women everywhere, Bianca Nera needed a storefront that best portrays the elegance of their products—and naturally, a Progressive Web App is it. 

With Magento PWA Studio to streamline the whole development work—and also with SimiCart as the solution provider of choice, the brand was able to see a revamp in the way shopping is done on-site, as well as a major upgrade of the existing back-end infrastructure.

Thanks to the newly found speed, combined with the app-like look and feel that are characteristic of PWA, Bianca Nera was able to see outstanding results, including

45% increase in pages per session

103% faster average page load time

61% growth in online revenue

The work done on the store’s back-end infrastructure has also enabled for more intuitive management of content, thanks to Magento’s own Content Management System (CMS), with which the store was able to not only effortlessly manage and build content but also to create new and compelling shopping experiences in order to keep up with ever-moving trends.

Vue Storefront

Being an older platform in the PWA market, Vue Storefront has no shortage of customer stories to name. One prominent case that comes to mind is the story of Kubota.

Source: Vue Storefront

The Polish shoe brand, Kubota, isn’t formerly known as a well-known nor a well-doing brand. In fact, the brand’s decision to go with PWA eCommerce was that of a “make it or break it” one. It was, however, fortunate as PWA isn’t really known to disappoint.

With their mobile-first strategy aimed at the huge percentage of modern shoppers who much prefer the convenience of shopping on their smartphones, Kubota was able to achieve unparalleled results:

192% growth of daily visitors

94% more keywords in Top 3 YoY

30% improved loading time

The decision to go with PWA, specifically the decision to go with Vue Storefront platform, served as a much-needed for the brand to get back into the eCommerce market. After this, the brand has been a sensation among retro fashion lovers everywhere ever since and is expected to be even more relevant in the coming years, as retro fashion is making its way back in waves.

Make an informed decision

Now all that’s left for you to do is make a decision on which one should you go with. While either one of these platforms has its perks, you should always choose one that best fits your needs as well as your store’s.

For Magento store owners, though, we feel that you can’t really go wrong with Magento PWA Studio as it offers the best support for your store’s existing infrastructure. The available tools offered by Magento PWA Studio have been proven to work and work well in all situations with high adjustability to your developmental needs. 

And in case you ever need a trusted solution for your Magento store, here at SimiCart, we are a team of Magento experts with over 8 years of experience, ready to transform your Magento store into a lighting fast PWA:

Explore SimiCart PWA

[chipotle]

The revolution will have a monthly subscription

Introducing the first iteration of the Apple TV with an app store, Tim Cook (in)famously declared, “We believe the future of TV is apps.” The Apple TV stands out from its competitors for only two things: the App Store, and a much more powerful CPU than its competitors. So it’s safe to say that Apple genuinely does believe this is the future of TV.

It’s also safe to say, though, that it doesn’t appear to be panning out. Pretty much nobody buys Apple TVs for much other than what other streaming boxes do.1 We’re watching Netflix, Hulu, HBO, and Amazon Prime. (Well, we will be watching Prime. Later. Theoretically.)

What we want from TV is—sorry for the buzzword—content. In practice, it doesn’t matter how we get Game of Thrones or Star Trek: Discovery as long as we can get it easily on demand. Apps are arguably less help than hindrance. Imagine having a storefront that had all the shows, and we just paid per episode or per season for permanent access to our favorite shows–we could stream them or download them. Wouldn’t that be much better?

Ha ha! I’m pulling a fast one on you. Sorry. We had that from Apple and Amazon by the mid-2000s. Have you ever bought a TV show on iTunes? No? Yes, but only because it wasn’t available on Netflix? Once we got “all you can eat” streaming for $10–12 a month, we all said fuck this à la carte thing. We’ll just wait for all the networks and all the studios to put all the things on Netflix. Everybody wins!

But studios don’t make as much selling to Netflix as they used to in old syndication deals. They make a lot less. So what are they going to do? Start their own streaming service. Yay! You know Hulu, Netflix, and Amazon Prime, and HBO Go/Now. Maybe you know Walmart’s me-too Vudu service. And you’ve recently heard Trek nerds bitch about CBS All Access. But there’s also Crunchyroll, Feeln, Acorn TV, Filmstruck, BritBox, Shudder, Screambox, Youtube Red, and others that I’m certainly forgetting–and that’s without counting the “cable replacement” services like Sling Orange, PlayStation Vue and Hulu Live. Disney is gearing up for their service, with plans to pull their stuff off other streaming services. And there’s whatever the hell Apple is doing.2

“But nobody’s going to subscribe to all those streaming services!” Not if you’re already paying $100+ a month for cable before you add any streaming services, no. But imagine a world (it’s easy if you try) in which you’re only paying, say, $50 a month for network access with no bundled television. All your shows now come from streaming services. So the chances are you’re going to end up subscribing to more than just Netflix and one other.

If you look at cord cutting as a money-saving move, this sounds depressing: it’s painting a picture of a future where the money you save by going data-only gets eaten up by streaming services. Well, true. But now you’re paying for everything on demand, in most cases commercial-free. Honestly, that’s still a win.

“Okay, but even if you get me to pay for five or six services, you listed eighteen services and claimed you were probably forgetting some. That is not gonna happen.” No, it isn’t. Most of those services aren’t going to survive long-term. They’re going to merge with other services or just quietly vanish. (SeeSo, we hardly knew yeeso.) But streaming video will likely never consolidate to a point where you can get every show you want by ponying up for one or two big names.

Is this just about money? Is it just greed that stops networks and studios from making it easier on all us consumers by just putting everything on Netflix or Hulu? Sort of. But it’s also about control.

Giant aggregators kind of reverse the way we think of monopolies working: instead of giant companies gaining control over a market and gouging consumers at retail, they lower retail prices and deliver the real pain to the suppliers. Walmart is the original giant aggregator, and it’s not hard to find stories of companies driven to bankruptcy by “success” selling through them. Twenty-First Century Walmart, Amazon, is remarkably cavalier about counterfeiters selling physical goods on their site. And you don’t have to be on the take from Penguin Random House to wonder whether it’s particularly healthy for self-publishers to rely on Amazon for three-quarters or more of their sales. If they decide they’d rather only give “indies” a 50% cut of the cover price instead of 70%, well, what are you gonna do about it? Pray they don’t alter the deal any further.3

The music industry still blames Apple’s iTunes ecosystem for destroying the once-lucrative CD market. So it’s not surprising that studios have decided that if on-demand streaming was truly going to be the future of television, they did not, in fact, want to chill with Netflix. Think about streaming music: artists say that unless they’re Taylor Swift, they’re making bupkis from Spotify, yet Spotify pays out so much for music that they’re still not profitable. These sound mutually exclusive, but they’re not: Spotify and friends should have charged $15 or $20 a month for unlimited music streaming, not $10.

Does that mean that Netflix should be charging us more than $9.99 $10.99? If they wanted to be the video version of Spotify, yes. But they don’t: they want to be a network. Amazon wants to be a network. Hulu wants to be a network. Apple (probably) wants to be a network. CBS wants to remain a network.

And at the end of the day, that’s what this boils down to: video streaming services aren’t the new airwaves, they’re the new networks. And since we’ve pretty much all collectively decided we can’t stand commercial breaks–how we “paid” for most network programming for sixty-odd years–we’re going to end up paying those networks directly.

So the future of TV is not apps–the future of TV is, just like the past of TV, networks. The key shift is a move from an advertising-supported model to consumers paying the networks directly.4

But will this future last as long as what it’s replacing? The network-and-affiliate broadcast model has been with us for nearly a century, predating television itself. That’s a lot harder to say. The model definitely needs tweaks–streaming services need to stop treating their metadata as proprietary secret sauce and let companies building streaming appliances build comprehensive cross-service program guides, for a start. But it seems to me like this future, even if it’s not precisely the one we wanted, has legs.

It’s much less clear to me whether this model will work well for software, as more and more programs take cues from Adobe and Microsoft and move toward subscription models. That, however, is another post.

The Apple TV is arguably most of the way to being a solid “casual” game console, but it’s become clear that Apple has no idea how to make it attractive to either developers or consumers in that space. ↩

I suspect Jason Snell is correct: Apple will take an “HBO approach…offering a dozen original series and a curated collection of films and classic TV shows.” ↩

This is what much of Amazon’s stock price was historically based on: investors bet they would do exactly what Walmart did. That this hasn’t come to pass may well be due to Amazon Web Services becoming the company’s biggest revenue driver. ↩

Advertising-supported services that are free to watch will stick around, but there’s a strong antipathy toward services with monthly bills and ads. I doubt that “blended” model will be with us long-term. ↩

[tristanleggett]

The Marketing Chronicles Behind 30% Annual Revenue Growth at Top E-commerce Software House

The Internet was opened to the public back in 1991, after the invention of the World Wide Web. This opened the Pandora box: online shopping! By 1999 global e-commerce reaches $150 billion.

But behind great e-commerce lays great e-commerce software.

Divante is aiming to be just that: great e-commerce software house, by providing top-notch e-commerce solutions and products for both B2B and B2C segments.

And with a revenue that increases annually by 30%, we think they’re kinda there, what do you think?

And take a look at that: a Deloitte Technology Fast 500 nomination in 2017, with a 4-year revenue growth of 259%.

So, what’s the recipe behind the growth?

Definitely the product should be top notch. But without the right sales and marketing strategies, a great product just ain’t enough.

So, in this blog post we’ll decipher Divante’s marketing strategies, from the inbound perspective, social media, but also we’ll sneak inside their team and employer branding

TABLE OF CONTENT

Divante E-commerce Software House - Short Overview

Brand Awareness at Divante

Divante’s Social Presence

Employer branding and hiring

Divante’s Website and Conversion Rate Optimization

Divante’s Traffic Acquisition

Content Marketing

Wrap Up

From banking, telekom, fashion, Divante knows it all. Just look at their clients.

Impressive, right?

But how? That is the question.

Let’s find out.

Divante E-commerce Software House- Short Overview

Some Divante facts: 10 years on the market, 150+ global clients, 200+ team members, 1000+ projects delivered, own products developed for the e-commerce market and 2 e-commerce open-source solutions (Open Loyalty and Vue Storefront).

The feedback on Github, Capterra and g2crowd looks really good for Vue Storefront, which is acclaimed as No. 1 open source progressive web app for e-Commerce:

So, 10 years of steady growth and business expansion.

And let's not forget they've recently opened an office in Amsterdam and Berlin, and they're expanding to Singapore as well.

The purpose of this new office was being closer to their clients from the DACH countries.

Next, let's look a bit at what the Divante clients have to say about them:

Deep knowledge, commitment and full support

Managed to increase traffic and income

Go the extra-mile

Delivery with tight deadlines

Expertise and professionalism

“Our income has doubled”, “reduced our time to market”, “increase website traffic” - that’s what I call results oriented.

But how did Divante get here: a top player in the e-commerce software industry?

Follow me to find out:

How developing open source products can pave your way to success

How the proper branding efforts can get you first-rate clients

How inbound marketing can portrait you as an expert in the field and build trust around you

Divante’s Marketing Strategies Reverse Engineered

After so much pain and struggle for a former communist country, it’s time for a rebirth.

Poland is reinventing itself and reshaping the IT outsourcing environment.

“When life gives you lemons, make lemonade” - this came to life in Wroclaw.

Divante, the e-commerce software house is leading the way.

T-Mobile, Ringier Axel, Continental, Tchibo, Intersport are just a few of Divante’s global clients.

But what lays behind the lemonade?

Strategic marketing.

And we’ll reverse engineer it.

Brand Awareness at Divante

A brand vision should attempt to go beyond functional benefits to consider organizational values; a higher purpose; brand personality; and emotional, social, and self-expressive benefits. ― David Aaker (the father of modern branding)

Every step a business makes, in relationship with each and every stakeholder, will translate itself in branding.

A satisfied customer, an unhappy employee, an empowered student at a hackathon, a comment on social media, everything will generate word-of-mouth and brand awareness.

So, what does the market have to say about Divante?

First of all, we’ve mentioned the Deloitte Technology Fast 500 nomination in 2017 and the Clutch reviews.

Further on, in our article, we’ll see how community and social media engagements are handled.

Because, in the end, with all the tech development, the human touch will get you fans, employees and customers.

Divante’s Social Presence

Social media is a great channel for a business to include the community in the communication, help build trust and develop long-lasting relationships.

Divante clearly understands this, just look at these numbers:

7500+ Facebook followers

1700+ Twitter followers

2700+ Linkedin followers

Looking good for an e-commerce software house.

Divante’s Facebook Page

Divante’s Facebook profile has a client approach. Through consistently publishing posts, Divante wants to prove expertise in the field, hence build trust around the brand.

The posts are merely about:

Promoting long form content - ebooks, guides, reports

Successful integrations of their Vue Storefront product or PWA

New strategies and partnerships for Divante

Company culture and employer branding

Events they organize or attend to

The interactions are a bit scarce.

But this isn’t a surprise. From what we’ve analyzed so far, the most popular posts for software houses posting on Facebook, are people related, such as team events, introducing team members etc.

LinkedIn

The LinkedIn profile content is also client-aimed. The posts refer to:

latest articles they've published

news from the e-commerce world

their latest ebooks

events they've attended

their latest knowledge project: interviews with influencers in the field, in a series called "E-commerce Talks by Divante", hosted on Youtube, Soundcloud and other podcast apps.

their services

posts that refer to the company culture (internal events, celebrations) and employer branding

hiring opportunities

Twitter

Divante almost replicates the Facebook and LinkedIn content within its tweets.

Events are in the spotlight here: speaking gigs, attending conferences and summits, but also sharing content they build.

Curiously, this is the first software house I’ve encountered that does not rely much on social media to build employer branding.

The communication is mostly oriented towards gaining new clients.

Divante’s Community Involvement

Whenever you would see a Magento event, for sure Divante is there.

They don’t usually miss making an appearance, as attendees or speakers.

Now, take a look at their roadmap, pretty busy!

On the employer branding side, they're busy as well: meetups, hackathons you name it.

But these are just a drop in the ocean.

Take a look at the community built around Vue Storefront!

Employer branding and hiring

One single Glassdoor review for Divante, a positive one, but, statistically speaking, not significant.

As we’ve mentioned before, through community networking, Divante is opening communication doors to future employees.

Speaking of, they have 15 ONGOING open positions, mostly for developers. The head of content position is standing out from the busy crowd of developers and engineers.

The “ongoing” status of the jobs explains a lot, especially when you look at this data: 600+ developers wanted in Wroclaw.

Divante has growth plans: opening new offices and hiring people.

But this thing goes even bigger: they want to build the Vue A-team, the best in Europe.

Another thing that struck me is the company's structure.

By now we've already heard about flat structures and holacracy, Divante is experimenting with something else: the Tribe Model inspired by Spotify.

This model is trying to split the organization into smaller organizations. We've got squads, guilds, and other types of teams. These teams are autonomous, self-organizing and self-managing.

So far so good, or so it seems for Divante's new structure.

Divante’s Website and Conversion Rate Optimization

The website has a intuitive and user friendly interface. It’s easy for the buyer persona to find an answer to its questions:

What does Divante do?

"We’re experts in providing top-notch eCommerce solutions and products for both B2B and B2C segments."

What technologies do you use?

Vue, Pimcore, Magento, SAP...

What services do you offer?

The menu is well organized, with clearly stated submenus in terms of products and services.

Besides services, Divante has built its own products for e-commerce:

This only comes natural for a software house, after gaining so much knowledge, moving towards a SaaS approach has long term benefits.

How can I trust you?

Case studies backed by data, testimonials, client listing, awards.

How can I contact you?

“Contact us” button

“Estimate a project” button in the homepage, above the fold

Contact form

If you want more data, Divante has prepared a top-notch info pack.

In terms of conversion rate optimization, they seem to be using Hotjar (according to SimilarTech). Also they are using Hubspot chat and forms for marketing automation purposes. In the end, it's all for the sake of improving the sales cycle and conversion rates.

Divante’s Traffic Acquisition

The main website traffic sources for June 2019 were:

What could account as direct website traffic?

offline events: conferences, meetups and hackathons

referral traffic not tagged

sales reps activities

Content Marketing

Like for our Netguru growth story, the approach for the content marketing analysis is based on the RACE framework.

I'm gonna look at the content strategy from the reach and act stages, where you build awareness around the brand and design the first touchpoints with the contacts.

The convert phase of the RACE framework revolves around paying customers, so this is a task for the sales team. The marketing team is responsible for generating high quality leads in the first two phases.

The engage part of the framework y the sales team in B2B, while the engage part can have different responsibles (account managers, support team, CEO...).

REACH

Brand awareness at Divance is built mainly through offline events, social media postings, blog and website content.

Now, let's move a bit to the blog. The blog is updated about bi-weekly. Lots of categories are used.

The majority of the posts are not very technical, and, besides Agata Młodawska, the Marketing Manager and Aleksandra Kwiecien, the Content Manager, other non-marketing team members are writing content.

From time to time, some pieces of content are signed by Tom and Piotr Karwatka, the CEO and CTO of Divante.

But let’s see which are the most valuable pages on the Divante website:

It seems that the most traffic is brought to the blog pages. In the top 10 pages, there are only two pages that are not blog related: the homepage and contact page.

But let’s take a look at the keywords. The trend looks nice, slowly but surely upward.

Only one keyword cluster is standing out in terms of traffic and position: banking loyalty programs/rewards.

Moving away from the blog, Divante has created really powerful non-gated pieces of content:

Case studies with famous brands: Reserved, ING, Intersport etc

Slideshare content: 100+ slideshares and thousands of views

audio content: podcast "E-Commerce Talks"

ACT

It's time to move further down in the funnel. During the act phase users engage with Divante's gated content. In exchange for contact data they get access to original, valuable information.

The tools used here are:

newsletter

gated case studies

eBooks and their lead magnets. There is a large collection of eBooks designed by Divante, the topics vary from trends and insights, various tops, market reports, "state of" type of analysis to vertical related issues (fashion, pharma...).

Divante seems to be testing various lead magnet designs, positioning the CTA and form above or below the fold.

It seems that they employ virality tools, shares in exchange for download via Pay with a Tweet.

product demos

Backlinks to Support Content Marketing

Good original content needs backlinks in order to get some Google love. So, let's peep at Divante's backlinks a bit.

The links come from relevant e-commerce or SaaS related websites.

Guest blogging seems to be a backlink and traffic source as well, gotcha Agata:

Divante’s Paid Traffic Acquisition

In terms of paid Google search ads, Divante is promoting the Magento development service, bidding on “magento web development” related keywords, which are really bottom of the funnel keywords. They go straight for high intent keywords.

On the other hand, they also push ads that promote their reports.

The landing page is really compelling, with its clear CTA and above the fold social proof.

Spyfu estimates a budget below $1k.

While the Google search ads are Magento focused, on the sponsored Facebook posts side we see a progressive web apps approach.

Using Similar Tech I've noticed that they have the Quora, AdRoll retargeting pixels installed as well, also the Twitter and Bing pixels.

So, there's more than meets the eye with these guys when it comes to paid advertising. They don't shy away from challenges.

Social Selling

Regarding the Medium positioning, it seems that Piotr Krawatka, CTO of Divante, and other Divante colleagues are editing The Vue Storefront Journal.

Beginning with June 2018, there is an increasing Medium focus. And the engagement seems rewarding.

Wrap Up

From the B2B marketing point of view, it seems that a consistent content strategy, seasoned with some events and marketing automation, is the recipe of success for this e-commerce software house, Divante.

But let’s make a more comprehensive list of takeaways:

Release valuable open source projects

Don't shy away from taking a SaaS approach

Go the extra mile in the relationship with your clients

Have a content strategy across the entire buyer’s journey and test various format: text, imagery, audio, video

Letting your community in on your plans for the future is great for business, it builds trust and increases brand awareness

So, this was our Divante pit stop.

But the race ain’t over yet.

And it’s not only about Wroclaw, but Poland's success story.

So, check out our Growth Marketing Secrets of Top European Software Houses - Poland Edition 2019 ebook to see below the tip of the iceberg.

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