codegent is a full service web development new media agency, based in clapham, london, uk, that delivers well-designed content managed sites, microsites and flash games supported by robust technology and integrated marketing solutions including search engine optimisation, pay-per-click and html email.

Third Thursday - February News

Posted by Mark McDermott on 17 February 2011 at 12:34 PM
Categories: New Wins, Codegent News, Web Apps, Tepilo
Mark McDermott
Mark McDermott
Co-Founder
BLOG: Third Thursday - February News

It's the Third Thursday of the month. 3-2-1 go!

Dog Developer Darcy
We are looking for a new developer. Click here to find out more.

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4 reasons why you need to change your website

Posted by Agnieszka Oslak on 16 February 2011 at 05:19 PM
Categories: It's a Random World, Online Innovation, Codegent College, Web Apps
Agnieszka Oslak
Agnieszka Oslak
Production Intern
BLOG: 4 Reasons why you need to change your website

Your website is your marketing tool and should reflect what you do and who you are. With that in mind do you like the image that you are projecting to the world? If no, then probably it is time to start reconsidering your options. You don’t necessary need to overhaul your old website; it might be only a matter of tweaking your existing one. To help you to make a decision here are 4 reasons that may mean it is time to change.

1. Your current site doesn't allow you to communicate with your audience

Sorry, this is another social media stick to beat you with but it’s the world we are now living in. It doesn’t apply to everyone but increasingly users expect to be given the opportunity to interact with your content – share it, recommend, express likes and dislikes or comment. But it isn’t just about users, social media will also benefit you. Properly optimised sites can increase your conversion rates, SEO and help spread the word – all for free!

2. Is it stuck in 2004?

If your site was developed in and built for older browsers and on old kit then you might want to try using it on big screens and modern browsers because that is how the lion’s share of your users will see you.

3. Does your website still represent who you are and what you want to say?

As an agency what we offer our clients today is not what we offered them 2 years ago, let alone 6 years ago. We are beginning to think about v5 of our website because, although v4 (released in 2009) is great, it no longer communicates everything about our offering today. We have evolved and therefore so has what we want to tell the world. You would think that as a web design agency this would be pretty straight forward, but as is all too common, making time for ourselves amongst our clients is tricky to say the least. But make it we shall because if we don’t no one else will be telling clients about our usability experience or brand work or… you get the picture. Take a look at what you are saying about yourself but don’t be surprised if you don’t recognise yourself any more.

4. You might be the same old dog but has your audience changed?

How much has your online behaviour changed in the past few years? Are you reading this on your iPhone? (I bet it is a 4). Your audience and their expectations are developing as the technology does and your site should reflect those changes. Is your site optimised for a mobile or tablets or have you even considered what people coming to your site on those devices might be after?

Hopefully you are not feeling too stressed out reading the above. Get in touch for a cup of tea and a chat with us if you need a bit of therapy!

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Where's the paper boy gone?

Posted by Maxime Boulin on 16 February 2011 at 02:47 PM
Categories: Codegent News, Online Innovation, Press, Web Apps, Mobile
Maxime Boulin
Maxime Boulin
Head of Mobile
BLOG: Where's the paper boy gone?

Murdoch was right claiming that the iPad was going to be a "game changer": it's been dominating the "tablets" market ever since its release in 2010 (From the second quarter to the third quarter 2010, the overall media tablet market grew 45% percent and has been driven "almost exclusively" by the iPad (1)) and has had a tremendous impact on how people consume information. As of December 2010, 14.79 million iPads have been sold, making the iPad the best-selling tech gadget in history. iOS and its "exclusive" apps have definitely contributed to its success, and have drastically changed the way we experience Web browsing, gaming and media. I don't know about you, but I haven't purchased a single magazine (nor read news on my computer) since the iPad introduction. I've been purchasing, reading and sharing news & articles right from the comfort of my couch. The iPad has become my breakfast companion, and I thought I'd give you a tour of how it got there in this regard, app by app.

The pioneer

Wired MagazineWired Magazine (now Wired Reader for iPad)

Wired for iPad was the first (good) example of what publishers and content creators can achieve on tablets, offering additional value compared to the print version (explanatory animations, videos inside the content, gesture-driven reading, animated/video ads etc.). Although this first attempt at a tablet magazine wasn't appreciated by everyone (many disliked the fact that users had to purchase every release as a new app), it kicked off the wave of "newsstand" apps.

 

Personalised social magazines

Pulse News ReaderPulse News Reader

Pulse was introduced as a "clean and elegant news reader" and redefined the way we consume news feeds on a mobile device. By providing a manageable grid of boxes on the iPad display - each row being a new feed - coupled with its snappy interface, it transported Pulse News Reader into the "top paid" category in just a matter of weeks.

 

FlipboardFlipboard

Flipboard is a more personal, social magazine. It integrates with your Facebook and Twitter accounts, and displays news in an easy-to-read, magazine-like format. Flipboard got notorious for it's animations and simplicity (e.g. you "turn" pages just like you would do on a paper magazine). Flipboard is still my favourite way to consume news on the iPad and keep in touch with my friend's activities.

 

FludFlud

Flud is the latest visual news-reader app coming to the iPad, and describes itself as "a modern, beautiful and personalized mobile news ecosystem with the vision to empower it's users to engage and broadcast relevant news topics to their social networks". Flud takes Pulse's concept one step further, offering a much tidier experience to it's users.

 

The big name's magazines

Popular SciencePopular Science

Published by Bonnier, Popular Science on the iPad continues in Wired's footsteps: bringing a paper magazine to life on the iPad. Its interface is amongst the best around, offering a nice level of interaction possible with the content.

 

Project MagazineProject Magazine

Project Magazine, produced by Virgin, is one of the most recent additions to the magazines category on the iPad. It's an incredibly polished magazine, covering a rather broad array of topics, with really great content and few advertisements (especially compared to Wired). Definitely a tablet magazine done right.

 

The DailyThe Daily

The latest arrival in the magazine category is no less than Rupert Murdoch's creation: The Daily. With a $30 million initial investment, and costing around "half a million dollars" to produce each week, The Daily has been highly anticipated. It's also the first app to introduce and rely on Apple's new subscription system. Unfortunately, The Daily suffers from numerous crashes and slow (to say the least) startup times. Hopefully, these problems will get addressed in coming revisions.

 

What's next?

Far from being monotonous, there is still room for improvement in this category of apps, particularly in the area of interface design and how the content is experienced. I think this is where companies like Push Pop Press can enter.

Push Pop Press

Push Pop Press was founded in February 2010 by a team that includes ex-Apple genius designer Mike Matas. They present themselves as "[…] bringing together great content and beautiful software to create a new breed of digital books. Books that let you explore photos, videos, music, maps, and interactive graphics, all through a new physics-based multi-touch user interface".

We know very little about it yet, but John Gruber from "Daring Fireball" has made laudatory comments on what he has seen from the app so far. Judging by his post, it looks like they have done an amazing job, and it could very well be the precursor of the next generation of tablet-specific "newsstands" & magazines. It's definitely an app to keep on your radar.

The iPad has changed, and is still changing the way we consume information and media, yet we're just at the beginning of the tablets era and I am sure we will continue to be amazed by future tablet-specific creations. Just like Sinatra would say "the best is yet to come"!

(1) Data sourced from http://arstechnica.com/gadgets/news/2011/01/tablet-market-grows-45-quarter-over-quarter-driven-by-ipad.ars

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What really grinds my gears

Posted by David Hart on 15 February 2011 at 06:30 PM
Categories: Musings, Grinds My Gears
David Hart
David Hart
Co-Founder
BLOG: What really grinds my gears

What really grinds my gears #2

Following on our new series where someone grumpy in the agency has a moan about what hacks them off. This month: political debate.

What has politics got to do with a digital agency you may ask? Well, when we write our corporation tax cheque each year, caring about how it’s spent becomes a concern. And, let’s not forget, decisions taken in parliament have a direct affect on our commercial well-being. 

The problem is, politicans treat political debate like some sort of game show, where the rules are to avoid answering difficult questions whilst simultaneously insulting your opponent and sticking to your message. Trouble is, this isn’t an extension of their University Debating Society, it's real decisions that affect real people's lives. Take the recent clash in the Commons between Ed Balls and George Osborne, where Mr Balls begins by referencing an increase to the bank levy. Here is a shortened version:

Ed Balls: Good job I didn’t have a breakfast meeting this morning or I would have missed his rather hurried ‘mini budget’. 

Cue: laughter from his side of the House (because the implications for all of us of raising taxes from the banks is funny, right?) 

It snowed so badly in December in the UK that…the economy slumped and unemployment rose. In America it also snowed badly but the pace of economic growth increased… could the Chancellor tell the House, is there something different about British snow?

More laughter (our economy’s woes clearly an endless source of humour for those in opposition).

George Osborne: I must welcome him….now he and the Leader of the Opposition know what it’s like to be the people’s second choice. 

Laughter on the other side of the house (they feel that their guy is the funnier stand up. But joking aside, this is a serious question: why exactly is the economy growing in the US and has stalled in the UK? Will the Chancellor explain the situation and reassure us)?

When he was at the Treasury… Britain had the largest housing boom, biggest deficit…he is a deficit denier. 

(So, just use it as an opportunity to attack the opposition, then…)

EB: Mr Speaker, no answer to the question about America, then. Perhaps he should have spent less time on the ski slopes of Switzerland and more time in the conference halls of Davos listening to the American Treasury Secretary….will he have to stand here in 6 weeks time and downgrade his first growth forecast?

(Nobody cares about Osborne skiing, but we would like to know if he still stands by his growth forecast.)

GO: He clearly had a lot of time to prepare for that but I’m not sure it came out as expected.

(Nobody wants a critique on his delivery, Mr Osborne, but they would like an answer to that question.)

What I will say is this: we have had to deal with his economic legacy….

(Ad nauseam)

And at the end of this exchange we learn absolutely NOTHING. All we are left with is a sense of frustration that we have bothered to waste our time listening to two not-very-funny men trying to get one up on each other. 

The one thing I did hear that resonated was during Prime Minister’s Question Time when MPs were shouting and jeering like a bunch of morons and the Speaker said “these exchanges are excessively rowdy and I must ask members on both sides to consider what the public thinks of this sort of behaviour”. Indeed.

If I had my way, questions in Parliament would have the same gravitas as questions in Court – and anyone not answering them or treating them seriously would be held in contempt.

But there is a wider lesson that I think Social Media is teaching us. And that is that, just because you stick to your line and refuse to answer a reasonable question, it doesn’t mean that people aren’t drawing their own conclusions.

We all know that people are talking about you on Twitter whether you like it or not, but how would we deal with a sudden torrent of criticism that is coming your way? If you were a political party you’d most likely ignore it, or publish an unrelated Tweet that just repeats your message. But I think this is a mistake. Ignoring it is says either you don’t respect the people who are talking or you’re too stupid to realise that it’s being said in the first place.

When Nick Clegg was being berated on Twitter for breaking his election promises, what did he do? He has a Twitter account, with over 50,000 followers, so how do we think he chose to use it to engage with those people venting their frustration? Well, surprisingly on the day of the student riots, other than referencing an interview, he did nothing. I’m guessing that everything is so carefully planned and spun through his media adviser that they advised that he shouldn’t stoop so low as to respond. 

But the truth is, this is a world of instant opinion and we all need to embrace it. We need to put our hands up when we mess up. We need to explain how we’re going to do better next time. And we need to do this by engaging on a human level, because you can’t be Tweeting trivia one minute and lying low the next. Political parties are out of tune with sentiment when they continue to wriggle out of answering genuine questions and treating it as a game, rather than the serious business of running our country.

And that, folks, is what really grinds my gears.

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Look what you're doing with your torrents!

Posted by Nick Woodbine on 15 February 2011 at 03:46 PM
Categories: Musings
Nick Woodbine
Nick Woodbine
Production Lead
BLOG: Look what you're doing with your torrents!

The thoughts of Rachel : Friend, erstwhile Music PR Bod, current Ukulele maestro and regular contributer to The Independent and The 405.

The business model of a record label is a funny one. It has been said that about 8 out of 10 albums lose money, so it is the 2 out of 10 that hit the jackpot who have to bail out the losses of the other 8. It is a ridiculous system, but in an industry that is at the mercy of fickle music lovers alongside vast production costs, it seems an unavoidable one. In the ‘olden days’, when fans were happy to part with cash money for records, the labels had enough revenue to nurture new bands, spend a bit of time in the studio, develop talent for a long term career – think Bowie, Rolling Stones, U2. Things are a little different nowadays. With the advent of torrent sites, P2P sharing and legal streaming sites such as Spotify, Last fm and Pandora, the labels simply aren’t making money anymore. Or at least, not as much money. Pair that with the falling cost of CDs, forced down by loss leaders in the market such as Tesco and Asda, and what we have is a great big money-haemorrhaging mess. The labels were slow to recognise the vast potential the internet offered an industry such as theirs, playing catch up with sites such as Napster, Pirate Bay and Limewire, but when they finally got round to monetizing digital music on their own terms it was too late. The public had seen the goods, and the goods were free.

With a burgeoning P2P and torrent ‘scene’, naturally the profits of the labels are reduced and so new measures have to be introduced to maximize the money making potential of their products. Where at one time bands would be signed because they showed long term potential, now artists are being signed because they are already fully formed, instant and a dead cert in terms of record sales. A & R scouts are less likely to take a punt on a new artist unless they have clear commercial potential and Labels don’t necessarily have the money to spend on developing new talent over a 5 album deal. What they want are record sales, and so dawns the era of disposable pop music, artists who are here today, gone tomorrow along with the descending production values that brings. It’s a strange time when the ‘one hit wonder’ becomes the norm. There’s huge pressure on artists to score a number one hit on their debut single and album, and if they don’t, they are deemed to have failed. Of course, this isn’t the case with every single band or artist signed to a label, but it is definitely a growing trend, brought on by the need to make money, and to make it fast. It is a frightening thing to think that if this had been the attitude fifteen years ago, Radiohead would have been dropped by their label immediately after their poorly received first album, Pablo Honey.

Independent labels have always been the quiet, underlings to the behemoth majors and have tended to have a less commercially minded approach to their artists. However, they too are suffering from falling record sales. Even independent labels need a big hitter to pay for the rest of their roster. Domino Records have Arctic Monkeys and Franz Ferdinand; Beggars Banquet have The White Stripes and Adele; Rough Trade have Arcade Fire and The Strokes. Although artistic integrity tends to remain intact longer at independent labels, they too are shying away from new signings that don’t at least show some commercial potential, demonstrated by the recent influx of break through artists signed to the smaller labels.

Some artists have done away with record labels altogether and have recognized that music has lost it’s value - the only real way to make money in today’s climate is to sell out massive stadiums tours. This doesn’t help unsigned or new bands in any way, but it sure as hell helps the likes of Prince, who gave his last album away free with The Daily Mail, but played 21 sold out shows at the O2 for huge personal profit. He’s not daft, is Prince.

All of these changes come from a need to make money in a market with shrinking revenue streams. The Internet is the maker and breaker of the music industry as we know it. We have unprecedented access to music from all over the globe at our very fingertips, unsigned bands have a forum unto which they can distribute their music, promote themselves, do away with the shackles of a record label. But at the same time, the Internet has destroyed the value of music. Great for music fans, not great for brand new bands who want to make money or get signed. Because you can’t touch it or see it, people seem to think that music should be free, regardless to the hundreds of skilled and talented people involved in producing an album. Labels are faced with the ‘bottled water’ quandary: How do you get people to pay for something that they can get for free? Evian seem to have figured it out. The music industry, however, have some way to go.

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