Our 2-minute video-short illustrates what dashboards can do and how easy they are to implement.
Depending on your browser settings you might find the sharpness of the video improves by using this link.
Consumer insight and social analytics budgets have grown consistently over recent years, despite the ravages of the Great Depression.
This means more businesses recognise the benefits of investment in market research and data analysis, which is good news.
However, the volume of consumer insight data from surveys, CRM and social media sources is becoming overwhelming.
Finding better ways to dig insights faster from this material and get them out into the wider company so people can use them has become a new priority.
Data Insight Dashboards resolve this challenge. Any research and insight department that hasn’t already implemented an insight dashboard strategy needs to begin thinking seriously about one now.
Let me know if you’d like to learn more.
Charlie Brooker is a British comic and media commentator. He recently published the above article in The Guardian.
Brooker was provoked by the tonal disparity between tweets describing Kate Bush’s comeback tour as a kind of transcendental experience, and the rather more hum drum report of a true fan who’d attended one of her concerts.
At an anecdotal level it feels like there’s a lot of truth in Brooker’s observations. Turning up the hype-dial to 11 seems to be the norm on social media these days.
But how big is this issue really, and does it pose a challenge for brands that want to cut through and build relationships on social media?
To find out Colourtext undertook a semantic analysis of almost one million Twitter messages.
Our sample was drawn from a larger dataset of 15.6 million tweets collected during April 2014 in the Republic of Ireland. This represents a large, single-country, English-language Twitter “corpus” that makes a very convenient testbed for social media benchmark studies.
We began our analysis by looking out for special words and phrases within tweets known as “Amplifiers”. Amplifiers are used to increase the perceived importance, urgency or significance of a statement.
The kind of high-frequency Amplifiers we found on Twitter are illustrated in the image above. Words like ‘so’ and ‘really’ featured prominently – they’d crop up in phrases like, “it’s so good” and “it’s really bad” etc.
We were surprised by how often Amplifiers are used on Twitter compared to everyday language use. Twitter messages in our sample contained 57% more Amplifiers than normal spoken English, and 76% more than found in regular written communication*.
These figures suggest that brands using social media need to think carefully about how to balance feeling “hyped” or “pumped” with the need to maintain market perceptions of sincerity and authenticity.
Yes, the bar is now set higher in terms of the use, and acceptability, of Amplified language on social media. But brands still need to ground any assertions they make upon a demonstrable product or service truth.
If they don’t, brands just look silly and invoke timeworn comparisons with vicars at discos. But at worst brands risk creating a cognitive dissonance between their rhetoric and everyday customer experiences. That invariably leads to consumer disappointment and mistrust.
To find out more you can reach us today by email - we respond directly to every message we receive.
*Compared to the British National Corpus (BNC) – a highly respected benchmark database of normal English language usage in both written and verbal contexts.
In April 2014 Colourtext collected and analysed every tweet that could be positively identified as coming out of the Republic of Ireland on behalf of TAM Ireland, the country’s official TV ratings agency. The objective was to better understand the strong connection between social media and TV.
A total of 15,600,000 messages were found to be generated by 170,000 Irish Twitter users. To our knowledge this Twitter study is the biggest and most comprehensive independent study of social media use in a single national market. It’s findings are important for other advanced markets and media cultures like the US and UK.
The television has been revolutionised
What’s on the box is one of the biggest preoccupations of Ireland’s Twitter users, reveals first study
Siobhán Maguire Published: 13 July 2014
IRISH Twitter users are telly addicts, 43% of them tweet at least once each month about TV shows they are watching [this first line has been corrected to address an editorial inaccuracy in the original article]
Findings from a study, the first of its kind, to monitor how people in Ireland use Twitter, also highlight an obsession with sports, our bodies, food and music.
TAM Ireland, the country’s television audience measuring service, commissioned the research, which studied 15.6m tweets by 170,000 users during April.
Jason Brownlee, the chief executive officer of Colourtext, a British data firm that conducted the study, said: “The results show us that patterns of peak viewing and the times when we use social media frequently overlap. It’s therefore not surprising that viewing and social media use often go hand in hand with each other.
“Viewers use social media to read other people’s live comments about a show and sometimes contribute a comment of their own. This adds to the fun and sense of engagement an audience feels with a programme. We expect this ‘second screen’ dynamic to play a bigger role in television formats in the future.”
The programme most tweeted about was the fourth series of Game of Thrones, which premiered in Ireland on Sky Atlantic on April 7. The second most tweeted about show was WWE WrestleMania, a pay-per-view event watched online. Tonight with Vincent Browne, TV3’s current affairs show, which is on each week from Monday to Thursday was the third most popular forum.
“The most highly tweeted shows are relatively niche ‘passion’ franchises such as Game of Thrones and WWE WrestleMania,” said Brownlee. “A vibrant social media fan culture has grown up around these shows, reflecting deep passion and commitment.
“In previous studies, we have suggested such shows can be poor ratings performers but their long-term content franchise value can be massive and often lies beyond the scope of conventional advertising revenue streams. This study backs up those findings.
“For instance, Star Trek’s early ratings in the 1960s were so poor that CBS threatened to pull the show after the first series. However, an unprecedented letter-writing campaign by fans of the show stayed its execution.”
Jill McGrath, TAM Ireland’s chief executive, said: “The findings tell us that 43% of all contributors tweeted about television during April. This 43% are among the heaviest tweeters and are the chattering classes of the 21st century.
“TV content has a powerful influence over the content of other media. It is the medium around which all others revolve. We wanted to understand that conversation a little better, which is why we commissioned the study.”
McGrath said the findings about our TV/tweeting habits show that users are most active at 10pm during the week. At weekends, tweeting about telly peaks at around 8pm when programmes such as The Voice of Ireland and Britain’s Got Talent are being aired.
“The two shows that generated the highest number of tweets in a five-minute period were WWE WrestleMania and EastEnders around the death of Lucy Beale [one of the show’s characters],” said McGrath.
The most popular sports tweets related to Manchester United being beaten by Bayern Munich in the Champions League; the future of its then manager, David Moyes; closely followed by speculation that Liverpool had a chance of winning the Premier League title.
People also felt compelled to share what they were eating as they were tweeting, or what they planned to eat later. There was a lot of moaning about diets and sharing of guilt over indulging in treats or sugary snacks. Commentary on personal appearance or how another person looked was another popular topic.
“Tweets are often written when someone is alone, which can make it feel like an intimate kind of communication, even though you’re wide-casting it to a large group of friends and followers,” said Brownlee.
Eugenia Siapera, chair of social media studies MA at Dublin City University, said determining a strong link between a social media outlet such as Twitter and television made sense.
“What is being tweeted is what we deal with and talk about in our everyday lives and to expect Twitter to be any different is counter-intuitive,” she said.
Siapera said that while politics and social issues are also important they are overshadowed in social media by lighter, less serious matters.
If you’d like to learn more about the methodology or data from this study please get in touch - we’d be happy to answer your questions.
A TV+Social media insight project that feels like Gogglebox on an epic scale.
Television Audience Monitoring (TAM) Ireland has selected Colourtext to deliver an ambitious and exciting new media insight project. The study will collect nearly every tweet authored in the Republic of Ireland over a full calendar month – we’re forecasting a dataset of 9 million messages. We’ll also be monitoring search activity over the same period.
The objective is to discover what percentage of Irish Twitter traffic is made up of messages about TV content. It’s a challenging brief, but Colourtext has developed the systems to handle this kind of ‘Big Data’ project.
We expect to learn a lot about the impact TV makes on social conversations throughout the day, as well as the shows and genres that stimulate most second-screen activity. We’re looking forward to bringing you the results when TAM Ireland release their findings in June 2014.
If you’d like to learn more about Colourtext’s approach to studies like this please get in touch – we’d be happy to answer your questions.
We recently posted a blog article that reported on a study by Nielsen in the US. It found a weak relationship between the size of a TV show’s official audience ratings and the number of Twitter messages it stimulated.
We thought this was a great example of the disjoint between traditional media research and the new field of social data analytics.
Our post reflected on the contrast between poor early audience ratings for Star Trek in the 60s, and its future billion dollar value as a content franchise.
We are finding that the concept of ‘Future Content Franchise Value’ can help us see what social media data is telling us about evolving audience relationships with TV, radio, music and film.
We also think that ‘second screen’ activity is changing how audiences relate to linear TV content. Each of these points seem to be connected with the phenomenon of social media fan culture.
To explore this idea further we analysed 120,000 Twitter messages generated by the first episode of the new Sherlock series, aired on 1st January 2014.
We used our latest semantic analysis techniques to identify key patterns of attitude and behaviour before, during and after the show. Our main findings are:
1. Emotional responses to Sherlock were complex, layered, often contradictory and constantly changing in response to on-screen characters, narratives and action
2. Binary emotional or evaluative metrics such as generalised ‘positive’ and ‘negative’ sentiments can give a misleading picture of viewer experiences
3. Social media fan culture related to a TV show is indicative of longterm content franchise value
You can download an teaser version of our Sherlock report here in Powerpoint format. If you think it’s interesting and would like to see more of the report we’d be delighted to hear from you.
You can reach Colourtext directly by emailing firstname.lastname@example.org