Categorization of Ambient Media | 8 Classification Systems

4.1 — Overview

CATEGORIZATION OF
AMBIENT MEDIA

The thematic analysis consisted of 500 static and 476 audiovisual AM examples. The individual categories are mutually compatible — one ambient medium can be placed in every classification system.

500

Static examples (Google)

476

AV examples (YouTube / Ambientising)

Classification systems

∞

Possible category combinations

// Purpose of categorization

The goal of categorization was not to propose a definitive list of parameters, but to define basic discourses and divisions. Categories depend on basic parameters and are mutually compatible — a chosen AM example can be classified within all types of categories simultaneously.

4.1.1 Classification by medium

BY MEDIUM

Basic classification based on whether the medium was primarily intended for communication or not.

Media primarily intended for communication

A standard communication medium commonly used for advertising campaigns. Billboards, megaboards, ultraboards, kiosks in public spaces, interactive posters, surfaces at bus stops, advertising frames in public transport, wrapped transit vehicle exteriors, floor graphics, POP/POS formats, shopping carts.

→ Billboard with periscope (Naval Museum) → Digital billboard BA Look Up

Media not primarily intended for communication

A large group of media not intentionally meant for communication. For some non-standard media, their primary function disappears and is replaced by an advertising function — these then belong more to category A.

→ Manhole covers (Folgers) → Zebra crossing (McDonald's) → Nusle Bridge (Vodafone)

4.1.2 Classification by location

BY LOCATION

Geographic placement of the installation — outdoor, indoor or combined environment.

Outdoor media

Car parks, roads and pavements, playground equipment, rubbish bins, phone booths, buildings. Public space elements: fire hydrants, barriers, traffic barriers, manhole covers, crossings, pavements, underpasses, post boxes, public lighting, natural elements (rocks, beaches, water surfaces, trees).

→ McDonald's zebra crossing → Folgers manhole → Vodafone Nusle Bridge

Indoor media

Elevators, escalators, moving walkways, baggage carousels. Static elements: stairs, handrails, door handles, grab rails, door stoppers, armrests. Unconventional use of floor space, exceptionally ceilings. Restrooms: toilet bowls and urinals, mirrors, sinks, hand dryers, soap dispensers.

→ Bus handrails as watches or dumbbells → Escalator installations

Combined media

Media usable both indoors and outdoors that cannot be strictly separated. Shopping bags, mugs, plates, food boxes, rubbish bins, vending machines, revolving doors, one-way barriers, dividing barriers, garage entry gates.

→ Shopping bags → A car embedded vertically on its headlights

4.1.3 Classification by interaction

BY INTERACTION

Interaction is a key distinguishing element — from zero interaction through passive to active recipient involvement.

No interaction Interaction with environment Passive interaction with recipient Active interaction with recipient

Interaction with environment

The recipient is a passive observer — interaction occurs based on a pre-set key. Dependence on natural phenomena: sunlight (sundial from a billboard), sea tides (reveals/covers message on a beach), rain (uncovers a water-sensitive message), snow (gives the impression of ice cream).

→ British Airways billboard reacting to a passing BA aircraft → Billboard capturing rainwater

Passive interaction with recipient

The degree of recipient involvement is the same with or without AM — no extraordinary activity is expected from the recipient. Elements capturing kinetic energy of cars, speed radars displaying results, scales at a bus stop, large-scale graphics requiring viewing from the correct angle.

→ Dog graphic in an atrium, with arriving people serving as "fleas" (viewed from upper floors)

Boundary passive/active interaction

Interaction is only visual contact — looking can be considered automatic (passive) but is directed by will (active). Snickers billboard with face recognition — the recipient's face replaced Marilyn Monroe's face. PETA "Behind the leather" — customers in a leather shop see a moving model of an animal body.

→ Snickers: "You're not you when you're hungry"

Active interaction with recipient

Basic principle: pressing a button or surface. Activities with varying time and physical demands. Cooperative installations for multiple recipients. Telenet "Push to add drama", Kleenex — tissue sharing, Coca-Cola "Happiness Machine" — dispensing drinks conditional on sharing.

→ The Social Swipe (Misereor) → Coca-Cola Happiness Machine

No interaction

The simplest forms of AM. They contain no passive or active recipient participation — they do not engage it in any way. They are derived from classic standard media and are often on the boundary of AM and a creatively executed standard medium. Bus handrails as watches or dumbbells, special extensions on bridges, oversized products in unusual environments.

→ Oversized Nike ball → Special wrapping of transit vehicle exterior

4.1.4 Classification by dimensions

BY DIMENSIONS

Dimensions are not perceived only spatially — they include the engagement of additional senses of the recipient as a "fourth dimension".

▭

Media using only 2D formats. The message may be on a 3D carrier, but is itself two-dimensional. Emphasis on content context and graphic design — connecting the format with the desired message.

⬡

A classic three-dimensional object in two variants: (1) an original object not primarily an advertising medium but used once/repeatedly for this purpose; (2) an object created specifically as AM. Uses graphic and industrial design, possibly digital technologies.

✦

4D and multi-D

A standard 3D object with one extra dimension — scent (pleasant or unpleasant), spraying water or other liquids, movement, touch. Comparable to adventure activities or 4D cinema theaters. The more senses involved, the stronger the experience of receiving the message.

// Standard perception of dimensions is only at the 3D level. For the purposes of this work, a system was used that defines dimension based on the involvement of more human senses — i.e., the perception of more stimuli by different senses.

4.1.5 Classification by processing

BY PROCESSING

Analogue

Do not contain any technological element in the form of an electronic system or digital technology. Also includes AM interacting based on mechanical movements or external natural forces.

Digital

Contain any element of digital technology — from a simple digital thermometer and counter through complex systems with sensors, computer elements and displays to mechanical moving parts.

Combined

Installations with multiple elements that are part of one installation but are physically independent and not interconnected — together forming a complex installation. A less numerous group in the quantification.

4.1.6 Classification by size

BY SIZE

Classification based on comparison with classic OOH media — standardized classification of OOH formats does not exist in the Czech Republic or abroad.

Small

Up to the size of standard OOH formats. Example: a manhole cover or anything that does not reach the dimensions of standard OOH media.

Medium

Typical smaller OOH medium — bus stop shelters, benches, various kiosks, outdoor and indoor interactive posters, various poster formats.

Large

Large OOH formats: billboards, bigboards, megaboards, murals or banners on side walls of apartment buildings, full-wrap transit vehicle graphics.

Oversized

In the OOH environment these are oversized installations: complete cladding of buildings, industrial structures and other load-bearing constructions that may be primarily created for message transmission.

4.1.7 Classification by space

BY SPACE

Public space

"The space of social life, the space of social communication." Physical public space: squares, agora, streets, parks, public buildings — accessible to practically anyone without restriction. Placement of AM in public spaces is regulated by administrators and local ordinances.

Private space

Always owned by a private individual — access and movement restricted by the owner's permission. Advantageous from the advertiser's perspective: subject to less restrictive legislation, installations are faster without lengthy city negotiations.

Pseudo-public space

Generally considered public, but actually private with characteristics of public space. Examples: shopping galleries, shopping centers, retail parks, sports arenas, recreational areas. Ideal for AM installations — clear purpose, high footfall, optimal for commercial messages.

Semi-public / transitional spaces

Border spaces between public and private. Examples: railway station platforms (publicly accessible on condition of a valid ticket), a block of flats courtyard (accessible to a limited circle of people).

4.1.8 Classification by message object

BY MESSAGE
OBJECT

Commercial communication

Classic commercial messages via AM — contains elements of standard advertising; the communication goal is most often an increase in profit through sales growth or building the image of a brand or specific product.

Social communication with commercial advertiser

Commercial installations with social elements — the message communicates social topics while also featuring the advertiser including the form of commercial brand/product whose goal is profit. Widely used by sports brands (healthy lifestyle, support for activity).

Social communication

Projects directly communicating social issues — the advertisers are non-profit organizations (in Czech Republic: associations, foundations, endowment funds, institutes, registered legal persons, church non-profit organizations).

Artistic expression

Installations that can be classified as artworks — AM as a form of street art. Distinguishing features:

Goal: an artistic installation need not have a communication goal — it is an aesthetic element.
Client: in AM, clearly defined; in art, the "client" and creator is the author.
Location: in AM deliberately planned; in art can be spontaneous.
Cost: AM is paid by the advertiser; artistic installation is funded by the author.

// Two forms of message distribution

Primary form

Physical ad hoc — the medium reaches the recipient at a specific location, in a specific environment and time.

Secondary form

Viral spread of visual and AV materials through digital channels — email, social networks, blogs, vlogs, themed portals.

THEMATICANALYSIS