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Facebook becomes SA’s national platform

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The latest South African social media research shows Facebook becoming a proxy for the adult population, writes ARTHUR GOLDSTUCK.

When almost a third of the population is taking part in conversations and other activity in the same environment, it is clear that we are seeing a shift in the way people interact and socialise.

The SA Social Media Landscape 2018 research study, conducted by World Wide Worx and media monitoring organisation Ornico, shows that Facebook now being used by 29% of the population.

No less than 16-million South Africans now use Facebook, up from 14-million in 2016. And a massive 14-million of these use cellphones or tablets for their access. In the past, mobile use of social media was a smartphone-oriented activity, and tended to be focused on the upper income segments of the population.

Now, thanks to stripped down apps like Facebook Lite, which is often zero-rated for data costs by mobile network operators, the platform is spreading through the entire population. Facebook Lite was South Africa’s 5th most downloaded app from the Google Play Store for Android phones in 2017, and that has had a direct impact on both Internet access and Facebook use.

“It’s a tool that is geared towards the dynamics of a market,” says Oresti Patricios, CEO of Ornico. “Once other social networks and even organisations like banks and retailers come to understand the needs of emerging markets, and the limitations of mobile access, we will see this kind of stripped-down app becoming more common.”

In fact, such aps will probably make a far bigger impact on the growth of Internet access than the clumsy attempts operators are making to structure data bundles for low-income users.

A good example of this is Capitec, the only bank in the list of top ten most downloaded apps in South Africa. Both its account and its app provides simple, intuitive choices for consumers, which translates into low costs for both the bank and its customers.

It is no surprise, then, that the app that generates the most noise, Twitter, does not feature in this list. Twitter as an organisation has stagnated from a strategic point of view, and has little concept of the varying user dynamics across the globe. In the United States, it has been like a rabbit caught in the headlights, unable to respond to the threat from most other social networks. Most of its competitors are growing healthily, while Twitter’s American user base has fallen slightly.

Fortunately for Twitter, it is still growing outside the USA, so those new uses are balancing the American losses, so that the platform is maintaining its user numbers.

The international trend is reflected in South Africa, where Twitter continues to grow at a slow rate in South Africa. From 7.7-million users in 2016, it has grown slowly to 8-million users this year.

The key to this growth is that Twitter remains the social platform of choice for engaging in public discourse in South Africa. News, debates, celebrity spats and the like draw users in, and they are then able to weigh in with their own opinions. The result is that, even while user growth is slow, user engagement with the platform continues to grow strongly.

The biggest surprise trends in the survey was that the previously fastest growing app in South Africa, photo-sharing network Instagram, has see its growth slow down dramatically. It is now used by 3.8-million South Africans, up from 3.5-million.

On the contrary, the professional network, LinkedIn, has maintained steady growth, up from 5.5-million to 6.1-million, as entrepreneurs and small business employees learn of the same benefits that has drawn in the corporate world in recent years.

The study included a survey of social media use by South Africa’s biggest brands, with 118 participants providing insights into their social media practices, strategies and results.

The survey found significant shifts in each of the platforms used by brands, mostly upward. Facebook is now almost pervasive, in use by 97% of brands, from 91% the year before. Twitter has increased marginally, from 88% to 90%, while LinkedIn and Instagram continued their relentless rises, now both standing at 72%. YouTube has fallen slightly behind them, despite a marginal rise to 68%.

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Declines were reported for Pinterest, Google+, WeChat, WhatsApp and SnapChat.

“The findings underline the lesson that widespread consumer takeup of a platform, as we have seen with WhatsApp in particular, does not lend itself readily to brands communicating with those consumers,” says Patricios.

A similar picture emerged when brands were asked whether they advertised on social media. Facebook is by far the most popular for advertising, at 86% of brands, with Twitter and Instagram in distant second and third place at 45% and 40%. Linked in comes in fourth, on 35%.

Most advertisers believe they see a return on investment when they advertise on social media. By far the most unanimous benefit they see is brand awareness, followed by customer insights and brands.

This is hardly surprising, when one considers the extent to which Facebook in particular has become a proxy for the adult population of a country. If it represents almost a third of the total population, it represents almost half of the over-13s in South Africa. As a result, it is now a rival to radio and TV for reaching the broader population.

And it has one massive advantage: that communication is two-way, and can be measured precisely. Don’t be surprised when the social media version of South Africa becomes a more visible and measurable version of the country than the physical version.

  • Arthur Goldstuck is founder of World Wide Worx and editor-in-chief of Gadget.co.za. Follow him on Twitter and Instagram on @art2gee

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Welcome to world of 2099

The world of 2099 will be unrecognisable from the world of today, but it can be predicted, says one visionary. ARTHUR GOLDSTUCK met him in Singapore.

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Futuristic structures tower over the landscape. Giant, alien-looking trees light up with dazzling colours amid the hundreds of plant species that grow up their trunks. Cosmetic stores sell their wares via public touch-screens, with products delivered instantly in drawers below the screens.

This is not a vision of the future. It is a sample of Singapore today. But it is also an inkling of the world we may all experience in the future.

Singapore was the venue, last week, of the World Cities Summit, where engineers, politicians, investors and visionaries rubbed shoulders as they talked about the strategies and policies that would enhance urban living in the future.

As part of the Summit, global payment technologies leader Mastercard hosted a small media briefing by one of Singapore’s leading thinkers about the future, Dr Damian Tan, managing director of Vickers Venture Partners. The company’s slogan “We invest in the extraordinary,” offers a small clue to Tan’s perspective.

“We look as far forward as 2099 because, as a venture capital firm, we invest in the long term,” he tells a group of journalists from Africa and the Middle East. “Companies explode in growth because there is value in the future. If there is no growth, they won’t explode.”

The big question that the Smart Cities Summit and Mastercard are trying to help answer is, what will cities look like in the year 2099? Tan can’t give an exact answer, but he offers a framework that helps one approach the question.

“If you want to look at 81 years into the future, and understand the change that will come, you need to double that amount and look into the past. That takes us to 1856. The difference between then and now is the difference you can expect between now and 2099.”

Click here or on the page link below to read on: Page 2: Soldiers and Health in 2099.

  •    Arthur Goldstuck is founder of World Wide Worx and editor-in-chief of Gadget.co.za. Follow him on Twitter on @art2gee and on YouTube

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Street art goes electric

Kaspersky Lab and British street artist D*Face have unveiled the first-ever “art helmet” design at the Formula E finale for electric cars in New York.

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The ‘Save The World’ helmets will be raced by DS Virgin Racing’s drivers, Sam Bird and Alex Lynn, as they traverse the New York street circuit during the final races of the Formula E season.

The announcement signals the first art helmet by a Formula E team, continuing the heritage of art in motorsport and the cybersecurity brand’s commitment to contemporary art, creativity and innovation. D*Face took inspiration from Kaspersky Lab’s tagline, “A Company To Save The World”, and hopes that his colourful work will inspire people to take positive action.

D*Face will announce his first-ever art car design with a custom-made livery for the DS Virgin Racing Team. Its design will be released at the “Art Goes Green” event after Saturday’s race. The helmets and art car are the latest installations in the “Save the World” collection, following a major permanent public mural that was installed in Brooklyn, New York, in May.

D*Face, whose real name is Dean Stockton, said: “It is exciting to work with Kaspersky Lab on this project and create art with a real message of hope for a better future. After all, this is our world and we need to look after it. It will take every one of us to make a real lasting, impactful change. I love the mentality of the DS Virgin Racing Team and that of Formula E by showcasing sport in a way that doesn’t harm the environment, but is still just as exhilarating and fun.

“It is time for us all to stand together and make a change… be that stopping data steals, climate change, plastic waste or using damaging fuels. I want everyone to make a pledge to do one thing that will help make a change.”

As a sponsor of DS Virgin Racing Team, Kaspersky Lab is responsible for protecting the team’s devices against cyber threats. The company sees the technical environment in the global sport of Formula E as the next frontier in furthering its research and development of new technologies to keep vehicles secure in the digital world.

Sylvain Filippi, Managing Director at DS Virgin Racing, said: “The whole team fully supports this great initiative and our thanks got to Kaspersky and D*Face for their collaboration. It’s an honour to have such an innovative artist bring his talents to bear in our team ahead of the season-finale; the car, drivers’ crash helmets and mural all look amazing.”

Aldo Fucelli Pessot del Bo, Head of Global Partnerships and Sponsorships at Kaspersky Lab added: “There is a need for innovation on a global scale, both in contemporary art and in the fast-growing sport of Formula E. Now, for the first time ever, Kaspersky Lab is proudly bringing together the two sectors in an effort to Save the World and unleash creativity, encourage freedom of expression and further innovation.”

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