OBPNIE Clustering – LMLA-ink adds meaning to GUIOPERA linking

Using OBPNIE Clustering, John Reyer Afamasaga hopes to add value to the name components of a cluster by aligning them, and then associating them, with an emotive notion as designed via the plot of the end-to-end saga.
Aug. 17, 2010 - PRLog -- One of his first tasks was to design the methodology behind LMLA-ink’s Monster Story Churning Machine, the GUIOPERA’s linking. The concept creates criteria to the presentation of the links for data manipulation purposes, and metric measurement—a granular measure from the traffic analytics the clicking defines—giving LMLA-ink some indication of which combination of Storylines, Brands, and Products go together.

Metofeaz Litigatti had just returned from a hiatus, when he was given the job to package the concept, making it explainable to decision-makers interested in giving the Brand distribution channel, which is driven by a saga that starts in September and ends in December each year, a go.

“While it’s the fastest vehicle from an end-to-end process perspective, in that we can produce and publish the end result within thirty minutes of approval, it’s still a high quality product,” says Litigatti, stressing the importance of speed to market, and then he laments his point, “Try casting, producing, and post-producing a quality TVC in twenty-four hours….”

Organic Brand, Product, News Information & Entertainment Clustering (OBPNIE), pronounced Open-E-Clustering is a framework which groups the mentioned components in organic-complementary clusters so they may be presented in the GUIOPERA in a fashion that is consciously appealing, and unconsciously approving, according to the man nicknamed Feeaz, pronounced Fee-as, which has something to do with the amount of money he was paid by his employer LMLA-ink, of which he is a founding member, although he was forced out in 2001.

“The Guy, the one who first put the links to Youtube and Wiki into the GUIOPERA, says Clustering is the result,” says Metofeaz, known in some circles as a self-centered sort, as he pays tribute to the creative from down under who emerged as Litigatti’s replacement.

The outer layer, which encases everything or the fabric layer, is the Story. “Fabric Channel Partners,” are selected, reflecting their input through their products and services used in the construction and delivery of the story The next layer, known as the protocol layer, is Emotion, in which a Brand is awarded a paragraph to associate itself with the Character or a Moment —“Emotive Entitlements.” The third and final layer, known as the piping layer, which defines the channel and the physical items such as Products used in a scene, links to News and Information, and Music Videos, Movie Trailers, and selected TV commercials, dynamically placed and virtually pushed out to the nodes, points, devices, wrapped up in the Fabric, laced in Emotion.

Litigatti is also adamant that the GUIOPERA is not a threat to any other distribution method not anymore than was Google’s appearance following the arrival of the Internet.” The GUIOPERA’s pure new breed product categorization, which stems from Gen Y requirements—totally unexpected and driven by the personalization of technology—makes it unique to the new requirements of a brand new looking marketplace.

“Gas stations appeared on the side of the road, following the advent of the car. GUIOPERA comes at a time when Lazoo, John Reyer, and the crew believe stories can be pumped out to your mobile running windows, to an iPhone, Google Mobile, or whatever, for a minimal cost….”

See an example of OBPNIE Clustering, as presented in the Pilot Scenes of this year’s GUIOPERA III by John Reyer Afamasaga:


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