Amid the clutter and decidedly frenetic pace of marketing innovation, this year you can detect an undercurrent of emphasis on readability and control over content – let’s call it “slow content” for the moment, in the spirit of the slow food movement – that hearkens back to Cluetrain and even beyond in it’s emphasis on giving the reader control over what is they want to read. Here are a few snapshots: Publishing platforms such as Treesaver.net that let you publish your content once for consumption on many devices, with an interface that looks more like a cross between the clean look of your Kindle and a well-designed magazine. Plug-ins for your browser such as Readability enable you to turn a cluttered content page into a clean, well-presented page with more in common with a well-designed newspaper than a web page. And iPad apps such as Flipboard,  embody the “instabook” notion – using your own search criteria, for example, the users you follow on Twitter – by publishing an up to date magazine with well-designed, flippable pages.

For marketers in categories with complex buying processes, content is obviously a key resource for the buyer. By 2011, everyone’s on board with that idea. Increasingly, we’re also looking at content curation as a way to manage the multiple voices the buyer seeks: influencer, community and yes, the voice of the vendor’s brand. Last year curation was a big story at SxSW, and this year it’s even bigger. On the cutting edge, though, is the idea of giving the buyer more control over how the content is presented and consumed. With Readability, the buyer can strip out the ads and save any content for consumption later in a more readable format. With Flipboard, a buyer can follow a single Twitter feed that could publish a valuable buying resource on a day-by-day basis. With Treesaver, your buyer can migrate your buying content across any device they choose to use to consume it. And with the evolution of Webfonts and Typekit, along with the capabilities of HTML5, they can get the same well-ordered, easy to read experience they’ve grown used to on their eBook readers.

With capabilities like these, over time, the buyer will learn to expect more than a vendor’s ever-increasing collection of PDFs with their locked-down design and formats. For innovative brands, this may be the time to start re-thinking your content presentation strategy. Experience matters – and from what we’re seeing at SxSW, innovators are working hard to improve the reading experience.

After laying out oodles of cash for television time and impressive spots, what do you do next to help cement your success? This year, you probably did a couple things. You previewed the spot online to build buzz. You made sure your website supported the brand proposition on click through. And in most cases, you built in multi-channel social engagement during and after the game.

But if you’re a marketer at Chrysler, Audi, Mercedes Benz, Skechers or any of the movie studios advertising big new movies, you forgot to think about the guy on the sofa with a smartphone in his hands. Especially the one who was interested in your brand. That’s right – you spent millions to reach consumers in a high-impact environment but didn’t build a mobile site to let them take action right away on the interest your ad created. In fact, nearly half of Super Bowl advertisers didn’t have a mobile site.

To quantify what they missed:

• In 2010, Pew Internet found that in the 30-49 age cohort, 43% of Americans now access the internet on their smartphones. (A 12 point increase over 2009.)
• Among the 18-29 year olds, that number increases to 65%.

And to put it in perspective alongside Twitter:

• Of the 30-49 age cohort, only 7% use Twitter.
• Among 18-29 year olds, just 14%.

To be fair, social media strategies we saw this year had more to them than Twitter – Audi’s “estate sale” Facebook promotion, for example. But Audi’s other big social concept was based on driving use of a conceptual hashtag – and consequently was aimed at a tiny fraction of their audience. (Among 50 – 64 year olds – those likely to buy a big fat Audi A8 – only 6% used Twitter, as of December 2010.) I’m sure the agency would point out that small groups of highly influential individuals tend to profile well against both advanced social media use and likelihood to influence purchasers. I know I’d probably haul out that rationale, but I’m not sure I’d really be able to feel good about it.

And if you’re Chrysler, and you just spent millions on a spot that powerfully communicates a new positioning for a company attempting to rise from its own ashes – how do you justify not providing an immediate next step?

For anyone looking for Super Bowl advertisers with great mobile sites that really delivered on the next step, check out Kia, Hyundai, GoDaddy, and VW. And be sure not to miss SalesForce’s mobile microsite for Chatter, which let you start the signup process for a free trial in a beautifully simple way – and gives Salesforce what they needed to follow up with you through your work email, thus moving the conversation from your living room sofa to the office. The site’s not elegant, but it’s remarkably effective at furthering prospect engagement.

I know from personal experience how hard it can be for the agency to affect decisions about the website; in many cases, the client’s marketing organizations are structured to split ownership of site and campaign decision-making and budgeting. And site development roadmaps are often built with far longer lead times than campaigns. These are gaps best closed by senior client-side marketers. The data is there to justify it – is the will?

Robert Davis is SVP Digital Marketing at PJA advertising + marketing. This post was written with research support from Tessa Sandler.

The New York Times recently published an article about how apps and web services are enabling consumers to customize how they read their online content. From apps like Flipboard and Pulse to services like Readability and Instapaper, users are increasingly demanding to consume content whenever, wherever and however they want.

When Apple introduced the iPad a year ago, many print publishers saw it as a panacea for their dwindling readership. By creating digital editions, they hoped to recapture some of the eyeballs lost to aggregators and RSS feeds. One of the pioneering publication apps was the WIRED Magazine iPad app. Because of its novelty, its debut issue sold 73,000 digital copies in nine days, almost as much as on newsstands. There is a clear desire from users to read magazines on their tablets.

What that first generation of attempts miss though, is they are trying to replicate 20th century print experience on a 21st century device. The magazine apps feel very one way. But the iPad is an Internet-connected device and users on the Internet demand more interactive experiences. They want to copy and paste passages to put on their blogs. They want to share articles via Facebook and Twitter. Using Adobe’s Digital Magazine Solution, Condé Nast is starting to address some of these issues.

Meanwhile apps such as Flipboard are aggregating content and repackaging it for their users. Flipboard presents news items according to a user’s social graph, creating a personalized and highly relevant news stream. Additionally, the app presents this content in a unique way: as a paper magazine. The visual is striking, yet it still holds familiarity with users since it loosely mimics the experience of reading a real-world magazine, with the benefits of interactivity. And so far it has been a hit with users, even earning an App of the Year award from Apple.

Different kinds of content demand different kinds of packages. For example as a designer, I—along with most designers and art directors—flip through magazines such as Communication Arts and Print, and peruse blogs and websites like LovelyPackage.com and SmashingMagazine.com. Seeing something cool usually sparks an idea for whatever we’re currently working on.

To get through the hundreds of design-related sites out there, I use RSS feeds to aggregate this content for myself in Google Reader. Unfortunately, because I am so busy, I am not able to keep up with all my feeds. I may manage to check it only every few days. And I dread seeing that “1000+” number next to my unread items.

So last year, when the iPad was introduced, I decided to find a solution as an independent side project. I knew that an app on this large dedicated canvas could be created to serve this need of efficiently consuming visual inspiration. I teamed up with a developer friend and we started work on DesignScene.

We set out to create something that designers would enjoy using and become part of their daily ritual. We had two primary objectives:

• The UI must serve the content and the audience. It has to be beautiful and show off visuals well.
• The content must be relevant. There’s a glut of design-related websites and blogs on the Internet. Let’s help designers navigate through them.

The UI we designed is sparse—a simple grid that takes advantage of the screen real estate afforded by the tablet. Users flick through the various grid cells to see an assortment of images. They can enlarge the images to fill the screen or read the accompanying text from the original source via the built-in web browser. DesignScene surfaces up the latest inspirational images of not only design, but also architecture, photography, art and so on. The content is a curated list of sources and—as a whole—has an editorial point of view to enhance discovery.

It’s been two weeks since DesignScene launched. So far we’ve had great response from users and media. We built social sharing into the app and we can already see hundreds of discoveries being shared on Twitter. Our users are interacting with content in a way that was not possible just a year ago.

Roger Wong is a creative director in our San Francisco office. Check out DesignSceneApp.com if you’re interested in his iPad app.