In a scenario where attention is a scarce resource and content production grows without limit, the question is no longer just what to communicate, but from where and with what meaning.  

To Ernesto MartelliThe key lies in building cultural systems capable of generating meaning beyond formats. In this conversation, the professor from the Master's Degree in Content Management and director of the diploma program in Narratives for Brands EPC Austral proposes shifting the focus: less obsession with content, more attention to context; fewer isolated campaigns, more construction of universes of meaning. 

— How do you build a brand narrative that generates value over time? 

— I like to think of brands as building a broad cultural system, as occupying a symbolic territory, an area; that's why I talk about culture, which is an interesting, though imprecise, way of defining it. It's a system that goes beyond the storytelling In the specific sense of telling a story, of having an origin, a function, a reason for being, or even a mythology, which many brands work with in its strictest sense. I prefer to understand it as something broader, a vision of storytelling as a great story. 

In this grand narrative, what's interesting is that it's not just the brand that speaks: third parties—consumers and competitors—also play a role through how they talk about or reference the brand. Added to this are elements of design, tone, and identity (not only in the technical or visual sense, but also in terms of personality). That's why I see narrative as a comprehensive view of how a brand functions, in a holistic sense, as a cross-cutting discipline that involves multiple areas of knowledge. 

— What is the environment like in which brands communicate? 

— It's interesting to talk about the environment (environment) as a place where brands reside. Understanding it this way means not seeing it merely as a space where one communicates, because we tend, even within the discipline itself, to think of communication as a unilateral action. Instead, it is a space that is not only receptive, but also participatory and dynamic. 

And it's not just about haters or a message not being received as intended, but about a two-way process where you believe you're saying one thing, but the communication phenomenon causes it to be received differently depending on the generation, the style, the type of consumer, or the moment. Multiple factors condition or alter these interpretations. Therefore, those who communicate best are those who understand that this context is, by definition, unstable and dynamic. 

— What transformations in communication methods do you find most relevant? 

— There's an interesting tension: I tend to think (my mindset) starting from the digital as defaultAnd IRL (real-life experience) as something that enriches the online world. In communication terms, I try to think of it the opposite of the usual approach: as if the digital realm were the base territory from which everything else is organized. It's not a natural concept, but it's an abstraction that helps me organize the analysis. 

Taking the digital universe as a starting point and physical experiences as a bonus, as an instance of greater intensity, allows for a better understanding of current cultural phenomena. In the GamingFor example, it becomes clear when something happens in real life: that already implies that the primary environment is digital. I tend to think about communication from that perspective. 

— What lessons can be learned from digital formats regarding audience interaction? 

— One format of digital content that interests me a lot is that of the reactionsThe phenomenon of reaction: someone puts a video as a stimulus in a streaming or in a community (it could be a meme, a humor piece, a challenge) and sees it to react. 

Then the blooperA play or a scene unfolds, and everyone discusses what happened. The interesting thing is that there's something unpredictable about that reaction, and that's an essential part of its appeal. We can all see the same content, but what each person interprets or comments on is different. 

— Faced with the exponential growth of content, what is becoming more important for brands? 

— I think we're no longer in a scenario of abundance, but rather of an infinity of content. The unlimited is also elusive: there's far more interesting content than we can consume. That's why I'm interested in differentiating content creation from context building. The idea of context creatorTo generate frameworks that allow us to process that infinity. That's where the role of... also comes into play. content curator. 

Blending curation and creation, focusing on the filter rather than the production itself, will be key. Because creation will become increasingly accessible, boundless, and global. The differentiator will lie in who helps shape critical thinking. 

— What perspective should those working in communication and branding adopt? 

— I have a bias that leads me to think of the symbolic territory of marketing and communication as a hybrid space, where content, media, strategy, tone, and design are all part of the same system. No one dimension is more important than another. 

A comprehensive, holistic vision is richer and more effective strategically. It's crucial to remember that communication isn't solely about the piece, campaign, or advertisement, but rather a combination of factors: consumer reactions, competitors, the environment, digital media, and experiential elements. 

Paying attention to these multiple dimensions, which operate simultaneously, is what allows for a more complete view of marketing and brand narratives.