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Jim refers to ideals as the 400 percent advantage. Why? Because the brands identified as The Stengel 50 by Millward Brown Optimor have outperformed the S&P 500 by a factor of four over the past decade. Representing a wide variety of product and service categories they are united by one common factor; they operate in harmony with their ideals.

Ideals provide the “North Star,” the compass bearing by which these companies steer through good times and bad. Particularly noticeable from the chart comparing the Stengel 50 and the S&P 500’s performance over time is the rapid recovery of the Stengel 50 from the recession in 2008. These companies are not hindered by their ideals in tough times, they are helped by them.

Ideals probably have their strongest influence through the people who work on a brand, but can also have a positive effect with customers and consumers, not least in how their communications are received. In Grow, Jim reports work conducted by Millward Brown’s neuroscience practice, showing that people find the Stengel 50 brands to be more empathetic, more ideals-based and more memorable in what they stand for than their competitors. The end result, people are more likely to want to share the advertising with others.

There are great reasons for why The Stream triumphed. In a world of infinite variety, it's difficult to categorize or even find, especially before a thing has been linked. So time, newness, began to stand in for many other things. And now the Internet's media landscape is like a never-ending store, where everything is free. No matter how hard you sprint for the horizon, it keeps receding. There is always something more.  Nowness also transmits this sense of presence, of other people, that you get in a city when you go to a highway overpass and look down at all the cars at any time of the day or night. Things are happening. I am not alone. Look at all this. 

Schonfeld cited Betaworks CEO John Borthwick's thinkpiece, "Distribution Now," which he wrote in April of 2009, just as all this was really getting going. Borthwick concludes his post on the rise of The Stream with two quotes from musician Brian Eno. The old (and better) one begins like this: "In a blinding flash of inspiration, the other day I realized that 'interactive' anything is the wrong word. Interactive makes you imagine people sitting with their hands on controls, some kind of gamelike thing. The right word is 'unfinished.' Think of cultural products, or art works, or the people who use them even, as being unfinished. Permanently unfinished. "

I am not joking when I say: it is easier to read Ulysses than it is to read the Internet. Because at least Ulysses has an end, an edge. Ulysses can be finished. The Internet is never finished.