E-marketing orientation and social media implementation in B2B marketing

AbstractPurpose – The purpose of this paper is to consider the potential of an organisational orientation,namely the electronic marketing orientation (EMO) to address implementation issues inbusiness-to-business (B2B) social media implementation. Previous research has demonstrateddifferences between B2B and business-to-consumer (B2C) marketing.Design/methodology/approach – The paper draws on existing B2B marketing, social media andorganisational orientation literature, both academic and practitioner. This facilitates the developmentof a conceptual model and research proposition as a basis of further research into addressingcontemporary barriers to B2B social media implementation.Findings – The paper contends that each of the four components of the EMO addresses differentimplementation issues faced in implementing social media and, more specifically, the unique issuesfaced by B2B marketers.Research limitations/implications – The paper is conceptual in nature; however, it providesdirections for future empirical research.Practical implications – The differences in promotional and sales channels and messages requiredin B2B context are addressed in the research propositions. The paper highlights implementationchallenges and how a particular organisational orientation can facilitate the decision-making in dealingwith them.Originality/value – The paper provides a unique theoretical contribution by introducing the EMOconceptual model in a specific context of B2B social media marketing.

The telescopic eye: aqua optica

The Telescopic Eye: Aqua Optica was an installation work which explores concepts and philosophies related to instrumental, lens based observations of heavens as experienced when seeing through a telescope. In particular it considers how the eye of the observer and the lens of the telescope must act in unison to extend both the perception and conception of that which is remote and beyond direct naked eye sensing - an act of transcendence. A series of projected images (the video) of celestial objects are observed by the viewer through a large spherical aquatic lens which is mounted on a large wooden tripod. These images slowly dissolve and morph into each other. The sequence in which these images are presented is based on approximate chronological order in which these celestial objects were historically observed through the telescope – such as the local bodies of our the solar system starting with the Moon, Jupiter and Saturn (as first observed by Galileo in 1610) and eventually extending out to distant nebula, star clusters and galaxies. For the Transduction exhibition the Telescopic Eye: Aqua Optica was installed outside in a small quadrangle next to the Tech Bar and as the night drew darker it was able to also embody the lighting and other visual elements from the surrounding buildings and streets. The Aqua Optica system often encompasses such local lighting and images as a added layer to the video projection work. In this case (at night and outside at Federation Square) the extent of the layering was very successful and increased dramatically as the night became darker. This multi layering of images invokes (for the viewer) a connection between the immediate environment of the Federation square and cityscape with the vastly distant images of the cosmos. For me such a multilayered imaging represents how scientific instruments of observation can generate a complex and augmented visualisation of reality, one which has historically come to re-define our conception of the cosmos and our place in it both spatially and temporally.

The body in photography: an improvised performance with light

Considering the way light is integral to photography I draw on its paradoxical nature at sub atomic levels that describe how, when observed it changes. Taking a biocentric approach ; ‘A radical new view of reality: Life creates time, space, and the cosmos itself The farther we peer into space, the more we realize that the nature of the universe cannot be understood fully by inspecting spiral galaxies or watching distant supernovas. It lies deeper. It involves our very selves.’ (Lanza, 2009), I aim to clarify how embodied photographic practice can be explored through improvisational and performative discourse.

The SLUGGS survey: a new mask design to reconstruct the stellar populations and kinematics of both inner and outer galaxy regions

Integral field unit spectrographs allow the 2D exploration of the kinematics and stellar populations of galaxies, although they are generally restricted to small fields-of-view. Using the large field-of-view of the DEIMOS multislit spectrograph on Keck and our Stellar Kinematics using Multiple Slits technique, we are able to extract sky-subtracted stellar light spectra to large galactocentric radii. Here, we present a new DEIMOS mask design named SuperSKiMS that explores large spatial scales without sacrificing high spatial sampling. We simulate a set of observations with such a mask design on the nearby galaxy NGC 1023, measuring stellar kinematics and metallicities out to where the galaxy surface brightness is orders of magnitude fainter than the sky. With this technique we also reproduce the results from literature integral field spectroscopy in the innermost galaxy regions. In particular, we use the simulated NGC 1023 kinematics to model its total mass distribution to large radii, obtaining comparable results with those from published integral field unit observation. Finally, from new spectra of NGC 1023, we obtain stellar 2D kinematics and metallicity distributions that show good agreement with integral field spectroscopy results in the overlapping regions. In particular, we do not find a significant offset between our Stellar Kinematics using Multiple Slits and the ATLAS3D stellar velocity dispersion at the same spatial locations.