Fichas de presentación sobre estrategia de marca y plan de marketing branding.

30 hojas : ilustraciones, fotografías a color.

International Branding Strategies : In Swedish and Russian Fashion Companies

There are a lot of different business strategies for any company. However, in the fashion industry, the best way to become successful is to develop the brand using special branding strategies. Hence, a brand is the main weapon for fashion companies, which helps to launch international market and to create loyal customers around the world. Nowadays, due to the difficult current political situations and the collapse of oil and the dollar a lot of companies in different industries have to change their business strategies. It is especially true for fashion companies, because they depend on consumers ' income and their purchasing power. In the case of the fashion industry, branding strategy development can be more effective, than just business strategy. Hence, this thesis discusses the following problem: What branding strategy should Russian and Swedish fashion companies choose in order to build a strong brand and enter the international market.  The purpose of this thesis is to analyze various branding strategies of Russian and Swedish fashion companies during the process of entering foreign markets. At the end of this thesis, practical contribution in their process of international branding strategy creation will be discussed. In order to answer research questions more broadly and accurately, the mixed research method, using quantitive and qualitative study through interviews and survey was chosen. Semi-structured interviews were made with the CEO and brand managers of Russian and Swedish fashion companies. Moreover, the survey was made with two different questionnaires: for Russian and for Swedish customers. In the case of qualitative research, the author found that fashion companies from Russia and Sweden have got not just some features and differences, but also common aspects. The primary data from interviews allowed the author to understand the specifics of brand management in the fashion industry. It was found, that there are some useful aspects in Swedish strategies, which can be used by Russian companies to develop their brands on the international market. In the case of quantitative research, preferences of consumers from Russia and Sweden were analyzed and also some features were identified. Survey results provided the author with a common understanding about purchase habits, attitudes and perceptions to fashion brands. According to these, some hypothesizes, which are formulated in the first part of the thesis, have been proven or disproven. It was found, that preferences of Russian and Swedish people are pretty the same, however Russian customers do not like to risk with new brands and prefer well-known and trusted brands while Swedish customers are open for any brand, which can satisfy their tastes.

A stakeholder perspective on heritage branding and digital communication

How does an archaeological museum understand its function in a digital environment? Consumer expectations are rapidly shifting, from what used to be a passive relationship with exhibition contents, towards a different one, in which interaction, individuality and proactivity define the visitor experience. This consumer paradigm is much studied in fast moving markets, where it provokes immediately measurable impacts. In other fields, such as tourism and regional development, the very heterogeneous nature of the product to be branded makes it near to impossible for only one player to engage successfully. This systemic feature implies that museums, acting as major stakeholders, often anchor a regional brand around which SME tend to cluster, and thus assume responsibilities in constructing marketable identities. As such, the archaeological element becomes a very useful trademark. On the other hand, it also emerges erratically on the Internet, in personal blogs, commercial websites, and social networks. This forces museums to enter as a mediator, authenticating contents and providing credibility. What might be called the digital pull factor poses specific challenges to museum management: what is to be promoted, and how, in order to create and maintain a coherent presence in social media? The underlying issue this paper tries to address is how museums perceive their current and future role in digital communication.

Effect of sonic and ultrasonic activation on organic tissue dissolution from simulated grooves in root canals using sodium hypochlorite and EDTA

Aim: To compare soft-tissue dissolution by sodium hypochlorite, with an EDTA intermediate rinse, with or without activation with passive ultrasonic activation (PUI) or sonic activation using the Endoactivator (EA) or Eddy tips (ED). Methodology: The root canals of eighty-three human maxillary central incisors were chemo-mechanically prepared and the teeth split. A standardized longitudinal intracanal groove was created in one of the root halves. Eighty-three porcine palatal mucosa samples were collected, adapted to fit into the grooves and weighed. The re-assembled specimens were randomly divided into four experimental groups (n = 20), based on the final rinse: no activation; EA; PUI; ED, using 2.5% sodium hypochlorite, with an EDTA intermediate rinse. A control group (n = 3) was irrigated with distilled water without activation. The solutions were delivered using a syringe and needle 2 mm from working length. Total irrigation time was 150 s, including 60 s of activation in the specific groups. The study was carried out at 36 ± 2 °C. The porcine palatal mucosa samples were weighed after completion of the assays. Student paired t-test and anova were used to assess the intra- and intergroup weight changes. The multiple comparisons were evaluated using Bonferroni correction (α = 0.05). Results: Weight loss occurred in all experimental groups. Irrigant activation resulted in greater weight loss when compared to the nonactivated group [vs. EA (P = 0.001); vs. PUI (P < 0.001); vs. ED (P < 0.001)]. No significant differences were found amongst the different activation systems. Conclusions: Activation increased the tissue-dissolving activity of irrigants from artificial grooves in root canals of maxillary central incisors. © 2016 International Endodontic Journal. Published by John Wiley & Sons Ltd.

Sonic technologies of postmodernity and the grain of the voice in Robert Lepage’s Lipsynch

This paper unpacks the relationships between the human voice and sound technologies by re-reading and re-evaluating Roland Barthes seminal essay, ‘The Grain of the Voice’ an oft cited but frequently misunderstood text, in the light of Robert Lepage’s Lipsynch (Canada, 2012). This production explicitly uses analogue and digital sound technologies to reveal the complexities and contradictions operating within the sonic economy of the performance with particular reference to the way it uses digital dubbing, miming, voice-overs and lip-reading to unsettle assumptions about the connections between the language, speech and the human voice. The paper will also unsettle any simple understanding of the voice as the locus of identity, and uncover the manner in which sonic digital technologies enable us to better apprehend ‘the body in the voice as it sings, the hand as it writes, the limb as it performs’ (Barthes, 185) while remaining sceptical about the existence of a primordial, unconstructed body.

Typography and the branding of culture: a methodological investigation into the way typography is used to brand cultural festivals in Australia

The observance of and participation in festivals and celebratory events is an increasingly significant aspect of the contemporary experience (Picard & Robinson, 2006). With the prestige that comes from holding culturally relevant and socially acceptable festivals that serve the discourses of “city branding&rdquo; and the “creative industries” in a competitive global context; significant government, community and private funding is allocated to such events. Festivals have become a central figure of not only the political economy of tourism but also of urban regeneration and cultural tourism. Cultural festivals possess the hallmarks of destination branding or place branding and inadvertently share some of the attributes that influence visitors’ decisions to visit such destinations (Blain, Levy, & Ritchie, 2005; Cooper, 2005; Esu & Arrey, 2009; Jayswal, 2008). Branding is a vital part of this festival space and relies on typography to establish the symbolic values and representations of urban freedoms; rich histories, cultured places, playfulness and stimulation that seek to subvert our daily existence while performing the task of engaging local, national, and international visitors and participants. However, professional practices demonstrated in the design, media and arts industries have far outpaced the extent to which this phenomenon has been written about in the academic or public realm. What this paper intends is to interrogate appropriate semiotic approaches in an effort to analysing the discursive practices of typography as it performs in service to branding cultural festivals in Australia. The intention is to establish a methodology suited to the significant role typography performs within this context and to offer a contribution to design research that not only engages with the artefacts of design but with the conceptualization of designed meaning in 21st century visual culture.

Typography and the branding of culture: a systemic functional analysis of typography’s performance in branding cultural festivals in Australia

This paper offers a social semiotic analysis of logotypes used to brand cultural festivals in 21st century Australia. A contemporary method is explored that suits the significant role typography performs within this context and offers a contribution to design research and the festival scape that not only engages with the artefacts of design but with the conceptualization of designed meaning in visual culture. Branding is a vital part of the festival space and relies on typography to establish the symbolic values and representations of urban freedoms; rich histories, cultured places, playfulness and stimulation that seek to subvert our daily existence while performing the task of engaging local, national, and international visitors and participants. However, professional practices demonstrated in the design, media and arts industries have far outpaced the extent to which this phenomenon has been written about in the academic or public realm. This paper addresses this shortfall and offers the foundation for a systemic functional method in the decoding of typography in visual culture

Sonic arts portfolio and commentary

This research investigates the process of “opening out” spaces with sound as an approach to sonic arts practice, investigating the spaces that sounds articulate, reveal and imply in our encounter with them. It positions spatial aesthetics as a key consideration at each stage of the creative process and connects approaches to spatiality in sonic arts practices with contextual considerations drawn from, for example, phenomenological accounts of spatial and sonic experience, human geography, architecture and acoustic ecology. The portfolio consists of seven sonic artworks and two collaborative projects that each engage with these ideas from a different perspective, exploring a number of applications, contexts and outcomes in the investigation. This accompanying commentary discusses these works, providing an introduction to the portfolio followed by a discussion, in the subsequent chapters, of the practices explored and developed in the research process.

Visitor Relationship Management (VRM) - Repeat Visitation Opportunities for Destination Marketing Organisations

In competitive tourism markets the consumer-traveller is spoilt by choice of available destinations. Successfully differentiating a destination and getting noticed at decision time is arguably the focus of activities by destination marketing organisations (DMOs). In pursuit of differentiation, three emergent themes in the marketing literature during the past decade have been branding, integrated marketing communications (IMC), and customer relationship management (CRM) a fundamental goal of each being stimulating customer loyalty. However there has been little attention given to destination loyalty in the tourism literature. The purpose of this paper is to report an exploratory investigation of visitor relationship management (VRM) by DMOs. Based on interviews with the management of 11 regional tourism organisations (RTO) in Queensland, Australia, the opportunities for, and immediate challenges of, VRM are discussed. While each RTO recognised the potential for VRM, none had yet been able to develop a formal approach to engage in meaningful dialogue with previous visitors from their largest market.

Destination Positioning Slogans - Analysis of Themes used by New Zealand Regional Tourism Organisations

A significant gap in the tourism and travel literature exists in the area of tourism destination branding. Although brands have been used as sources of differentiation in consumer goods markets for over a century, academic research attention towards destination branding has only been reported since the late 1990s. Three important components of the brand construct are brand identity, brand position and brand image. While interest in applications of brand theory to practise in tourism is increasing, there is a paucity of published research in the literature to guide destination marketing organisations (DMOs). In particular there have been few reported analyses of destination brand positioning slogans. The focus of this paper is on destination brand position slogans, which represent the interface between brand identity and brand image. Part of a wider investigation of DMO slogans worldwide, and in keeping with the conference location, the paper focuses on analysis of slogans used by New Zealand RTOs. The slogans are examined in terms of the extent to which they have been limited to ephemeral indifference. In other words, have they stood the test of time and do they effectively differentiate through a meaningful proposition? Analysis of the slogans indicates very few could be characterised as memorably distinctive. This reflects the complexity involved in capturing the essence of a multi-attributed destination in a succinct and focused positioning slogan, in a way that is both meaningful to the target audience and effectively differentiates the destination from competitors offering the same benefits.

Connecting brands with consumers on the internet

There is value of using brands to build relationships with customers and improve brand performance on the web. Products and services are easily replicated; therefore to simplify the buyer decision making process, brands have become important. Building strong brands is important as they can create contrasts between other brands, connections to consumers, and relevance through building customer relationships. Branding in an online environment is important for three reasons: security, recognition and associated costs.

Attitudes towards American brands and brand America

A study of 556 students at colleges and universities in Australia, Hong Kong and Singapore explored the relationship between attitude towards the United States and brand attitudes and preferences. Singaporean student attitudes towards both the US Government and US people were higher than were those of the Australian and Hong Kong students. Coke, Nike and McDonald's were among both the most-liked and disliked US brands among the international students, a finding suggesting that brands may possess both a 'lovemark' status, as described in the literature, and its opposite — 'loathemark' status — within the same demographic group. US brand preference scores did not offer support for the belief that international consumers 'vote with their pocketbooks' by refusing to purchase US brands if they have a negative attitude towards the United States. Among Hong Kong and Singaporean students, favourable attitudes towards the purchase of US brands was found to be positively related to favourability towards the US Government.

Amphibian

Amphibian is an 10’00’’ musical work which explores new musical interfaces and approaches to hybridising performance practices from the popular music, electronic dance music and computer music traditions. The work is designed to be presented in a range of contexts associated with the electro-acoustic, popular and classical music traditions. The work is for two performers using two synchronised laptops, an electric guitar and a custom designed gestural interface for vocal performers - the e-Mic (Extended Mic-stand Interface Controller). This interface was developed by one of the co-authors, Donna Hewitt. The e-Mic allows a vocal performer to manipulate the voice in real time through the capture of physical gestures via an array of sensors - pressure, distance, tilt - along with ribbon controllers and an X-Y joystick microphone mount. Performance data are then sent to a computer, running audio-processing software, which is used to transform the audio signal from the microphone. In this work, data is also exchanged between performers via a local wireless network, allowing performers to work with shared data streams. The duo employs the gestural conventions of guitarist and singer (i.e. 'a band' in a popular music context), but transform these sounds and gestures into new digital music. The gestural language of popular music is deliberately subverted and taken into a new context. The piece thus explores the nexus between the sonic and performative practices of electro acoustic music and intelligent electronic dance music (‘idm’). This work was situated in the research fields of new musical interfacing, interaction design, experimental music composition and performance. The contexts in which the research was conducted were live musical performance and studio music production. The work investigated new methods for musical interfacing, performance data mapping, hybrid performance and compositional practices in electronic music. The research methodology was practice-led. New insights were gained from the iterative experimental workshopping of gestural inputs, musical data mapping, inter-performer data exchange, software patch design, data and audio processing chains. In respect of interfacing, there were innovations in the design and implementation of a novel sensor-based gestural interface for singers, the e-Mic, one of the only existing gestural controllers for singers. This work explored the compositional potential of sharing real time performance data between performers and deployed novel methods for inter-performer data exchange and mapping. As regards stylistic and performance innovation, the work explored and demonstrated an approach to the hybridisation of the gestural and sonic language of popular music with recent ‘post-digital’ approaches to laptop based experimental music The development of the work was supported by an Australia Council Grant. Research findings have been disseminated via a range of international conference publications, recordings, radio interviews (ABC Classic FM), broadcasts, and performances at international events and festivals. The work was curated into the major Australian international festival, Liquid Architecture, and was selected by an international music jury (through blind peer review) for presentation at the International Computer Music Conference in Belfast, N. Ireland.