Análise da imagem projectada e percebida do destino Lisboa através da fotografia digital. A rede Instagram como nova resposta para a recolha de dados.

O Turismo e a Fotografia têm uma relação muito estreita, sendo, para muitos turistas, a prática fotográfica um elemento essencial na experiência turística. Esta relação é, desde há muito, explorada pelas Organizações de Gestão do Destino (OGD) na vertente de promoção do destino e da sua imagem projectada, uma vez que as fotografias são uma forma de materializar uma ideia/imagem em relação a um determinado local, de aproximar o turista da experiência real, motivando-o à compra. No entanto é menos comum que as organizações do destino partam da fotografia para compreender o turista. Actualmente e com a rápida e abrangente disseminação de informação típica da era digital, os utilizadores/consumidores/visitantes têm um papel tão ou mais importante que as OGD’s na construção da imagem de um destino. É fundamental que as organizações não só percebam qual o tipo de informação que está a ser gerada entre os utilizadores, como que monitorizem preferências que surgem no seio das redes sociais, podendo deste modo antever tendências e, consequentemente criar novas estratégias, não só em termos de marketing e promoção, como de planeamento de negócio, especialmente no que respeita ao posicionamento e diferenciação perante a concorrência. Para ser possível monitorizar esta informação é necessário medir os seus indicadores, sendo importante criar estratégias e ferramentas de recolha. O que se pretende, a partir deste estudo, é defender a viabilidade da fotografia digital enquanto objecto de estudo, uma vez que é uma aliada na compreensão da imagem projectada pela OGD’s, mas também, e a cada vez mais, da imagem percebida e projectada pelos visitantes, a partir do conteúdo gerado pelos turistas. Tomamos como caso de estudo a cidade de Lisboa, a qual conhece nos últimos anos um grande impulso na sua atractividade turística. Tendo como base estudos similares relacionados com outros destinos construímos um sistema metodológico apoiado em estudos análogos, e no desenvolvimento de software de recolha de dados a partir de uma rede social de partilha de imagens – o Instagram. Foi possível recolher uma amostragem de imagens de Lisboa criadas por turistas, bem como o lote de imagens usadas por uma OGD para promoção de Lisboa. Após o nosso processamento de dados, foi possível efectuar uma análise de conteúdo dessas imagens chegando ao conjunto de atributos que caracteriza o seu conteúdo. Esse conteúdo foi então comparado, de modo a concluirmos sobre a semelhança ou disparidade entre as imagens usadas para promover Lisboa e aquelas que parecem transmitir aquilo que em Lisboa realmente impressiona. As principais conclusões apontam para uma concordância entre os atributos mais frequentes das fotografias tiradas por OGD e Turistas. Porém existe discordância entre os atributos menos importantes, isto é, menos presentes. A metodologia utilizada abre novos caminhos na utilização de fotos de redes sociais para estudo do comportamento do turista e da imagem do destino.

Relatório de estágio no Tivoli Hotels & Resorts

Na realidade que vivemos actualmente os “novos turistas” são mais bem informados e mais preocupados na escolha de um destino turístico, de acordo com as suas motivações. Como tal, a conquista de novos clientes é um desafio constante para qualquer destino ou produto turístico, surgindo assim novas formas de comunicar e chegar ao público que pretendemos impactar. Segundo (Marques, 2012) todas as definições de marketing enfatizam a proximidade da empresa aos seus públicos, levando-o a criar laços estáveis com ele. Esta afirmação aplica-se no marketing Digital na medida em que um dos objectivos é reconhecer o cliente e apresentar a informação que interessa ao cliente, reduzindo o “lixo digital”. O Marketing Digital, assume-se cada vez mais como uma ferramenta que não deve ser desperdiçada pelas empresas, porque uma boa presença online permite-nos, com pouco investimento alcançar mais clientes que resulta num maior número de vendas e mais receita. A presente Tese de Mestrado foi realizada através de um estágio curricular desenvolvido na cadeia hoteleira Tivoli Hotels & Resorts, no âmbito do curso de Mestrado em Marketing e Promoção Turística. No decorrer do estágio surgiu a ideia de dar a conhecer, com este trabalho, a importância do marketing online e a sua utilização como ferramenta de venda e todos outros benefícios, como divulgação e reconhecimento da marca que se traduz na chamada “reputação online”.

Significant Attributes and Challenges Related to Cross-Functional Team Communications

Purpose The purpose of the research work is to investigate the importance of the communication in the cross-functional teams and in what which communicational tools provide better convenience of communication in cross-functional team members. Methodology An empirical study including the data collection from the interviews conducted from the participants working in cross-functional teams. Qualitative approach has been adopted to understand the communicational attributes in the cross-functional teams. For the analysis both deductive and abductive approach has been used. With the help of theoretical framework and empirical data, conclusions drown for better understanding of the concept. Findings The author has divided the search in two main segments, communicational effects on cross-functional team performance and effectiveness of particular communicational tools used by team members and team leaders. Empirical findings shows that without proper communication, cross-functional team are less tend to perform well to achieve set goals as well as face to face communications are more effective than other communicational tools.  Research limitations The research work is limited to Scandinavian countries. Organizational communicational structures are not studied due to time factor. Other limitation of this research work is effect of cultural differences on communication. Implications The research work provides deep understanding of the different communicational effects on cross-functional team performance. The choice of communicational tool and proportional importance for the team members will help managers while selecting the tools of communication with the team members. Originality / value During the literature studies, author determined that there is potential of research for the communicational tools used in cross-functional team communications. The social media is taking over the traditional communicational tools which provide value for findings. 

Estructuración y estrategia de implementación de la empresa Outlanders Colombia

En el presente documento vamos a explicar el modelo de implementación y ejecución de la empresa Outlanders Colombia, dedicada al ofrecimiento de experiencias de ecoturismo a un público local y extranjero ubicado en Bogotá principalmente caracterizado por ser dinámico y buscar la realización de actividades de contacto con la naturaleza. Para el año 2018 queremos posicionarnos como una empresa referente en nuestro sector por ofrecer servicios de alta calidad en los destinos que abarcamos. Adicionalmente buscaremos concretar la realización de alianzas y acuerdos de cooperación con universidades, ONG´s y demás entidades que puedan ser fuentes de usuarios para nuestras actividades. Por otra parte y aprovechando un eventual escenario de paz en nuestro país, continuaremos con la exploración de lugares de alto atractivo natural en toda Colombia y seguiremos con nuestro modelo de desarrollo de alianzas con operadores y guías turísticos locales que tengan experiencia en la atención al mercado local y se adecúen a la gestión de calidad que planteamos para la prestación de servicios a un público más exigente. Dentro de nuestro portafolio actual ofrecemos productos enmarcados en 4 categorías distintas: Actividades de 1 día, Experiencias en ambientes naturales, recorridos por corredores turísticos y expediciones técnicas. En un futuro cercano desarrollaremos una nueva categoría: Inmersiones etnográficas, en donde pretendemos que nuestro cliente comparta con comunidades indígenas y socialmente lejanas al pensamiento occidental. Para hacer conocer al cliente potencial de nuestros servicios, realizaremos inicialmente caminatas y recorridos gratuitos en donde la gente interesada en actividades outdoor tenga una “muestra gratis” de nuestros servicios. Adicionalmente estamos en proceso de consolidación de alianzas para la promoción de nuestros servicios en entidades con flujo de clientes potenciales: Universidades, ONG´s, colegios, etc. Para complementar nuestra estrategia de publicidad y mercadeo realizaremos una fuerte presencia en redes sociales y canales virtuales de mercadeo. Sabemos de la gran influencia que tiene el componente audiovisual en la promoción de nuestros servicios por lo que nos enfocaremos en mostrar imágenes de lugares con alto atractivo natural por nuestros medios virtuales. Por otra parte sabemos de la importancia de ofrecer un servicio de alta calidad a nuestros turistas, por lo que nos aseguraremos de contar con equipo y personal adecuado para el desarrollo de las actividades. Programas de aseguramiento de la calidad y mejora continua son para nosotros una prioridad. Nuestro equipo inicialmente se compone de dos personas, que se encargan inicialmente de desarrollar labores en las dos principales áreas con las que por el momento cuenta la empresa: Logística y Marketing. Sin embargo para la realización de nuestras actividades contratamos temporalmente (dependiendo de la duración de los viajes) los servicios de expertos, guías y una serie de terceros preferiblemente provenientes de los lugares que visitamos. Actualmente contamos con experiencia en el sector con un acumulado de más de 30 viajes organizados en distintos destinos dentro del país que hacen parte de nuestro portafolio. Nos visualizamos como expertos en la realización de viajes destinos de difícil acceso en el país y así mismo nos queremos posicionar como una empresa ambiental y socialmente responsable con un modelo financiero sostenible.

Plan de medios y posicionamiento digital

El principal objetivo de este trabajo de grado ha sido diseñar un plan estratégico de medios digitales para el lanzamiento de un nuevo producto para una compañía. En este trabajo, se han establecido parámetros como presupuesto, qué tipos de medios digitales serán usados y el porqué de ellos, se estableció las actividades por cada red social a usar y se muestra la relación costo – beneficio de realizar pauta publicitaria en redes sociales.

La construcción de sentido (‘sensemaking’) de un entorno estratégico turbulento por parte de los altos directivos: un estudio en una multinacional automotriz

Este artículo presenta los resultados de una investigación realizada al interior de dos contextos. Por un lado, el teórico, en el marco de uno de los discursos más relevantes en los campos de la estrategia organizacional, de la managerial and organizational cognition (MOC) y, en general, de los estudios organizacionales (organization studies): la construcción de sentido (sensemaking). Por el otro, el empírico, en una de las grandes compañías multinacionales del sector automotriz con presencia global. Esta corporación enfrenta una permanente tensión entre lo que dicta la casa matriz, en relación con el cumplimiento de metas y estándares específicos, considerando el mundo entero, y los retos que, teniendo en cuenta lo regional y lo local, experimentan los altos directivos encargados de hacer prosperar la empresa en estos lugares. La aproximación implementada fue cualitativa. Esto en atención a la naturaleza de la problemática abordada y la tradición del campo. Los resultados permiten ampliar el actual nivel de comprensión acerca de los procesos de sensemaking de los altos directivos al enfrentar un entorno estratégico turbulento.

Estrategia y plan de mercadeo de la empresa YouTube

Esta investigación describe la situación de cómo Youtube se ha convertido a partir de sus estrategias y plan de mercadeo en la plataforma número uno en variedad de clips de películas, vídeos musicales, video de blogs, entre otros; llegando a popularizarse como una red social. Las redes sociales han desarrollado una nueva forma de comunicar y son una herramienta fundamental para la creación de conocimiento colectivo, es el caso de YouTube buscador de contenido audiovisual y red social que permite a millones de usuarios conectarse alrededor del mundo. Esta plataforma rompe las barreras culturales y de comunicación que anteriormente existían a falta de internet. En este sentido se pretende analizar a YouTube desde una perspectiva administrativa enfocada en el área de mercadeo.

Analyzing consumer-based brand equity on Facebook: the impact of brand gender

In recent years, Facebook and other social media have become key players in branding activities. However, empirical research is still needed about the way in which consumer-based brand equity is created on social media. The purpose of this paper is to study the relationship between masculine and feminine brand personality and brand equity, on Facebook, and to analyze the mediating role of consumer-brand engagement and brand love on this relationship. Data were collected using an online survey with 614 valid responses. The hypotheses were tested using structural equation modeling. Results support 7 of the 11 hypotheses with significant relationship between analyzed constructs. This study confirms the advantages of a clear gender positioning and extends prior research by suggesting that brands with a strong brand gender identity will encourage brand love. Results also highlight that brand love has a mediating role on the relationship between brand gender and overall brand equity.

Documentary practice in a participatory culture

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice. A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too. It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself. One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer. Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers. It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.

Citizen Consultation from Above and Below : The Australian Perspective

In Australia, a range of Federal Government services have been provided online for some time, but direct, online citizen consultation and involvement in processes of governance is relatively new. Moves towards more extensive citizen involvement in legislative processes are now being driven in a “top-down” fashion by government agencies, or in a “bottom-up” manner by individuals and third-sector organisations. This chapter focusses on one example from each of these categories, as well as discussing the presence of individual politicians in online social networking spaces. It argues that only a combination of these approaches can achieve effective consultation between citizens and policymakers. Existing at a remove from government sites and the frameworks for public communication which govern them, bottom-up consultation tools may provide a better chance for functioning, self-organising user communities to emerge, but they are also more easily ignored by governments not directly involved in their running. Top-down consultation tools, on the other hand, may seem to provide a more direct line of communication to relevant government officials, but for that reason are also more likely to be swamped by users who wish simply to register their dissent rather than engage in discussion. The challenge for governments, politicians, and user communities alike is to develop spaces in which productive and undisrupted exchanges between citizens and policymakers can take place.

From Prosumer to Produser: Understanding User-Led Content Creation

Alvin Toffler’s image of the prosumer (1970, 1980, 1990) continues to influence in a significant way our understanding of the user-led, collaborative processes of content creation which are today labelled “social media” or “Web 2.0”. A closer look at Toffler’s own description of his prosumer model reveals, however, that it remains firmly grounded in the mass media age: the prosumer is clearly not the self-motivated creative originator and developer of new content which can today be observed in projects ranging from open source software through Wikipedia to Second Life, but simply a particularly well-informed, and therefore both particularly critical and particularly active, consumer. The highly specialised, high end consumers which exist in areas such as hi-fi or car culture are far more representative of the ideal prosumer than the participants in non-commercial (or as yet non-commercial) collaborative projects. And to expect Toffler’s 1970s model of the prosumer to describe these 21st-century phenomena was always an unrealistic expectation, of course. To describe the creative and collaborative participation which today characterises user-led projects such as Wikipedia, terms such as ‘production’ and ‘consumption’ are no longer particularly useful – even in laboured constructions such as ‘commons-based peer-production’ (Benkler 2006) or ‘p2p production’ (Bauwens 2005). In the user communities participating in such forms of content creation, roles as consumers and users have long begun to be inextricably interwoven with those as producer and creator: users are always already also able to be producers of the shared information collection, regardless of whether they are aware of that fact – they have taken on a new, hybrid role which may be best described as that of a produser (Bruns 2008). Projects which build on such produsage can be found in areas from open source software development through citizen journalism to Wikipedia, and beyond this also in multi-user online computer games, filesharing, and even in communities collaborating on the design of material goods. While addressing a range of different challenges, they nonetheless build on a small number of universal key principles. This paper documents these principles and indicates the possible implications of this transition from production and prosumption to produsage.

'Anyone Can Edit' : Vom Nutzer zum Produtzer

Über die letzten Jahre hat sich einige öffentliche und kommerzielle Aufmerksamkeit auf ein Phänomen gerichtet, das sich anschickt, die Medienlandschaft grundlegend zu verändern. Yahoo! kaufte Flickr. Google erwarb YouTube. Rupert Murdoch kaufte MySpace, und erklärte, die Zukunft seines NewsCorp-Imperiums läge eher in der nutzergesteuerten Inhaltserschaffung innerhalb solcher sozialer Medien als in seinen vielen Zeitungen, Fernsehsendern und anderen Medieninteressen (2005). Schließlich brach TIME mit seiner langetablierten Tradition, eine herausragende Persönlichkeit als „Person des Jahres“ zu nominieren, und wählte stattdessen „You“: uns alle, die wir online in Kollaboration Inhalte schaffen (2006). Allerdings liegt die Bedeutung dieses nutzergesteuerten Phänomens nicht in solchen (letztlich unwichtigen) Ehrungen, oder auch nur in den Inhalten zentraler Websites wie YouTube und Flickr – vielmehr findet man sie in logischer Folge der ihr zugrunde liegenden Prinzipien (die wir hier weiter untersuchen werden) viel flächendeckender über das World Wide Web verbreitet; was wichtig ist am neuen Phänomen ist nicht nur der Erfolg seiner sichtbarsten Exponenten, sondern auch der „Long Tail“ (Anderson 2006) der vielen anderen nutzergesteuerten Projekte, die sich überall in der Online-Welt etabliert haben und jetzt beginnen, sich sogar in die Offline-Welt hinein auszubreiten.

The user-led disruption : self-(re)broadcasting at Justin.tv and elsewhere

The rise of videosharing and self-(re)broadcasting Web services is posing new threats to a television industry already struggling with the impact of filesharing networks. This paper outlines these threats, focussing especially on the DIY re-broadcasting of live sports using Websites such as Justin.tv and a range of streaming media networks built on peer-to-peer filesharing technology.

Vom Prosumer zum Produser : Ein neues Verständnis nutzergesteuerter Inhaltserschaffung

Alvin Tofflers Bild des Prosumers beeinflußt weiterhin maßgeblich unser Verständnis vieler heutzutage als „Social Media“ oder „Web 2.0“ beschriebener nutzergesteuerter, kollaborativer Prozesse der Inhaltserstellung. Ein genauerer Blick auf Tofflers eigene Beschreibung seines Prosumermodells offenbart jedoch, daß es fest im Zeitalter der Massenmedienvorherrschaft verankert bleibt: der Prosumer ist eben nicht jener aus eigenem Antrieb aktive, kreative Ersteller und Weiterbearbeiter neuer Inhalte, wie er heutzutage in Projekten von der Open-Source-Software über die Wikipedia bis hin zu Second Life zu finden ist, sondern nur ein ganz besonders gut informierter, und daher in seinem Konsumverhalten sowohl besonders kritischer als auch besonders aktiver Konsument. Hochspezialisierte, High-End-Konsumenten etwa im Hi-Fi- oder Automobilbereich stellen viel eher das Idealbild des Prosumers dar als das für Mitarbeiter in oft eben gerade nicht (oder zumindest noch nicht) kommerziell erfaßten nutzergesteuerten Kollaborationsprojekten der Fall ist. Solches von Tofflers in den 70ern erarbeiteten Modells zu erwarten, ist sicherlich ohnehin zuviel verlangt. Das Problem liegt also nicht bei Toffler selbst, sondern vielmehr in den im Industriezeitalter vorherrschenden Vorstellungen eines recht deutlich in Produktion, Distribution, und Konsum eingeteilten Prozesses. Diese Dreiteilung war für die Erschaffung materieller wie immaterieller Güter durchaus notwendig – sie ist selbst für die konventionellen Massenmedien zutreffend, bei denen Inhaltsproduktion ebenso aus kommerziellen Gründen auf einige wenige Institutionen konzentriert war wie das für die Produktion von Konsumgütern der Fall ist. Im beginnenden Informationszeitalter, beherrscht durch dezentralisierte Mediennetzwerke und weithin erhaltbare und erschwingliche Produktionsmittel, liegt der Fall jedoch anders. Was passiert, wenn Distribution automatisch erfolgt, und wenn beinahe jeder Konsument auch Produzent sein kann, anstelle einer kleinen Schar von kommerziell unterstützten Produzenten, denen bestenfallls vielleicht eine Handvoll von nahezu professionellen Prosumern zur Seite steht? Was geschieht, wenn sich die Zahl der von Eric von Hippel als ‚lead user’ beschriebenen als Produzenten aktiven Konsumenten massiv ausdehnt – wenn, wie Wikipedias Slogan es beschreibt, ‚anyone can edit’, wenn also potentiell jeder Nutzer aktiv an der Inhaltserstellung teilnehmen kann? Um die kreative und kollaborative Beteiligung zu beschreiben, die heutzutage nutzergesteuerte Projekte wie etwa die Wikipedia auszeichnet, sind Begriffe wie ‚Produktion’ und ‚Konsum’ nur noch bedingt nützlich – selbst in Konstruktionen wie 'nutzergesteuerte Produktion' oder 'P2P-Produktion'. In den Nutzergemeinschaften, die an solchen Formen der Inhaltserschaffung teilnehmen, haben sich Rollen als Konsumenten und Benutzer längst unwiederbringlich mit solchen als Produzent vermischt: Nutzer sind immer auch unausweichlich Produzenten der gemeinsamen Informationssammlung, ganz egal, ob sie sich dessens auch bewußt sind: sie haben eine neue, hybride Rolle angenommen, die sich vielleicht am besten als 'Produtzer' umschreiben lassen kann. Projekte, die auf solche Produtzung (Englisch: produsage) aufbauen, finden sich in Bereichen von Open-Source-Software über Bürgerjournalismus bis hin zur Wikipedia, und darüberhinaus auch zunehmend in Computerspielen, Filesharing, und selbst im Design materieller Güter. Obwohl unterschiedlich in ihrer Ausrichtung, bauen sie doch auf eine kleine Zahl universeller Grundprinzipien auf. Dieser Vortrag beschreibt diese Grundprinzipien, und zeigt die möglichen Implikationen dieses Übergangs von Produktion (und Prosumption) zu Produtzung auf.

Produsage and business : sharing your brand with users

Relations between brands and their users continue to be affected by a traditional perspective that sees the producers and consumers of goods and services as inherently different animals. In the emerging information and knowledge economy, and especially in online contexts, this model is no longer sustainable. Instead, spearheaded by the Web 2.0 phenomenon, there is a trend towards the fusing of production and usage as a new, hybrid process of produsage. This presentation presents the key characteristics driving produsage processes, and describes four guiding principles for businesses as they share their brand with users: * Be open. * Seed community processes by providing content and tools. * Support community dynamics and devolve responsibilities. * Don't exploit the community and its work.