Academic literature on the topic 'Iternet marketig'

Purpose The starting conjecture is that the market share of a brand in one category benefits from its performance in another category, and vice versa. The purpose of this paper is to assess the umbrella-branding spillovers by investigating the presence of synergy effect between categories when a retailer and/or a manufacturer decide to adopt/use the same name for his products. In fact, besides the cross-category dependency due to substitutability or complementarity, products can also be linked through their brand name in presence of an umbrella-branding strategy. Design/methodology/approach The authors propose an extended market-share model to account for the spillover effect at the brand level. The spillover is modeled to be generated by the brand's performance and not specific to marketing instruments, as done in the literature. They adopt a multiplicative competitive interaction (MCI) form for the attraction function. Based on aggregated data of two complementary oral-hygiene categories, the authors estimate the umbrella-branding spillover parameters using the iterate three-stage least squares (I3SLS) method. They contrast the results in three scenarios: no spillover, brand-constant spillover and brand-specific spillover. Findings The ensuing results indicate that umbrella-branding spillover is (i) significant and positive, i.e. the brand performance is boosted by its performance in a related category, through the so-called brand-attraction multiplier; (ii) asymmetric, i.e. the spillover is not equal in both directions; and associated to the market strength of each competing brand; (iii) variable across brands. The results show that not accounting for umbrella-branding spillover leads to misestimating the parameters and has a considerable impact on price-elasticities computation. Research limitations/implications Because store brands and some national brands exist in many categories, and thus because consumers make inferences when they face a large number of brands in different categories, spillover effects cannot be labelled as simply complementary or substitution-related. Future research may provide insight about the spillover phenomenon in a more general framework that would consider the spillover occurring between more than two categories. Practical implications Providing accurate assessment for umbrella-branding spillovers governing the competing brands, the results offer a relevant and straightforward method for decision makers to precisely assess the impact of a marketing effort in one category on the retailer's global performance. The findings provide better forecasts of market response in terms of sales and profit, within a cross-category perspective. Originality/value This study develops and estimates a market-share model with the aim of measuring brand-category spillover effects. The literature dealt with cross-category interactions in terms of substitutability or complementarity between the products offered in the two or more categories under investigation. Here, the focal point (and contribution) of the authors is the link at the brand level. Indeed, the authors only require that a minimum of one brand is offered in at least two of the categories of interest. Further, the spillover considered is not specific to marketing instruments, but is generated by the brand performance (attraction or market share), which is the result of both the firms marketing-mix choice and competitors marketing policies.

Decades of consumer research have tried to emphasize that the modern day consumer has transformed completely. The Marketing Gurus continue to churn fanciful jargons to iterate that the present day consumer is not even a semblance of his past avatar. The point that is attempted to bedriven home is that the present day consumer's tastes, preferences, likes and dislikes, have all changed. On the face of it one may like to endorse this school of thought. But on careful analysis, onewould be reasonable enough to conclude that the consumer has not changed, his basic character remaining fairly stable over the ages. The present paper is a review based research article todiscuss the issues related to this.

Abstract. Various efforts have been made by the company, especially companies engaged in the event management service industry. Of the many existing event organizer businesses, various efforts to get clients are carried out with various forms of marketing communications to make them more recognized and superior. The author is interested in marketing communication efforts through personal selling carried out by one of the event organizers in Bandung in organizing corporate events. The purpose of this study was to determine the personal selling activities carried out by Vecha Activation in providing services for organizing corporate events. It is hoped that in this study, it can provide more knowledge for other researchers regarding personal selling activities in marketing services, it is also expected for Vecha Activation to improve promotions and event concepts. The research method used in this study is a qualitative research method with a case study approach and a constructivist paradigm. Through this research method, the author wants to know the personal selling process carried out by Vecha Activation in marketing its services. Data collection techniques used are interviews, observation, documentation and literature study. The research subjects are the CEO of Vecha Activation as the owner, staff of the marketing division of Vecha Activation, and clients of Vecha Activation. The data analysis technique used by the author is a data analysis technique according to Miles and Huberman. The results of the study found that the forms of personal selling carried out were retail selling, field selling and executive selling. Furthermore, there are several stages of personal selling that are carried out, namely determining clients according to market segmentation, seeking information and client approaches, mining insights, percentages, build adjust and iterate, and closing. Barriers faced when doing personal selling are disagreements, minimal relationships with various companies and lack of ability to assess potential clients. Efforts to overcome these obstacles are referring to TOR (Term of Reference), sending canvassing emails and monitoring client activities through social media and company-owned websites. And the uniqueness of the concept found is that there are gimmick performances and the advantages of visualization and digitization.
 Abstrak. Berbagai upaya dilakukan perusahaan khususnya perusahaan yang bergerak pada bidang industri jasa penyelenggaraan event. Dari sekian banyak usaha event organizer yang ada, berbagai upaya untuk mendapatkan klien dilakukan dengan berbagai bentuk komunikasi pemasaran agar semakin dikenal dan unggul. Penulis tertarik pada upaya komunikasi pemasaran melalui personal selling yang dilakukan oleh salah satu event organizer di Bandung dalam menyeleggarakan event corporate. Tujuan penelitian ini dilakukan untuk mengetahui kegiatan personal selling yang dilakukan oleh Vecha Activation pada penyediaan jasa penyelenggaraan event corporate. Maka diharapkan dalam penelitian ini, dapat memberikan pengetahuan yang lebih untuk peneliti lain mengenai kegiatan personal selling dalam memasarkan jasa, juga diharapkan bagi Vecha Activation untuk meningkatkan promosi dan konsep acara. Metode penelitian yang digunakan pada penelitian ini ialah metode penelitian kualitatif dengan pendekatan studi kasus dan paradigma konstruktivis. Melalui metode penelitian ini, penulis ingin mengetahui proses personal selling yang dilakukan Vecha Activation dalam memasarkan jasanya. Teknik pengumpulan data yang digunakan adalah wawancara, observasi, dokumentasi dan studi kepustakaan. Subjek penelitian yaitu CEO Vecha Activation sebagai pemilik, staff divisi marketing Vecha Activation, dan klien Vecha Activation. Teknik analisis data yang digunakan penulis adalah teknik analisi data menurut Miles dan Huberman. Hasil penelitian yang ditemukan adalah bentuk personal selling yang dilakukan adalah retail selling, field selling dan executive selling. Selanjutnya ada beberapa tahapan personal selling yang dilakukan yaitu menentukan klien sesuai segmentasi pasar, mencari informasi dan pendekatan klien, insight mining, persentasi, build adjust and iterate, dan closing. Hambatan yang dihadapi saat melakukan personal selling adalah adanya ketidaksepakatan, minim relasi dengan berbagai perusahaan dan kurangnya kemampuan dalam menilai klien berpotensial. Upaya mengatasi hambatan tersebut adalah mengacu pada TOR (Term of Reference), mengirimkan canvassing email dan memantau aktivitas klien melalui media sosial dan website milik perusahaan. Serta keunikan pada konsep yang ditemukan adalah terdapat pentas gimmick serta keunggulan visualisasi dan digitalisasi.

This article will describe the lifecycle and techniques that access control practitioners should consider as they grant, validate, and refine permissions as they iterate toward least privilege. The article will compare just-in-time (JIT) approaches with long-standing permissions, balancing productivity with security. The article will explore the risks of using historical data to refine permissions. The reader will learn about refining least privilege in the context of an identity lifecycle and for a specific activity. The article will be agnostic in terms of cloud, hybrid and on-prem, as well as tools.

A specific service type is applied by most one-way carsharing operators, either station-based or free-floating, which depends on whether users are required to pick up and return vehicles in fixed parking lots. However, both of them have inherent limitations. The station-based carsharing system encounters the weakness of low parking-space utilization, whereas the free-floating system needs to face high parking and relocation costs. To overcome the limitations of single-type carsharing systems, this paper proposes an integrated system to apply the two types in different parts of the service area. A mixed-integer linear-programming model is established to maximize the operator profit, considering both strategic decisions of service type and operational decisions of relocation and trip selection. Despite the fact that the model can be solved by the CPLEX solver, it is limited by excessive memory usage and too long solving time in large-scale cases. To enhance the solving feasibility of the proposed model, a heuristic algorithm is proposed to effectively iterate feasible strategic options and solve the operational subproblem. The numerical results of the case study show that the proposed algorithm can achieve comparable objectives with the CPLEX solver in a much shorter computational time. Through system comparison, the integrated system achieves a larger profit and higher demand-fulfillment rate, compared with the single station-based or free-floating system. History: This paper has been accepted for the Service Science Special Issue on Innovation in Transportation-Enabled Urban Services.

The concept of transmedia storyworlds unfolding across complex serial narrative structures has become increasingly important to the study of modern media industries and audience communities. Yet, the precise connections between transmedia networks, serial structures, and narrative processes often remain underdeveloped. The dispersion of potential story elements across a diverse collection of media platforms and technologies prompts questions concerning the function of seriality in the absence of fixed instalments, the meaning of narrative when plot is largely a personal construction of each audience member, and the nature of storytelling in the absence of a unifying author, or when authorship itself takes on a serial character. This special issue opens a conversation on the intersection of these three concepts and their implications for a variety of disciplines, artistic practices, and philosophies. By re-thinking these concepts from fresh perspectives, the collection challenges scholars to consider how a wide range of academic, aesthetic, and social phenomena might be productively thought through using the overlapping lenses of transmedia, seriality, and narrativity. Thus, the collection gathers scholars from life-writing, sport, film studies, cultural anthropology, fine arts, media studies, and literature, all of whom find common ground at this fruitful crossroads. This breadth also challenges the narrow use of transmedia as a specialized term to describe current developments in corporate mass media products that seek to exploit the affordances of hybrid digital media environments. Many prominent scholars, including Marie-Laure Ryan and Henry Jenkins, acknowledge that a basic definition of transmedia as stories with extensions and reinterpretations in numerous media forms includes the oldest kinds of human expression, such as the ancient storyworlds of Arthurian legend and The Odyssey. Yet, what Jenkins terms “top-down” transmedia—that is, pre-planned and often corporate transmedia—has received a disproportionate share of scholarly attention, with modern franchises like The Matrix, the Marvel universe, and Lost serving as common exemplars (Flanagan, Livingstone, and McKenny; Hadas; Mittell; Scolari). Thus, many of the contributions to this issue push the boundaries of what has commonly been studied as transmedia as well as the limits of what may be considered a serial structure or even a story. For example, these papers imagine how an autobiography may also be a digital concept album unfolding in reverse, how participatory artistic performances may unfold in unpredictable instalments across physical and digital space, and how studying sports fandom as a long series of transmedia narrative elements encourages scholars to grapple with the unique structures assembled by audiences of non-fictional story worlds. Setting these experimental offerings into dialogue with entries that approach the study of transmedia in a more established manner provides the basis for building bridges between such recognized conversations in new media studies and potential collaborations with other disciplines and subfields of media studies.This issue builds upon papers collected from four years of the International Transmedia Serial Narration Seminar, which I co-organized with Dr. Claire Cornillon, Assistant Professor (Maîtresse de Conférences) of comparative literature at Université de Nîmes. The seminar held sessions in Paris, Le Havre, Rouen, Amsterdam, and Utrecht, with interdisciplinary speakers from the USA, Australia, France, Belgium, and the Netherlands. As a transnational, interdisciplinary project intended to cross both theoretical and physical boundaries, the seminar aimed to foster exchange between academic conversations that can become isolated not only within disciplines, but also within national and linguistic borders. The seminar thus sought to enhance academic mobility between both people and ideas, and the digital, open-access publication of the collected papers alongside additional scholarly interlocutors serves to broaden the seminar’s goals of creating a border-crossing conversation. After two special issues primarily collecting the French language papers in TV/Series (2014) and Revue Française des Sciences de l’Information et de la Communication (2017), this issue seeks to share the Transmedia Serial Narration project with a wider audience by publishing the remaining English-language papers, accompanied by several other contributions in dialogue with the seminar’s themes. It is our hope that this collection will invite a broad international audience to creatively question the meaning of transmedia, seriality, and narrativity both historically and in the modern, rapidly changing, global and digital media environment.Several articles in the issue illuminate existing debates and common case studies in transmedia scholarship by comparing theoretical models to the much more slippery reality of a media form in flux. Thus, Mélanie Bourdaa’s feature article, “From One Medium to the Next: How Comic Books Create Richer Storylines,” examines theories of narrative complexity and transmedia by scholars including Henry Jenkins, Derek Johnson, and Jason Mittell to then propose a new typology of extensions to accommodate the lived reality expressed by producers of transmedia. Because her interviews with artists and writers emphasize the co-constitutive nature of economic and narrative considerations in professionals’ decisions, Bourdaa’s typology can offer researchers a tool to clarify the marketing and narrative layers of transmedia extensions. As such, her classification system further illuminates what is particular about forms of corporate transmedia with a profit orientation, which may not be shared by non-profit, collective, and independently produced transmedia projects.Likewise, Radha O’Meara and Alex Bevan map existing scholarship on transmedia to point out the limitations of deriving theory only from certain forms of storytelling. In their article “Transmedia Theory’s Author Discourse and Its Limitations,” O’Meara and Bevan argue that scholars have preferred to focus on examples of transmedia with a strong central author-figure or that they may indeed help to rhetorically shore up the coherency of transmedia authorship through writing about transmedia creators as auteurs. Tying their critique to the established weaknesses of auteur theory associated with classic commentaries like Roland Barthes’ “Death of the Author” and Foucault’s “What is an Author?”, O’Meara and Bevan explain that this focus on transmedia creators as authority figures reinforces hierarchical, patriarchal understandings of the creative process and excludes from consideration all those unauthorized transmedia extensions through which audiences frequently engage and make meaning from transmedia networks. They also emphasize the importance of constructing academic theories of transmedia authorship that can accommodate collaborative forms of hybrid amateur and professional authorship, as well as tolerate the ambiguities of “authorless” storyworlds that lack clear narrative boundaries. O’Meara and Bevan argue that such theories will help to break down gendered power hierarchies in Hollywood, which have long allowed individual men to “claim credit for the stories and for all the work that many people do across various sectors and industries.”Dan Hassler-Forest likewise considers existing theory and a corporate case study in his examination of analogue echoes within a modern transmedia serial structure by mapping the storyworld of Twin Peaks (1990). His article, “‘Two Birds with One Stone’: Transmedia Serialisation in Twin Peaks,” demonstrates the push-and-pull between two contemporary TV production strategies: first, the use of transmedia elements that draw viewers away from the TV screen toward other platforms, and second, the deployment of strategies that draw viewers back to the TV by incentivizing broadcast-era appointment viewing. Twin Peaks offers a particularly interesting example of the manner in which these strategies intertwine partly because it already offered viewers an analogue transmedia experience in the 1990s by splitting story elements between TV episodes and books. Unlike O’Meara and Bevan, who elucidate the growing prominence of transmedia auteurs who lend rhetorical coherence to dispersed narrative elements, Hassler-Forest argues that this older analogue transmedia network capitalized upon the dilution of authorial authority, due to the distance between TV and book versions, to negotiate tensions between the producers’ competing visions. Hassler-Forest also notes that the addition of digital soundtrack albums further complicates the serial nature of the story by using the iTunes and TV distribution schedules to incentivize repeated sequential consumption of each element, thus drawing modern viewers to the TV screen, then the computer screen, and then back again.Two articles offer a concrete test of these theoretical perspectives by utilizing ethnographic participant-observation and interviewing to examine how audiences actually navigate diffuse, dispersed storyworlds. For example, Céline Masoni’s article, “From Seriality to Transmediality: A Socio-narrative Approach of a Skilful and Literate Audience,” documents fans’ highly strategic participatory practices. From her observations of and interviews with fans, Masoni theorizes the types of media literacy and social as well as technological competencies cultivated through transmedia fan practices. Olivier Servais and Sarah Sepulchre’s article similarly describes a long-term ethnography of fan transmedia activity, including interviews with fans and participant-observation of the MMORPG (Massively Multiplayer Online Role-Playing Game) Game of Thrones Ascent (2013). Servais and Sepulchre find that most people in their interviews are not “committed” fans, but rather casual readers and viewers who follow transmedia extensions sporadically. By focusing on this group, they widen the existing research which often focuses on or assumes a committed audience like the skilful and literate fans discussed by Masoni.Servais and Sepulchre’s results suggest that these viewers may be less likely to seek out all transmedia extensions but readily accept and adapt unexpected elements, such as the media appearances of actors, to add to their serial experiences of the storyworld. In a parallel research protocol observing the Game of Thrones Ascent MMORPG, Servais and Sepulchre report that the most highly-skilled players exhibit few behaviours associated with immersion in the storyworld, but the majority of less-skilled players use their gameplay choices to increase immersion by, for example, choosing a player name that evokes the narrative. As a result, Servais and Sepulchre shed light upon the activities of transmedia audiences who are not necessarily deeply committed to the entire transmedia network, and yet who nonetheless make deliberate choices to collect their preferred narrative elements and increase their own immersion.Two contributors elucidate forms of transmedia that upset the common emphasis on storyworlds with film or TV as the core property or “mothership” (Scott). In her article “Transmedia Storyworlds, Literary Theory, Games,” Joyce Goggin maps the history of intersections between experimental literature and ludology. As a result, she questions the continuing dichotomy between narratology and ludology in game studies to argue for a more broadly transmedia strategy, in which the same storyworld may be simultaneously narrative and ludic. Such a theory can incorporate a great deal of what might otherwise be unproblematically treated as literature, opening up the book to interrogation as an inherently transmedial medium.L.J. Maher similarly examines the serial narrative structures that may take shape in a transmedia storyworld centred on music rather than film or TV. In her article “You Got Spirit, Kid: Transmedial Life-Writing Across Time and Space,” Maher charts the music, graphic novels, and fan interactions that comprise the Coheed and Cambria band storyworld. In particular, Maher emphasizes the importance of autobiography for Coheed and Cambria, which bridges between fictional and non-fictional narrative elements. This interplay remains undertheorized within transmedia scholarship, although a few have begun to explicate the use of transmedia life-writing in an activist context (Cati and Piredda; Van Luyn and Klaebe; Riggs). As a result, Maher widens the scope of existing transmedia theory by more thoroughly connecting fictional and autobiographical elements in the same storyworld and considering how serial transmedia storytelling structures may differ when the core component is music.The final three articles take a more experimental approach that actively challenges the existing boundaries of transmedia scholarship. Catherine Lord’s article, “Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-serial,” explores the unique storytelling structures of a cluster of independent films that traverse time, space, medium, and gender. Although not a traditional transmedia project, since the network includes a novel and film adaptations and extensions by different directors as well as real-world locations and histories, Lord challenges transmedia theorists to imagine storyworlds that include popular history, independent production, and spatial performances and practices. Lord argues that the main character’s trans identity provides an embodied and theoretical pivot within the storyworld, which invites audiences to accept a position of radical mobility where all fixed expectations about the separation between categories of flora and fauna, centre and periphery, the present and the past, as well as authorized and unauthorized extensions, dissolve.In his article “Non-Fiction Transmedia: Seriality and Forensics in Media Sport,” Markus Stauff extends the concept of serial transmedia storyworlds to sport, focusing on an audience-centred perspective. For the most part, transmedia has been theorized with fictional storyworlds as the prototypical examples. A growing number of scholars, including Arnau Gifreu-Castells and Siobhan O'Flynn, enrich our understanding of transmedia storytelling by exploring non-fiction examples, but these are commonly restricted to the documentary genre (Freeman; Gifreu-Castells, Misek, and Verbruggen; Karlsen; Kerrigan and Velikovsky). Very few scholars comment on the transmedia nature of sport coverage and fandom, and when they do so it is often within the framework of transmedia news coverage (Gambarato, Alzamora, and Tárcia; McClearen; Waysdorf). Stauff’s article thus provides a welcome addition to the existing scholarship in this field by theorizing how sport fans construct a user-centred serial transmedia storyworld by piecing together narrative elements across media sources, embodied experiences, and the serialized ritual of sport seasons. In doing so, he points toward ways in which non-fiction transmedia may significantly differ from fictional storyworlds, but he also enriches our understanding of an audience-centred perspective on the construction of transmedia serial narratives.In his artistic practice, Robert Lawrence may most profoundly stretch the existing parameters of transmedia theory. Lawrence’s article, “Locate, Combine, Contradict, Iterate: Serial Strategies for PostInternet Art,” details his decades-long interrogation of transmedia seriality through performative and participatory forms of art that bridge digital space, studio space, and public space. While theatre and fine arts have often been considered through the theoretical lens of intermediality (Bennett, Boenisch, Kattenbelt, Vandsoe), the nexus of transmedia, seriality, and narrative enables Lawrence to describe the complex, interconnected web of planned and unplanned extensions of his hybrid digital and physical installations, which often last for decades and incorporate a global scope. Lawrence thus takes the strategies of engagement that are perhaps more familiar to transmedia theorists from corporate viral marketing campaigns and turns them toward civic ends (Anyiwo, Bourdaa, Hardy, Hassler-Forest, Scolari, Sokolova, Stork). As such, Lawrence’s artistic practice challenges theorists of transmedia and intermedia to consider the kinds of social and political “interventions” that artists and citizens can stage through the networked possibilities of transmedia expression and how the impact of such projects can be amplified through serial repetition.Together, the whole collection opens new pathways for transmedia scholarship, more deeply explores how transmedia narration complicates understandings of seriality, and constructs an international, interdisciplinary dialogue that brings often isolated conversations into contact. In particular, this issue enriches the existing scholarship on independent, artistic, and non-fiction transmedia, while also proposing some important limitations, exceptions, and critiques to existing scholarship featuring corporate transmedia projects with a commercial, top-down structure and a strong auteur-like creator. These diverse case studies and perspectives enable us to understand more inclusively the structures and social functions of transmedia in the pre-digital age, to theorize more robustly how audiences experience transmedia in the current era of experimentation, and to imagine more broadly a complex future for transmedia seriality wherein professionals, artists, and amateurs all engage in an iterative, inclusive process of creative and civic storytelling, transcending artificial borders imposed by discipline, nationalism, capitalism, and medium.ReferencesAnyiwo, U. Melissa. "It’s Not Television, It’s Transmedia Storytelling: Marketing the ‘Real’World of True Blood." True Blood: Investigating Vampires and Southern Gothic. Ed. Brigid Cherry. New York: IB Tauris, 2012. 157-71.Barthes, Roland. "The Death of the Author." Image, Music, Text. Trans. Stephen Heath. Basingstoke: Macmillian, 1988. 142-48.Bennett, Jill. "Aesthetics of Intermediality." Art History 30.3 (2007): 432-450.Boenisch, Peter M. "Aesthetic Art to Aisthetic Act: Theatre, Media, Intermedial Performance." (2006): 103-116.Bourdaa, Melanie. "This Is Not Marketing. This Is HBO: Branding HBO with Transmedia Storytelling." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 7.1 (2014).Cati, Alice, and Maria Francesca Piredda. "Among Drowned Lives: Digital Archives and Migrant Memories in the Age of Transmediality." a/b: Auto/Biography Studies 32.3 (2017): 628-637.Flanagan, Martin, Andrew Livingstone, and Mike McKenny. The Marvel Studios Phenomenon: Inside a Transmedia Universe. New York: Bloomsbury Publishing, 2016.Foucault, Michel. "Authorship: What Is an Author?" Screen 20.1 (1979): 13-34.Freeman, Matthew. "Small Change – Big Difference: Tracking the Transmediality of Red Nose Day." VIEW Journal of European Television History and Culture 5.10 (2016): 87-96.Gambarato, Renira Rampazzo, Geane C. Alzamora, and Lorena Peret Teixeira Tárcia. "2016 Rio Summer Olympics and the Transmedia Journalism of Planned Events." Exploring Transmedia Journalism in the Digital Age. Hershey, PA: IGI Global, 2018. 126-146.Gifreu-Castells, Arnau. "Mapping Trends in Interactive Non-fiction through the Lenses of Interactive Documentary." International Conference on Interactive Digital Storytelling. Berlin: Springer, 2014.Gifreu-Castells, Arnau, Richard Misek, and Erwin Verbruggen. "Transgressing the Non-fiction Transmedia Narrative." VIEW Journal of European Television History and Culture 5.10 (2016): 1-3.Hadas, Leora. "Authorship and Authenticity in the Transmedia Brand: The Case of Marvel's Agents of SHIELD." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 7.1 (2014).Hardy, Jonathan. "Mapping Commercial Intertextuality: HBO’s True Blood." Convergence 17.1 (2011): 7-17.Hassler-Forest, Dan. "Skimmers, Dippers, and Divers: Campfire’s Steve Coulson on Transmedia Marketing and Audience Participation." Participations 13.1 (2016): 682-692.Jenkins, Henry. “Transmedia 202: Further Reflections.” Confessions of an Aca-Fan. 31 July 2011. <http://henryjenkins.org/blog/2011/08/defining_transmedia_further_re.html>. ———. “Transmedia Storytelling 101.” Confessions of an Aca-Fan. 21 Mar. 2007. <http://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html>. ———. Convergence Culture: Where Old and New Media Collide. New York: New York University Press, 2006.Johnson, Derek. Media Franchising: Creative License and Collaboration in the Culture Industries. New York: New York UP, 2013.Karlsen, Joakim. "Aligning Participation with Authorship: Independent Transmedia Documentary Production in Norway." VIEW Journal of European Television History and Culture 5.10 (2016): 40-51.Kattenbelt, Chiel. "Theatre as the Art of the Performer and the Stage of Intermediality." Intermediality in Theatre and Performance 2 (2006): 29-39.Kerrigan, Susan, and J. T. Velikovsky. "Examining Documentary Transmedia Narratives through The Living History of Fort Scratchley Project." Convergence 22.3 (2016): 250-268.Van Luyn, Ariella, and Helen Klaebe. "Making Stories Matter: Using Participatory New Media Storytelling and Evaluation to Serve Marginalized and Regional Communities." Creative Communities: Regional Inclusion and the Arts. Intellect Press, 2015. 157-173.McClearen, Jennifer. "‘We Are All Fighters’: The Transmedia Marketing of Difference in the Ultimate Fighting Championship (UFC)." International Journal of Communication 11 (2017): 18.Mittell, Jason. "Playing for Plot in the Lost and Portal Franchises." Eludamos: Journal for Computer Game Culture 6.1 (2012): 5-13.O'Flynn, Siobhan. "Documentary's Metamorphic Form: Webdoc, Interactive, Transmedia, Participatory and Beyond." Studies in Documentary Film 6.2 (2012): 141-157.Riggs, Nicholas A. "Leaving Cancerland: Following Bud at the End of Life." Storytelling, Self, Society 10.1 (2014): 78-92.Ryan, Marie-Laure. “Transmedial Storytelling and Transfictionality.” Poetics Today, 34.3 (2013): 361-388. <https://doi.org/10.1215/03335372-2325250>.Scolari, Carlos Alberto. "Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production." International Journal of Communication 3 (2009).Scott, Suzanne. “Who’s Steering the Mothership: The Role of the Fanboy Auteur in Transmedia Storytelling.” The Participatory Cultures Handbook. Eds. Aaron Delwiche and Jennifer Henderson. New York: Routledge, 2013. 43-53.Sokolova, Natalia. "Co-opting Transmedia Consumers: User Content as Entertainment or ‘Free Labour’? The Cases of STALKER. and Metro 2033." Europe-Asia Studies 64.8 (2012): 1565-1583.Stork, Matthias. "The Cultural Economics of Performance Space: Negotiating Fan, Labor, and Marketing Practice in Glee's Transmedia Geography." Transformative Works & Cultures 15 (2014).Waysdorf, Abby. "My Football Fandoms, Performance, and Place." Transformative Works & Cultures 18 (2015).Vandsoe, Anette. "Listening to the World. Sound, Media and Intermediality in Contemporary Sound Art." SoundEffects – An Interdisciplinary Journal of Sound and Sound Experience 1.1 (2011): 67-81.

La thèse porte sur les pratiques d'expérimentation d'affaires, déployées au sein des organisations. Le contexte est caractérisé par la transformation digitale qui permet de déployer plus aisément les expérimentations que par le passé. Le cadre théorique choisi est celui des capacités marketing adaptatives (Day, 2011)Notre travail a pour objectif d'expliquer ce qui permet l'émergence d'une pratique d'expérimentation puis de montrer les conséquences de l’utilisation de l’expérimentation sur l’organisation, en particulier les conséquences en termes de changement de culture et de montée en compétences. Dès lors, nous nous intéressons aux processus d'apprentissage ayant lieu au niveau des équipes et de l'organisation lors des pratiques d'expérimentation.A partir d'entretiens exploratoires d'experts et de deux cas d'entreprise nous mettons en évidence la construction d'une capacité marketing adaptative.Notre contribution réside dans la mise en évidence de la culture de test, de la culture entrepreneuriale ainsi que la gestion de l'ensemble des niveaux d'apprentissage pour développer une capacité marketing adaptative<br>We have studied the practice of business experiments inside organizations. Digital transformation makes business experiments practices much easier than they used to be. We have chosen adaptive marketing capabilities (Day, 2011) as our reference frame.Our goal is to describe what enables business experiments and to show the consequences of business experiments practices inside organizations. We have focused especially on cultural change and capabilities improvement. Therefore, we have worked on learning processes occuring during business experiments at a team level and also at an organizational level.Based on exploratory interviews and two business cases, we have brought into relief the building process of an adaptive marketing capability.Our contribution consists of the description of the building of an adaptive marketing capability, through test culture, entrepreneurial culture and the management of the whole learning levels

This chapter reviews the theme of augmented precarity during the COVID-19 pandemic. It examines ‘hustling’ in Jamaica, which is a common practice of marginalized populations to capitalize on opportunities to earn an income in extreme economic landscapes. It further explains that hustling in Jamaica is a mobile, iterant, and unregulated activity that often involves street vending or picking up side jobs. It also considers effects of the first wave of the pandemic on hustling activities due to government lockdown measures in Jamaica. The chapter focuses on the informal labor market in relation to the ‘right to the city’ in the urban Global South. It questions traditional approaches to assessing poverty and proposes an alternative approach that captures a realistic insight surrounding the precarity of hustling and risks to poverty.

Determining the optimum cross section for each primary structural member of an airframe structure has always been an iterative process since changing the stiffness of one member redistributes loads. Each iteration of internal loads calculations with a global aircraft finite element model (GFEM) followed by strength and stability checks results in further cross section changes (sizings) to reduce weight or regain positive margins of safety. The handoffs between tools and the update process for the next iteration is time consuming and has many opportunities for errors. This paper will describe a tool developed at Sikorsky to automatically iterate sizings saving development time and executing more sizing iterations than historically possible which saves weight. The tool can operate on metallic and composite structures. The development time and weight savings is critical to support ever shrinking time to fielding/market for commercial and military models.

Today market requires machinery with ever larger performance increasing compression system vibrations risks. Knowledge of dampers pulsation-forces phenomena and best practices allows their minimization. Loads acting on foundation are early defined allowing a proper design, while “Cylinder-Gas-loads” depending upon compressor data-sheet cannot be adjusted unless to change requirements. Considering their high amplitudes and frequencies spectrum, some exciting frequencies often coincides with system mechanical natural frequencies. This involves expensive efforts in preliminary Cylinder Manifold response studies to guide compressor General Arrangement design. Specific software that includes Compressor standard elements selection and that allow building dampers by parametric inputs is cost effective in model creation. Together with the cost benefits it facilitates the designer to simulate multiple configurations rebuilding the model in a short time and exploring several solutions to optimize the system vibration control. A FEM specialist is not required for the Model build-up, the Software allow automatically applying cylinder gas loads, run analysis and compare results vs allowable ones. In case of allowable limits exceeding or design changes, G&amp;A Designer can easily change input and iterate the loop till satisfactory results are achieved in a timely and quality manner, optimizing dampers and supports.

Recently bolting procedures for flanged connection is one of the important research topics, and several procedures for bolting process are proposed or about to be issued. These procedures are based on bolting experimental and/or analytical results, namely by Finite Element Analyses. Among these researches, only a few are addressing the relationship between bolt tension scatter and gasket contact stress distribution. Bolt tension scatters in nature due to elastic interaction of the bolts as the bolts are tightened one by one. In order to obtain a uniform, or nearly uniform, tension along all the joint bolts, many “rounds” or “passes” are necessary to eliminate this elastic interaction. If the installer does not iterate this tightening process, gasket stress will be distributed undesirably due to the bolt tension scatter. The bolt tension scatter is now mostly calculated using the analysis programs that are developed by research laboratories themselves. In this paper, the author suggests to use a general purpose finite element analysis code for bolt stress, gasket stress and flange stress, which accommodates such advanced functions as bolt pretension and gasket plastic behavior. The author will show that it is possible to analyze the bolt tension, gasket stress and flange stress at the same time using a market sold analysis code, ABAQUS, and examine how many “rounds” are necessary to achieve uniform gasket contact stress. This paper also describes the relationship between the gasket contact stress and the bolt tension scatter, and the effect of internal pressure of piping or pressure vessels. Based on these results, the tightness parameters are estimated and the methods in the standards are verified in the aspect of allowable and achieved leakage.