The purpose of this study is to find out the key to success of the photographs in Instagram through content for tourist destination. While there are several studies in the tourism industry about the impact of Social Networks such as Facebook or virtual collaborative communities like TripAdvisor, there are very few studies about Instagram (Hanan & Putit, 2014). This study focuses on “Beautiful Destinations” as the leader on Instagram and an example of destination management organization (DMO), where they have more than 3,100 publications and 4 million followers in 180 countries, becoming the world’s largest travel influencer on Instagram. The dependent variables are taking from several studies (Dagostar & Isotalo, 1992; Stabler, 1987; Timothy & Groves, 2001). Ordinary least squares models were estimated to assess the relationship of characteristics of the photo with the number of likes among photos published on Instagram. If a photograph has people, water, took during afternoon, self-centric and other centric have effects in the number of likes and comments. While if a destination has the purpose of the engagement of the consumers with several comments, people appearance has a positive impact in the number of comments and if the pictures is doing in the afternoon has a negative impact. By analyzing the contents of information provided by the uploaded photographs, this study provides clues for destination in order to enhance the engagement with potential customer and users of Instagram.

Recent research has shown that many companies in the fashion industry are increasingly weaving close relationships with the art world, to appropriate art values and meanings to be associated with their own products and brands (Hagdtvedt & Patrick, 2008a; 2008b). Businesses related to the fashion luxury sector have been especially prone to using such strategies to transform their products into true artworks to address the issue of commodification resulting from high production volumes (Dion and Arnoult, 2011; Riot, Chameret & Rigaud, 2013). Over the past two decades, the luxury market has undergone huge structural changes through mergers and acquisitions that have transformed an industry made up of small, family businesses into major financial conglomerates and brand owners (Roux & Floch, 1996; Crane 2012). Secondly, globalization and openness to new fast-growing markets such as Asia, have led these luxury conglomerates to increase sales volumes, failing in one of the basic characteristics of such goods: rarity. But if the real rarity of luxury products is a promise that companies can no longer guarantee their own consumers, the elitism of these products can be ensured through an artificial rarity. Jean-Noël Kapferer used the neologism artification recently introduced by French sociologists Nathalie Heinich and Roberta Shapiro and applied it to the analysis of luxury goods (Kapferer, 2012; 2014; Heinich and Shapiro, 2012; Shapiro and Heinich, 2012). He stressed that a strategy based on art implemented by luxury companies is useful mainly to support the perception of rarity by the final consumer. Artification is based on the notion that art –related objects or persons are associated with positive values. Enhancing a corporate image in the consumer’s mind means building positive ties to the brand that will initiate a form of benevolence towards the brand, providing the legitimization of corporate actions and, in some cases, resulting in the purchase of goods and services produced and distributed by the company (Keller, 1993; Aaker, 1996; Aaker & Joachimsthaler, 2000; Keller, 2003). We decided to analyse the effect of Artification on brand value by focusing on the four dimensions of Awareness, Image, Quality and Loyalty by using the same CbBE ( Customer-based Brand Equity) structure previous authors tested on country of origin effect on consumers, based on the main hypotheses further explained (Pappu, Quester & Cooksey, 2006). The first hypothesis relates to the dimension of Awareness and aims to test the level of brand recognition in final consumers when the logo is modified by an artist. • H1 – Consumers’ awareness remains strong when the brand is ‘artified’. We analyze then the Image, as the second dimension of CbBE. Due to the complexity of this dimension, we posited two hypotheses connected to it: • H2a – Consumers’ free associations to the brand are connected to the artworld when the brand is ‘artified’ (e.g. consumers indicate words as art, contemporary art or the name of the artist). • H2b – Consumers’ evaluation of the brand image points to stronger positive associations when the brand is ‘artified’ The last two hypotheses we mention are connected to the dimensions of Quality and Loyalty: • H3 – Consumers’ evaluation of Quality increases when the brand is ‘artified’.  H4 – Consumers’ Loyalty to the brand increases when the brand is ‘artified’. • The analysis was conducted through a between-subjects randomized experiment and manipulated art presence (with art versus without art). Starting from the same panel, two groups were created: one including the treatment (visual arts) and one including no treatment at all. Furthermore, we limited ourselves in this experiment to images of products and pattern created by Louis Vuitton that are actually on the market, associating them randomly to the research units in order to obtain two statistically consistent groups subjected to the different treatment (with art or without art)4. The two groups were labelled ‘artified’ group and control group, the first grouping the respondents to the questionnaire containing images of Louis Vuitton Logo, pattern and product modified by art collaboration with Yayoi Kusama; and the second grouping the respondents to the questionnaire containing images of Louis Vuitton Logo, pattern and product in its standard design. The questionnaire was distributed between the months of May and June 2015 via Qualtrics survey software. It was divided into four distinct blocks: the first concerned the presentation of the survey, the declaration of authorization signed by the participants and the demographic information; the second and the third blocks of questions were identical, with the same series of questions but based on different images used. There were 880 respondents, 825 of whom correctly filled the questionnaire we submitted to them. The control group was made of 413 respondents, 73.13 % of whom were female and 26.87 % male. The ‘artified’ group was made of 71.60 % female and 28.40 % male. We analyzed the four dimensions of Awareness, Image, Quality and Loyalty individually and in a comparative manner between the control and ‘artified’ groups. In the CbBE model, dimensions are analyzed individually since Awareness and brand Image measures are not comparable because they are collected through different measure methods, respectively through multiple choice and open-ended questions. Such dimensions as Image, Quality and Loyalty which were raised through Likert scales were then subjected to mono multivariate statistical analysis. The main results are shown in table 1. By reading the results for CbBE, Hypothesis H1 [Consumers’ awareness remain strong when the brand is ‘artified’] has been confirmed. The aided brand awareness shows no important differences between the two groups, so visual artists may modify logos or the appearance of luxury products without the fear of compromising brand awareness in the final consumers. Hypothesis H2a [Consumers’ free associations to the brand are connected to the arts when the brand is ‘artified’ (e.g. the word art, contemporary art or the name of the artist)] was not confirmed. Hypothesis H2b was partially confirmed as Generic Associations and Brand Personality were impacted by the use of the visual arts, while Organizational Associations were not. Brand loyalty and Perceived Quality were not impacted by the Visual Arts either, so Hypothesis H3 and H4 were not confirmed. As a main result for CbBE analysis, the Visual Arts have an impact on Customer-based Brand Equity, limited to Brand Image dimensions. The fact that Brand Image is one of the most complex dimensions of brand value opens the way to the development of future analysis and research in the visual arts as external source for brand equity, especially for Brand Personality. The main results of our research show that an artification effect is visible especially at the level of brand image and brand personality, two complex and valuable components of Brand Value from a consumer perspective. This opens to further in-depth analysis of these two components for future research. Large luxury groups (such as Cartier and Prada) have long used an art-based strategy to increase the value of their products, avoiding the risk of a loss of prestige perceived by the final consumer who would no longer recognize the exclusivity of a product that seems to be increasingly more industrial than handmade. Art can therefore contribute to alter and rework the image and market position of a specific brand or an entire product line, ensuring the transition from an ordinary image to a prestigious one, or strengthening the existing prestigious perception (Hetsroni & Tukachinsky, 2005; Lee et Al., 2015). We believe that a strategy based on art implemented by luxury companies is beneficial mainly to support the perception of rarity by the final consumer. Luxury goods would have to be unique or at least not produced in too high volumes precisely because of their craftsmanship and the care with which they are made. Rarity is not compatible with the increase in sales volumes required by the financial holdings that own the same luxury brands (Roux and Lipovetsky, 2003; Kapferer, 2012; 2014; 2015). The artification process we researched would have exactly the dual purpose of improving the brand image of companies that apply it, while increasing the perception of luxury in end consumers. What is more, we believe that the luxury brands from the industry sector that belong to large financial conglomerates now have the strength to simultaneously apply all the components in the artification process, by sustaining activities of sponsorship, philanthropy or generic collaboration with artists. The fact that luxury products are an integral part of the world of visual arts combined with the fact luxury brands have now the strong support base of large financial conglomerates can ensure the right economic and cultural support needed for the application of such a strategy. In the case of fashion companies, we believe artification is a process in itinere. In our experiment free associations to the brand show that only 2 consumers out of 880 remembered or knew the name of the artist (Yayoi Kusama) and 10 people indicated the substantive ‘art’ or ‘contemporary arts’ as free associations in the ‘artified group’ (only 2 in the control group). This shows that luxury brands ‘art-based strategy cannot only concentrate on temporary collaborations with artists. Luxury brands as Louis Vuitton must act as art institutions able to display arts collections to the widest public and bestow art status and global recognition to collaborating artists (Masè and Cedrola, 2017). This strategy relies on LV ability to raise consumers’ awareness of the arts. While the art-oriented public recognizes artistic collaborations, the larger public does not yet is still very much aware of new designs. Novelty is equally perceived by both, but is partially decoded by one category of consumers.

The ability to succeed in a competitive market means to respond flexibly to difficult market demands by setting appropriate price, quality, and not least by creating a favourable environment for cultural, but also attractive shopping at a point of sale. Thanks to the innovative interdisciplinary approach using neuromarketing, we can create effective marketing strategies and thereby stimulate human emotions through which it is possible to achieve an increase in the number of deals, multiply revenue and improve the ability to stimulate a purchase. Commercial spaces are becoming more sophisticated day by day and the results of several surveys of consumer behaviour show that more than half of decisions 50-80% related to purchases are made on the point of sale and 80% are realized on the basis of positive emotions. An emotion is a complex processing of phenomena or situations which is determined by the relationship between their objective characteristics and needs of the subject. The element of lighting in shops also influences positive emotions of consumers being able to increase or decrease the sales. Lighting is the only factor that can be accurately measured and controlled. Accent lighting of a modern shop is largely involved in the overall design and the resultant atmosphere of the shop, playing a crucial role in presenting different kinds of goods. The use of accent lighting can draw the customer's attention to a specific part of retail space and achieve the overall harmonization of the shop. For some goods (fresh unpackaged food) lighting is not only powerful, but also the only marketing tool. The main objective of this paper is to clarify the influence of various types of accent lighting (different colour temperature, intensity) on the brain activity of respondents and their resultant emotional state (arousal / valence). Cortical brain activity was recorded via a wireless 14 channel electroencephalograph. The object of investigation is the impact of accent lighting in the section of fresh food (fruit, vegetables, bread, pastry). In the end of the article we explain how neuroscience can be used for a better understanding of consumer perception of accent lighting in the food market.

Considering the idea that some properties, especially the mechanical properties of at ambient temperature can be improved by adding of some substitutional/interstitial elements, our goal was to obtain these materials starting from mechano-composites powders. In this aim, using mechanical alloying techniques three type of mechano-composite powders starting from elemental powders were obtained. Then, by reactive sintering in argon atmosphere at temperature over , alloyed materials were realized. This paper presents our research results regarding the microstructural aspects and phase formation in obtained materials.

We investigated the mechanism how the high green density can be provided during die lubricated warm compaction (WD). We observed and analyzed the densification processes of iron powders including different contents of an inner lubricant, and measured the lateral pressure at the die wall during WD in comparison with conventional compaction and warm compaction. As a result, the high density in WD was due to not only the particles-deformation enhanced by warming powders but also the particles-rearrangement promoted by reducing an amount of the inner lubricant rather than the die lubrication.

The paper presents some results regarding the obtaining of some copper heat pipes with a porous copper internal layer for electronic components cooling. The heat pipes were realized by sintering of spherical copper powders of size directly on the internal side of a copper pipe of 18 mm in diameter. The obtained pipes were then brazed in order to obtain a heat pipe of 0.5 m in length. After that, the heat pipe was sealed and filled with a small quantity of distilled water as working fluid. To establish the total heat transport coefficient and the thermal flow transferred at the evaporator, some external devices were realized to allow the heating of the evaporator and the cooling of the condenser. Water heat pipes are explored in the intermediate temperature range of 303 up to 500 K. Test data are reported for copper water heat pipe, which was tested under different orientations. The obtained results show that the water heat pipe has a good thermal transfer performance in the temperatures range between 345 and 463 K.