Introduction In the last decade, the concepts of responsible or sustainable luxury (Vigneron & Johnson 2004; Bendell & Kleanthous, 2007; Kapferer, 2010; Janssen, Vanhamme, Lindgreen & Lefebvre, 2014) and digital or online luxury (Kim & Ko, 2010; 2012; Okonkwo, 2005; 2009; 2010; Mosca, Civera & Casalegno, 2018) have started receiving considerable attention, as separate areas of study. Scholarship shows that communicating CSR is more and more of a strategic decision (Sen & Bhattacharya, 2001) that needs to balance promises and performances of social instances (de Ven, 2008; Pomering & Donilcar, 2009; Hur, Kim & Woo, 2014;) and to impact on the audience positively through content, placement and motives of CSR messages (Jahdi & Acikdilli, 2009; Du, Bhattacharya, & Sen, 2010). Furthermore, with the explosion of digital contents and use, communicating CSR is even more challenging and firms increase their exposure to judgments of their real conduct (Christodoulides, Jevons & Blackshaw, 2011). Luxury players make an interesting case of investigation for the digital CSR communication, as they are peculiar both in the use of the online and in the implementation and communication of CSR (Vigneron & Johnson 2004; Bendell & Kleanthous, 2007; Kapferer and Bastien, 2009; Janssen et al., 2014). Despite some exploratory researches underline that luxury consumers are not so likely to see consistency between luxury and CSR (Davies et al., 2012) and yet, the communication of those activities can turn their perception negatively (Torelli et al., 2012), latest findings from empirical studies on luxury consumers show a growing interest in the communication of sustainability on the online (Janssen et al., 2014). However, few studies consider how consumers react and modify their perception in regard to CSR messages spread online, within luxury markets. This research has twofold aims. Firstly, it investigates the state of the art of leading international luxury players‟ CSR digital communication through the application of a theoretical framework developed by the authors for qualitative analysis of digital CSR communication contents, placement and purpose. Secondly, it explores luxury consumers‟ perception over specific digital CSR communications in order to verify whether and if there is consistency between CSR digital communication and consumers‟ reactions within luxury markets as well as underline emerging peculiarities in the way CSR is – and is expected to be – communicated online by luxury players. Theoretical development Creating experiences on the online became the imperative for luxury players (Okonkwo, 2010). This need is strengthened by luxury consumers, who are more willing to take part in the process of sharing brands‟ values through the online platforms, in a challenging multi-channel logic (Rifkin, 2000; Mosca et al., 2013). Luxury players seem to strive more than others to modify and integrate their products offer and communication on the online, because they have to adapt to a “pop” culture without losing their unique character and exclusivity (Aiello & Donvito, 2005) that can be, as some scholars suggest, identified with certain characteristics of sustainability and social responsibility (Janssen et al., 2014). The main contribution of this study is to allow a convergence between “responsible luxury” and “online luxury” by advancing the theoretical understanding of digital CSR communication within luxury markets, in terms of peculiarities, customers‟ perceptions and effectiveness. Research Design The study makes use of a theoretical framework for qualitative evaluation of web CSR communication previously developed by the authors, that is, in the context of the present research, enriched to include a qualitative investigation of all digital CSR messages (including web and social media). Firstly, the study applies the framework to 100 International luxury brands (representative of the principal luxury fashion-related personal products categories) selected from luxury reports by Deloitte, Reputation Institute and Interbrand in order to qualitative evaluate contents, placement and purposes of digital CSR messages. The qualitative evaluation is developed by the authors through the identification of KPIs reflecting the themes emerged in the framework, analysis of their frequency and Chi square test. Secondly, the study involves 400 luxury consumers within mature markets, who are tested around their perception of digital CSR communication of luxury players. The investigation over their reactions and perception of digital CSR messages is conducted through an online questionnaire and several focus groups. Statistical regression model, t-stat and comparison among the responses provided by consumers through the survey are conducted to analyse responses and match the data. Results and Conclusion Results show the that majority of the investigated players are extensively considering CSR as a core digital strategy, pointing out the growing communication of luxury goods that increased sustainability and social responsibility throughout the whole supply chain. The investigation on customers‟ perception outlines some discrepancies between players‟ communication and customers‟ reactions, showing several cases of misjudgements. On the one hand, some players fails in achieving customers‟ expectations and the actual raking of their digital CSR communication does not match the level of given perception. On the other hand, some digital CSR communications succeeds in creating positive overreactions, despite having previously evaluated as the minimum requirement as for CSR implementation and communication. Accordingly, some suggestions to managers are developed, not just around the three considered attributes of digital CSR communication (content, placement and purposes) but also around the context of buying behaviours linked to the core business and the brand values, which can be, somehow, strongly associated with sustainability and social responsibility. In particular, it emerges that luxury digital CSR communication is expected to be an integrated strategy between online and offline channels, focused upon facts, numbers, performances and results of CSR that should show high coherency with the luxury core business.

Global ecommerce continues to flourish and consumers across the world are constantly connected to the Internet. This poses growing opportunities for the digital transformation of businesses and their expansion to international markets succeeding to reach and engage with potential customers abroad. The objective of this paper is to study the internationalization process of digital enterprises and to explore business challenges and opportunities arising from the use of innovative technologies and tools. More specifically, we aim to review the recent related literature and propose a conceptual framework introducing tools and practices regarding strategy, infrastructure technology and on- line marketing & communication needed to assure increased chances of success when digitally expanding abroad. Each country has specific features associated with the business environment, the penetration of ecommerce, as well as, specific cultural and social characteristics. These peculiarities require specific internationalization strategies and dictate parallel adjustments in IT infrastructure, as well as a suitable digital marketing & promotion that need to be followed which are thoroughly analyzed and can become a valuable tool for digital enterprises.

Introduction With most consumers in developed countries actively using Internet in their daily lives (International Telecommunication Union, 2017), and billions of monthly active social media users (Facebook, 2017; Instagram, 2017), businesses across the globe work to ensure their efficient representation in the online environment. For luxury brands, digitalization poses unique challenges. While some luxury brands fully embrace the digital environment, whether through designing memes for their social media campaigns (Gucci, 2018), or through selling their luxury products via online channels (Vacheron Constantin, 2018), other luxury brands avoid digitalization. Some marketers suggest that “digitalization of luxury brands” is somewhat paradoxical, since customers of luxury brands expect exclusive access, insider knowledge, and more personalized, intimate service than online environment can offer (Deloitte Touche Tohmatsu Limited, 2015; Hennings, Wiedmann, and Klarmann, 2012; Popomaronis, 2017). Considering that “one size” does not fit all in marketing, could it be the case that digital presence has favorable impact on some luxury brands, but not on others? Brand personality, culture and values of luxury brands can work to create a traditional, or a more modern, brand image (Azoulay & Kapferer, 2003; Madhavaram, Badrinarayanan, & McDonald, 2005). It seems reasonable to assume that more modern luxury brands are expected to modernize, even in a digital capacity, while traditional luxury brands are expected to be resilient to change. In other words, digitalization might be perceived differently by customers of traditional luxury brands versus modern luxury brands. However, luxury brand literature is silent as to how these brands should engage audiences online. The primary goal of this paper is to determine whether digital presence leads to differential consumer outcomes depending on the luxury brand identity. Theoretical Development It is universally accepted that the online environment is one of the key factors impacting consumer outcomes in our digital age (Darley, Blankson, & Luethge, 2010). Specifically, brand website quality, interface, experience and website satisfaction all have a strong influence on the consumer decision process, and determine how consumers engage with and obtain knowledge of a brand (see Darley et al., 2010 for a review). Moreover, navigation and convenience of the brand website environment were found to be important predictors of consumers’ attitudes (Childers, Carr, Peck, & Carson, 2001). In fact, when it comes to evaluating brands and their websites, consumers are driven by three factors: website functionality (e.g., navigation), psychological factors (e.g., trust and feelings of reliability/professionalism), and content (e.g., website design) (Constantinides, 2004). At the same time, these three driving factors in website evaluation (i.e., functionality, psychological factors, and content) help build the brand identity, and create a specific brand image through brand presentation style, and the relationships created with customers (Nandan, 2005). A strong component of brand identity is brand personality. Using Aaker’s (1997) brand personality dimensions as a starting point, Heine (2009) developed a luxury brand personality scale, identifying the following traits: modernity, eccentricity, opulence, elitism, and strength. The first trait, modernity, refers to the temporal perspective of the brand, ranging from modern to traditional. ”Traditional” can mean conservative, classic, and old-fashioned, yet luxury brand positioning is often based on tradition, which results in low modernity (Esteve and Hieu-Dess, 2005; Mutscheller, 1992; Vernier and Ghewy, 2006; Vickers and Renand, 2003; Vigneron and Johnson, 2004). The concept of a “modern brand,” on the other hand, elicits associations such as contemporary, trendy, and progressive. For luxury brands, while Donna Karan New York would identify as a modern brand, Hermes provides an example of the traditional brand. Past research indicates that modern brands are more symbolic, embody conspicuousness, and do not require luxury knowledge. Furthermore, modern brands are often deemed more exciting (Aaker, 1997) and creative (Roux, Tafani, and Vigneron, 2017). In contrast, a traditional brand requires craftsmanship, represents aesthetic possession, and requires knowledge (Pitt, Berthon, Parent, and Berthon, 2001). While Kapferer (1998) considers that tradition and modernity are part of luxury brand identity, and thus strategy, only recent evidence demonstrates that luxury brand image can influence consumer evaluations and decision making (Roux et al., 2017). We suggest that luxury brand identity should impact the digitalization strategy of the luxury brands. First, even though past research suggests that e-commerce and use of social media bodes well for luxury brand strategy (Godey et al, 2016; Lee and Walkins, 2016), we argue that for modern (vs. traditional) luxury brands, digitalization and social media presence is viewed more negatively. This is due to the fact that modern brands are more symbolic, that is a sign of affluence (Pitt et al., 2001), and linked more closely to the trait of exclusivity (Roux et al., 2017). When negative attitudes of the modern luxury brand consumers arise, they will result in lower evaluations of the brand digitalization efforts (e.g., brand website). Formally, H1: Exposure (vs. no exposure) to the brand’s social media page will lead to lower (vs. higher) brand website evaluations for the consumers of a modern (vs. traditional) luxury brand. Given that consumers can express love for brands and designate status to brands, their overall relationships with a brand can influence brand website evaluations. However, consumers could attribute higher or lower value to a brand’s identity in the online environment, thereby determining the success or failure of luxury brand digital strategy (Quach and Thaichon, 2017). More specifically, consumers might perceive brand website to be an integral part of a modern brand’s image, and might not see a website as a critical component of a traditional brand’s image. In other words, a website of a modern brand might be subject of higher scrutiny than that of a traditional brand, and thus might be more dependent on the overall consumer attitudes towards the brand. Therefore, we propose that brand love can attenuate the negative influence of digitalization on website evaluations for a modern brand. As such, H2: For a modern luxury brand, high (vs. low) brand love will increase (vs. decrease) website evaluations. No such relationship exists for a traditional luxury brand. Study 1 One hundred and forty-six French participants were recruited on social media (Mage = 28; 71.9% female) to participate in a survey conducted in French about luxury brands. Participants were randomly assigned to one of four conditions in a 2 (Luxury brand: modern vs. traditional) x 2 (Social media page: shown vs. not) between-subjects experimental design. After viewing the website for either the brand identified during the pretests as traditional (Hermes) or modern (Celine), participants in the “social media page: shown” condition viewed the target brand’s Instagram page. Participants in “social media page: not shown” condition immediately proceeded to the study questionnaire. Following this, all participants responded to the questionnaire measuring the dependent variable, Website evaluations, on a 3-item 7-point scale (“How would you rate this website on the following features: design, navigation, and professionalism”, 1 - very negative and 7 - very positive; α = .94; Constantinides, 2004). Next, participants responded to two covariates, including two 7-point Likert-type items to capture Luxury brand knowledge (e.g., “I know more about luxury brands than most other people”; r = .96; p < .001; Mueller, Francis, & Lockshin, 2008), and one item measuring Luxury shopping habits (“How often do you buy luxury goods?”, 1 - more than once a month and 7 - never). Social media usage, as it pertains to this study in particular, was measured as a covariate on a one-item scale (“How often do you use social media?”, 1 - several times a day, 4 - at least once per month). Lastly, demographics were captured. An ANCOVA with the Luxury brand (0 - traditional brand, 1 - modern brand) and the Social media page (0 - not shown, 1 - shown) as the independent variables, Luxury brand knowledge, Luxury shopping habits, and Social media usage as covariates, and Website evaluations as the dependent variable yielded a significant 2-way interaction (F(1, 144) = 3.91; p = .05), driven by main effects of Luxury shopping habits (F(1, 144) = 5.28; p = .02) and Social media usage (F(1, 144) = 6.75; p = .01). The means revealed directional support that the traditional brand website was evaluated more favorably (M = 5.59) than that of the modern luxury brand (M = 5.38). Planned contrasts revealed that for those who saw the social media page, the Website evaluations were higher for the traditional brand (M = 5.56, SD = 1.48) than the modern brand (M = 5.10, SD = 1.88; F(1, 144) = 1.76; p = .06). For those who did not see the social media page, Website evaluations did not differ for the modern (M = 5.68, SD = 1.52) or traditional luxury brand (M = 5.63, SD = 1.53; F(1, 144) < 1). Moreover, for the traditional brand, the social media page did not influence Website evaluations (M = 5.56, SD = 1.48 vs. M = 5.63, SD = 1.53 for shown vs. not shown; F(1, 144) < 1). On the other hand, for the modern brand, Website evaluations were lower for those who saw the social media page (M = 5.10, SD = 1.88) versus did not see the social media page (M = 5.68, SD = 1.52 F(1, 144) = 2.61; p = .02). Thus, the modern brand was more influenced by digital strategies than the traditional brand, such that for the traditional brand, viewing the social media page did not influence the website evaluations. In contrast, viewing the Instagram page of the modern luxury brand had a negative influence on luxury website evaluations. The modern brand website, specifically, was viewed as less aesthetically pleasing, and less professional, after viewing the brand’s Instagram page. We speculate that this is because the luxury brand was seen as less rare, and special, after viewing its social media page, and these negative associations affected downstream consumer judgments when evaluating the brand website. Study 2 To formally test hypothesis two, European consumers speaking English were recruited via social media to participate in a study on luxury brands. An experiment using a 2 (Luxury brand: modern vs. traditional) x (Brand love, continuous) between-subjects design was undertaken. The Luxury brand variable was manipulated by exposing participants (N=128; Mage = 21; 60% female; 63% German) to one of the two brands recognized as either more modern (Chanel) or more traditional (Hermes). The dependent variable, Website evaluations, was measured as in study 1 (α = .77). Participants also responded to two 7-point Likert items measuring Brand love (e.g., “I love the brand whose website I just visited”; r = .75; p < .001; Bagozzi, Batra, and Ahuvia, 2014), and two covariates of Luxury brand knowledge (r = .9; p < .001) and Luxury shopping habits. Lastly, demographics were captured. A regression using PROCESS Model 1 with the Luxury brand (0 – traditional brand, 1 – modern brand) and mean-centered Brand love as the independent variables, Luxury brand knowledge and Luxury shopping habits as covariates, and Website evaluations as the dependent variable yielded a significant 2-way interaction (β = .38; t = 1.82; p = .07) driven by a main effect of the Luxury brand, so that the website of the traditional brand was evaluated more favorably (M = 5.85) than that of the modern brand (M = 4.88; β = - .98; t = -3.13; p = .002). Planned contrasts revealed that when Brand love was low, Website evaluations were greater for the traditional brand (M = 5.84) than the modern brand (M = 4.28; β = -1.56; t = -3.86; p = .0002). However, there was no difference in Website evaluations when Brand love was high (M = 5.87 vs. M = 5.47 for traditional vs. modern, respectively; β = -.40; t = -.82; p > .4). Moreover, for the traditional brand, Brand love did not influence Website evaluations (M = 5.85 vs. M = 5.87 for low vs. high brand love; β = .01; t = .08; p >.9). On the other hand, for the modern brand, Brand love had a positive impact on Website evaluations, such that evaluations were higher when Brand love was higher (M = 5.47) versus lower (M = 4.28; β = .39; t = 2.40; p = .018). Thus, luxury brand websites emanating from traditional brands are more widely accepted than those from modern brands. Additionally, these results support hypothesis two that brand love attenuates lower website evaluations for the modern luxury brand while not influential of evaluation of the luxury brand website for traditional brands. Important for the modern luxury brand, brand love should be high for brands pursuing digital strategies. Conclusion In sum, the findings from the two experiments indicate that digital techniques employed by traditional luxury brands are more widely accepted than those of modern brands. Specifically, the findings reveal that while social media pages can detract from the evaluations of the modern luxury site, they do not influence the evaluations of the traditional luxury site (study 1). Given that one of the benefits of luxury brands’ sharing of content in a digital environment involves facilitating brand love, it is imperative for modern luxury brands to garner high brand love. After all, brand love increases site evaluations for modern luxury brands (study 2). Using appropriate brand identity interface to communicate brand identity to the brand contacts is important in building brand equity (Madhavaram et al., 2005), especially in the domain of luxury brands, where brand equities amount to billions of dollars (Quach and Thaicon, 2017). Therefore, understanding how best to use digital interfaces is paramount to luxury brand strategy.

Digital technological development has created different new possibilities. New products and services are developed to cater the needs and wants of these digital consumers (or digital natives). It has also changed the means of marketing communications. Social media has become an integral part of many people’s lives, thus social media marketing is found in the marketing strategy of every brand. Western social media platforms like Facebook, YouTube, Twitter and so on are banned in China. In their places, Weibo, WeChat, Youku and more are the main social media channels in China and thus the main battlefields of social marketing for brands entering China Market. WeChat is the largest social network in China, with over 900 million users daily. Chinese users spend an average of over 70 minutes a day using WeChat, for nearly all types of services, including booking flights, restaurant table reservation, shopping, paying bills, hailing taxi, transferring money, and posting Moments on their walls, etc. Not only that, WeChat allows companies and celebrities to create official accounts to generate content for promotional purposes. Moreover, WeChat allows one-to-one personalized interaction between brands and the users. To cater the needs of the new generation of Chinese digital natives, a mobile app eM++ was developed that creates new customer services and enables tailored fashion marketing. The eM++ app has three components. The first core component is 1Measure, which users can obtain their body measurements by skimpily taking two photographs of themselves in normal clothing anywhere and anytime. Without the involvement of expensive equipment, users can enjoy similar benefit of body scanning but more flexibility and convenience, they not only instantly receive their measurements but also have their digital body model and a shape analysis report. Based on this information, the second component of the app eShop allow users to shop fashion items currently available in different online fashion stores like ASOS, Zara, and H & M, etc. In eShop, users are suggested the right sizes to order for different fashion items, based on their measurements and shape information, and also mix-and-match recommendations. The last component is eTailor, where users can order clothing like suit jackets, pants and shirts that tailored made for them, but save the need to take body measurements in a physical store. This new digital service will first be launched in China as there is high demand on Made-to-Measure fashion and marketing through WeChat social media platform. This paper will discuss how to market this new digital service using social media like WeChat in China and consumers’ reactions to this new business model in this digital world.

In this research, we investigate the dynamics of one market cycle of Indian art through its various phases of development from early growth to peak and then through a decline. Using the entire online market data for Modern Indian art, we examine how the internal dynamics of the price formation process during auctions changed during the course of this market’s evolution. Our results show that the structure of the price formation process varies systematically over the course of the cycle and the impact of the brand (artist), the product (painting), market information (pre-auction estimates), demand (competition), and consumer (bidder) characteristics changed across the stages of market evolution. Specifically, the revenue, price per square inch, and the number of lots sold (items) from established artists closely followed the overall trend in the market. On the other hand, the number of lots and revenue from emerging artists had a minimal increase during the growth phase of the market. However, these artists maintained their value even when the market was declining. Furthermore, 80% of the lots by established artists beat the preauction estimates during the growth period, compared to only 40% for emerging artists. In contrast, during the decline stage, more lots from emerging artists (8%) beat the preauction estimates than lots from established artists (2%). We also find that bidders entered the auction much earlier during the growth phase of the market than during the maturity and decline stages. These findings have implications for multiple stakeholders in the online art auction market including, sellers, buyers, artists, and auction houses.

Digital and social media has become an indispensable channel of promotion and marketing to the enterprises. For example, compared to other means of promotional channels, such as television advertising, newspapers, social network services (SNS) are more competitive, more convenient, and lower-cost. Because individuals compose or share those posts anytime, anywhere, information spreads fast and wide on social media. SNS posts can affect people's perception, thus affecting their purchase intention and behavior. A large number of researchers investigated academic issues involved SNS, such as the influence of eWOM in social media on consumers' purchase intentions (Erkan & Evans, 2016). According to Lin and Lu’s research (2011), which suggests that gender difference also exists in social media. In addition, a study identified attributes of social media messaging activities and examined the relationships among those perceived activities, value equity, relationship equity, brand equity, customer equity, and purchase intention through a structural equation model (Kim & Ko, 2012). In this study, we focus on the motivational antecedents of digital buzz on digital and social media. Among many performance metrics of digital marketing, the most important one that really matters to advertisers is click-through. Click-through is believed to reflect viewers’ interest in the product contents that are being shown on screen, and based on that assumption, it opens a new navigation tab, such as the advertiser’s web site that can provide information about products and services of an advertising company. However, there is a caveat here. Since advertisements in digital and social media are often placed on top of the contents that the viewers have already been reading, viewers can accidentally click on the internet advertisements in which they have no interests. Viewers are only annoyed by intrusive re-routing during their digital activities. Hence, it is important that the digital media marketer to be able to distinguish between the click-throughs, knowing the difference between the clicks that are genuinely reflective of a viewer’s interest, or the rest of clicks that are not. For this purpose, we propose consumer curiosity and anticipation as drivers of click-through that are meaningful to digital markers. Consumer curiosity is an important variable that results in click-through behavior, digital propagation or buzz, and further stimulates consumers' consumption activities. In recent years, there are many studies to verify this theory. Online atmospherics have an impact on customer emotions, and perceptual curiosity has a moderating effect existed in the two variables (Koo & Ju, 2010). However, the research about curiosity’s mediation effect on purchase intention aroused by SNS contents is still limited. In addition, the neural research in this field is still limited. The research seeks to understand how the SNS contents affect customer’s curiosity toward the product which the content mentioned. Furthermore, to find the relationship between curiosity and the purchase intention by using neuromarketing methodology. Our goal is to discover the neural signatures of consumers’ motivational state that leads to click-through, exploration of contents, and finally digital buzz behavior. EEG and fMRI are commonly research approaches used in the neuroscience field. EEG detect electric activities in the brain waves and fMRI measures hemodynamic events to discover individuals’ cognitive and motivational states. After content-analyzing top 10 most shared posts in the fashion brands Facebook official account which included luxury brands such as GUCCI, Luis Vuitton, and Hermès), we extract the attractive posts’ content attributes to be the level of accuracy, graphic quality, and information value. Then, we create two different simulations of social media activities that instigates viewer curiosity at differing levels. By designing an online experiment that examines how different arrays of information can create different levels viewer curiosity in user posts, and by measuring viewers’ intention to propagate the posts, we are able to discover neural signatures of digital buzz. Potential implications to digital marketing of this research in establishing meaningful performance metrics for digital marketing are discussed.

In the U.S. restaurant industry where businesses struggle for survival, differentiation is considered key for success. However, there is limited research on measuring how unique or exotic a specific restaurant cuisine is perceived, since such perceptions vary by markets. In this paper, authors utilize digital geolocation history from social media records of restaurant visits across 40 types of restaurants in Chicago and San Francisco, and a two parameter Item Response Theory model to identify a) restaurants that are unique and considered more or less “difficult” to get to, and b) visitors who have more or less diverse palates. Further, palate diversity is explained by user demographics, restaurant selection criterion and behavior. Managerial implications and limitations are discussed.

The ride quality (i.e. smoothness) is a key factor for evaluating the construction quality of expressway asphalt pavement. Conventionally, three paving devices are widely used to control the surface layer thickness: leveling sensor (i.e. LS), short-range-surfacing-contact-ski (i.e. SSCS) and long-range-surfacing-contact-ski (i.e. LSCS). However, each of these levelling tools presents one major drawback. In the case of LS, if the original sub-layer evenness is poor, the final asphalt pavement surface and its smoothness will be negatively affected. The SSCS cannot assure satisfactory smoothness when relatively long paving section (in the order of 10 km) are paved. While the LSCS would reduce the drawback of the SSCS, its weight on the one hand and its length on the other discourage its use in the paving site especially for curved sections. In this paper, a next generation pavement smoothness leveling equipment, known as non-contact-digital-ski (i.e. NCDS) was implemented, evaluated and compared to the conventional equipment leveling device. The international Roughness Index (IRI m/km) was measured on sections paved with and without NCDS and the results visually and statistically compared. In addition, for the same sections, the modulus of the pavement layers was computed and compared by means of Falling Weight Deflectometer (i.e. FWD). It was observed that when NCDS is used for asphalt pavement overlay of existing concrete pavement, significant improvement in IRI (i.e. IRI<1.0m/km) and consistently uniform elastic modulus could be achieved compared to the conventional levelling and paving method.

목적: 본 연구는 프리즘이 가해짐에 따라 변화된 눈의 영상을 디지털 카메라를 사용하여 분석하고, 융합 예비량을 타각적으로 측정하는 방법을 조사하여 기존 자각식 측정법과의 유의성을 평가하고자 하였다. 방법: 20세 이상 교정시력 1.0 이상인 남녀 30명(평균연령 23.77±1.52세)을 대상으로 원거리(3m) 및 근 거리(40cm)에서 프리즘 바를 이용한 스텝버전스법으로 음성융합버전스와 양성융합버전스를 각각 3회 측정 하였다. 그리고 캐논 6D DSLR 카메라와 100mm macro 렌즈를 사용하여 융합예비량 측정 시 프리즘 단계 별로 촬영하였으며, 동시에 자각적으로 분리점, 회복점을 보고 받아 기록하였다. 마지막으로 프리즘 단계별 사진의 동공 간 거리를 측정하여 그래프로 나타내고 자각적 측정값의 보고 지점과 대조하여 유의성을 확인 하였다. 결과: 사진으로 촬영 후 측정한 동공 간 거리 변화 그래프가 음성융합버전스 측정의 경우 동공 간 거리가 일정하게 증가 또는 감소 하다가 분리점과 회복점으로 보고한 지점에서 그래프 기울기 변화가 나타났고, 양 성융합버전스 측정의 경우 동공 간 거리가 일정하게 감소 또는 증가 하다가 분리점과 회복점으로 보고한 지 점에서 그래프 기울기 변화가 나타났다. 기울기의 변화가 나타난 지점을 타각적 측정값으로 결정하고 자각 적 측정 지점과 비교한 결과, 측정값 평균은 원거리 음성융합버전스 분리점의 경우 타각식 12.63±5.48⊿, 자각식 11.41±3.88⊿, 회복점은 타각식 9.15±4.12⊿, 자각식 8.11±3.47⊿, 근거리 음성융합버전스 분리점의 경우 타각식 16.74±4.01⊿, 자각식 15.93±4.66⊿, 회복점은 타각식 12.55±3.43⊿, 자각식 11.91±3.90⊿ 이었다. 원거리 양성융합버전스 분리점은 타각식 18.52±4.84⊿, 자각식 18.58±5.73⊿, 회복점은 타각식 13.36±3.89⊿, 자각식 13.17±4.34⊿, 근거리 양성융합버전스 분리점은 타각식 22.85±6.33⊿, 자각식 22.96±6.21⊿, 회복점은 타각식 17.13±4.61⊿, 자각식 17.48±5.37⊿이었으며, 통계적으로 유의한 차이가 없었다(p > 0.05). 결론: 디지털 카메라를 이용하여 측정한 타각적 측정값과 프리즘 바를 이용한 자각적 측정값이 통계적으 로 유의한 차이가 없는 것으로 보아 디지털 카메라를 이용한 타각적 측정법이 자각식으로 검사를 할 수 없는 유아나 장애인의 융합예비량 측정에 유용할 것으로 생각된다.

인터넷 사용 미술은 현대미술에서 개방적 공동체를 구현할 수 있는 잠재력을 지닌다. 그것 은 네트워크의 개인과 공동체를 공존 가능하게 하는 매체적 특성에 따른 것으로 열린 공동체는 장-뤽 낭시의 무위의 공동체 개념으로 고찰될 수 있다. 이는 네트워크를 통한 열린 공동체가 무 위의 공동체와 열린 형태로 유사하기 때문이다. 락스 미디어 컬렉티브의 <오퍼스>는 디지털 공 유지를 통해 열린 공동체를 추구한다. <오퍼스>는 참여를 원하는 이들이 가능한 참여할 수 있게 하는 온라인 공공 창작 플랫폼으로 이를 위해 자유소프트웨어의 공유와 협업의 방법을 이용한 다. 그러나 <오퍼스>는 미디어 기술지식 등의 문제로 인해 열린 디지털 공유지가 되는데 한계를 가진다. 그럼에도 <오퍼스>는 열린 공동체에의 가능성을 통해 공존, 개방, 포용을 보여준다.

With the advent of the fourth industrial revolution, the digital transformation craze has intensified in diverse industries, such as finance, automotive, health care and agriculture. However, relative to industry demand, there is only few domestic research on digital transformation of small traders and no one has implemented empirical study on this field at all. Thus, the study conducted an empirical study to measure the digital transformation intention of domestic small traders. In the early days of domestic business start-ups, we searched for factors affecting the digital conversion intention of small business owners and designed an integrated framework to explain the causal relationship between factors. This study not only expanded and refined the scope of related research but also suggested the direction of another research that was not presented in previous research. However, there are limitations in many ways as much as the initial stage of a specific field of small business owners. There are limitations in explaining the overall perception of Korean small business owners. Therefore, in future studies, it is necessary to study more deeply by presenting more specific and various variables. In addition, although the number of respondents was sufficient in the process of empirical analysis, it is considered that the respondents are not enough to universalize the research result as a traditional small business person who did not convert all digital. It is necessary to carry out a comparative analysis by dividing the two groups in more detail and more specifically in the future study. The result of this study can suggest the direction for accelerating small traders’ digital transformation intention in terms of practical view, and provide useful references which can support the theoretical foundation for researchers who will perform future related research in terms of academic view.

Media contents on historical sources rising in popularity make the people have an interest in the historically themed video games. Historically themed video games are studied from practical point of view, just like edutainment, but studies as an entertainment aren't enough. Historically themed video games have lots of advantage, historical fact telling, fictitious entertainment and easy accessibility. There is a need for broad vision to merit of historically themed video games. In this study, we present new analysis tool which is consisted with three axis, time, connection and reality for historical simulation video game. Example games are investigated on entertainment, development, education side with this tool.

In th process of the way music service changing from download to streaming with the improvement of internet technology, digital sound transmission was regulated as a sub-concept of public transmission that is separated with transmission and broadcasting through copyright law revision in 2006. While the scale of digital sound transmission copyrights collecting is steadliy increasing the rate of its settlement distribution is not, as it is applied to the field of bankground music in shop service way of internet streaming. The purpose of this thesis is to examine the reason why the rate of digital sound transmission settlement distribution is not increasing in the same league as the increasing rate of its copyrights collecting and to propose an improvement for the rate of increasing its settlement distribution.

Ceramic ink-jet printing has become a widespread technology in ceramic tile and ceramicware industries, due to its capability of manufacturing products on demand with various designs. Generally, thermally stable ceramic inks of digital primary colors(cyan, magenta, yellow, black) are required for ink-jet printing of full color image on ceramic tile. Here, we synthesized an aqueous glass-ceramic ink, which is free of Volatile organic compound(VOC) evolution, and investigated its inkjet printability. CoAl2O4 inorganic pigment and glass frit were dispersed in aqueous solution, and rheological behavior was optimized. The formulated glass-ceramic ink was suitably jetted as single sphere-shaped droplets without satellite drops. After ink-jet printing and firing processes, the printed glass-ceramic ink pattern on glazed ceramic tile was stably maintained without ink spreading phenomena and showed an improved scratch resistance.

Fashion and apparel industry is facing difficult challenges due to several factors such as technology development, environmental changes, inherent characteristics of fashion industry itself, fast changing demands, supply chain, and consumer’s expectation of seamless purchase process. Consumers have the power in that fashion retailers need to provide variety and new products, to build brand loyalty, to provide corporate responsibility and sustainability, and to develop inventory intelligence (Beswick 2016). That said, enhanced efficiencies in those will grant fashion retailers and firms with sustainable competitive advantages. Such efficiencies are often based on digital technology development, creating a new trend. In this study, we examine and compare three big trends in the fashion industry along with an advance of technology in digital marketing. First, Ritzer (1993) observed a process by which the four principles of the fast-food restaurant began to increasingly dominate several aspects of American society. The four principles are efficiency, calculability, predictability, and control, based on the observation of McDonald’s daily operation. He labeled this process and phenomenon as McDonaldization. In other words, any society or subsectors of society can be very successful with the four principles of McDonaldization, including the fashion industry. Second, in addition to McDonaldization, Netflix added one more, yet an extremely important aspect of such operation, that is personalized suggestions. Personalization becomes essential for most services and even for lots of products (personalized T-shirts, bags, etc.). Based on customers’ history of what they had watched, Netflix provides personalized suggestions of next movies, dramas, or episodes. More importantly, instead of physical DVD, Netflix provides online streaming services with personalized suggestions. Thus, an online order system with personalized suggestions for clothes would be an important aspect of fashion industry and retailers, which can be called as Netflixization. Lastly, from the case of Stitch Fix, we’d like to propose a new concept, that is, Netflix of fashion. Stitch Fix is an interesting firm in the fashion industry. The firm uses customized stylists for each customer based on the responses from style quiz. Thus, it focuses on personalization of what customers really want and need in terms of occasions and preferences. Second, it delivers, by mail, five clothes to customers so that customers can choose one or more from the five clothes or choose nothing. By doing this, the firm provides not only convenience, but also choice options for customers. Third, the firm guarantees customer satisfaction with an easy return policy. A more important thing is the fact that the firm can accumulate intelligence based on the customers’ feedbacks of why customers did not like the suggest clothes and decided to return. Thus, the firm can build a “Big data” for better understanding of customer’s needs and wants. In other words, the firm develops a new concept of “your fix.” I would label the whole process of Stitch Fix as Stitchfixization. In sum, any fashion industry and retailer that adopts the concept of Stitchfixization of efficiency, calculability, predictability, control, personalization, feedback, convenience, and intelligence building, would be well accepted by current tough customers throughout the world.

As a contemporary, postmodern marketing strategy, digital storytelling is the virtual means by which a story can be organized. Less traditional than a conventional beginning, middle, and end narrative, the genre suggests that individuals connect the dots of a story by comparing their reading with others. This research examines Christian Dior’s Secret Garden IV campaign film as it is broadcasted on YouTube for six weeks and diffused through Instagram. Through a grounded theory approach we measure and analyze audience engagement and key themes expressed through user-generated content on YouTube and Instagram. Manual coding and three computer-aided text analysis programs are used to analyze the data and triangulate results. This research contributes to the literature on consumer engagement in digital storytelling, online brand communities, and celebrity endorsement. Introduction Digital technologies have improved the aesthetics of content creation, enabling brands to develop deeper levels of engagement with consumers through social channels (Merrilees, 2016). Every day hundreds of millions of hours of video are consumed on YouTube and the number of high performing channels has been increasing by 50% per year (YouTube, 2017). Instagram’s monthly active users have grown from 300 million in December 2014 to 600 million in December 2016 (Statista, 2017). Within the social media sphere, commercial and individual users connect through multiple platforms and devices to share ideas and information without the constraint of time and space (Gruzd & Wellman, 2014). The digitization of visual culture provides users with so much content that it may even result in information overload (Babin et al., 2017). This research focuses on the fashion sector and social media platforms that cater specifically to visual imagery and video content. The logic is twofold: the fashion industry is inherently visual and research on a study of eighty-three fashion brands indicates a shift from traditional advertising to video products, especially on social media (L2 Inc., 2016). We examine elements of French luxury goods company, Christian Dior’s Secret Garden omni-channel marketing campaign. As a collection of short films shown on YouTube and in other media, the campaign had four annual installments beginning in 2012. The Secret Garden series explores the brand’s past and present within the context of the 21st century Palace of Versailles. Our focus is on Secret Garden IV, launched in May 2015, featuring singer/songwriter Rihanna as the protagonist. Dior’s portrayal of Versailles throughout the Secret Garden series reflects undertones of its monarchial heritage and its high fashion prestige. In Secret Garden IV, there is a juxtaposition to this theme when Rihanna’s subculture persona and celebrity status (Fleetwood, 2012) presents a misalignment between luxury ideals and Rihanna’s position in popular culture. Table 1 provides an overview of the history of the campaign. This research measures and analyzes audience engagement and key themes expressed through users’ comments on YouTube and Instagram for the pre-launch and launch of the Secret Garden IV campaign. Through a grounded theory approach we identify, analyze, and validate keywords and group them into themes utilizing both manual coding and computer-aided text analysis (Lai & To, 2015). We utilize three software programs (Tableau, NVivo 11, and Leximancer) to triangulate results. The scholarly literature on fashion luxury goods is scant and this methodological approach is sound (Neuendorf, 2017). Five recent scholarly articles on luxury fashion goods and social media were identified. One relates to storytelling and is visually-focused (Megehee & Spake, 2012); three develop models (Kim & Ko, 2010; Kim & Ko, 2012; Brogi et al., 2013); and one uses the case study approach (Phan et al., 2011). This research fills both a theoretical and a methodological gap. We examine a digital storytelling campaign across social media platforms with the prospect of new theoretical insights. According to Snelson (2016) there is scant social media research on YouTube and Instagram and social media research using a grounded theory approach is also limited. Theoretical background Digital Storytelling Digital storytelling uses technology as an extension of oral and written stories “…to solidify our cultures and share knowledge for the future” (Irwin, 2014, p. 40), placing engagement with digital media as an extension of the self. People naturally think in narratives and stories, rather than arguments and paradigms (Megehee & Spake, 2012) and may use digital storytelling to order otherwise disconnected experiences into interrelated, meaningful episodes (Vannini, 2012). By connecting the dots of a story on social media users have the opportunity to formulate meanings of their own and build interpretations by comparing their “reading” with that of others. Social media has empowered the consumer by enabling communication that is multi-way, multi-directional, and led by the consumer (Tuten & Solomon, 2015). The fashion film on the internet has been viewed as “a genre that is not is not simply a tool to stimulate consumption, but is something that is set to change our notion of fashion as a moment in time” (Khan, 2012, p. 236). In her review, “100 Years of the Fashion Film,” Marketa Uhlirova posits that contemporary technologies aimed at a film’s “potential to promote fashion” turned into “the medium’s ability to recast consumption as seductive visual entertainment,” devaluing a fashion film’s potential for not only entertainment and visual pleasure, but also for experimentation and innovation (Uhlirova, 2013, p. 140; p. 153). Online Brand Communities As a hub of value creation in the consumer marketplace, brand communities are an enthusiastic, passionate group of customers who express similar commitment towards a brand or product and may not be geographically bound (Muniz Jr. & O’Guinn, 2001; McAlexander et al., 2002). In brand communities created by marketers, organizations may stimulate engagement, brand loyalty and the expression of positive emotions and trust (Bagozzi & Dholakia, 2006; Jung et al., 2014). Customer engagement behaviour pertains to a variety of online and offline behaviours (e.g. word of mouth, blogging, customer reviews) that are not transactional, but can be measured (Verhoef et al., 2010). Although positive word of mouth and brand advocacy are not guaranteed, an organization’s most engaged social customers have the potential to communicate messages that are perceived as more credible than those generated by the organization (Kozinets et al., 2010). A high level of engagement may be described as delight or joy. Engagement requires strong emotional and relational bonds (commitment and trust), and may transform customers into loyal “fans” or co-creators of value (Hawkins & Davis, 2012). A study of customer engagement behaviour in a social media environment is complex because engagement behaviour in different channels may vary considerably, with a different effect on value creation or purchase intent. For example, if a customer tweets on a mobile device his/her engagement and purchase intent may differ from engagement and purchase intent as a result of interaction with a video or blog (Libai et al., 2010). Celebrity Endorsement A celebrity endorsement is defined as “an agreement between an individual who enjoys public recognition (a celebrity) and an entity (e.g., a brand) to use the celebrity for the purpose of promoting the entity” (Bergkvist & Zhou, 2016). Celebrity endorsements previously were associated primarily with consumer goods and services advertised through traditional media, such as print and television. More recently, these endorsements encompass any mode of communication as well as business-to-business goods and services. This update is significant considering the addition of advertising on the Internet, in social media, “stealth marketing” on TV talk shows (Kaikati & Kaikati, 2004) and red carpet appearances (Carroll, 2009). Theories related to celebrity persuasion that have application to the fashion industry have examined the way consumers process information from marketing communications and relate it to their self-concept (Carroll, 2009). To the consumer, the celebrity represents a meaning, based on the recognition s/he has received in the symbolic environment and his/her persona. This meaning is transferred to the product when the celebrity is seen in the marketing communication. In the final stage, the meaning moves from the product to the consumer, who transfers the meaning into his/her notion of the self-concept (Carroll, 2009). This transference effect benefits the brand (Tuten & Solomon, 2015) and the consumer who may use products to reveal their self-concept to others (Babin, et al., 2017), especially in high involvement consumption situations (Ahuvia, 2005). Method Sample Instagram and YouTube data were collected using Netlytic (Gruzd, 2016) for the period May 14 – June 24, 2015 for the purpose of capturing data before and after the official release of the film (May 18, 2015). A total of 8,986 records (uncleansed) are in the Instagram (#SecretGarden4 and @Dior) database and 426 records (uncleansed) in the YouTube database. Multiple URLs were used for YouTube because there were four previews, and short and long versions of the film. Procedures The data was cleansed (236 YouTube posts; 6,763 Instagram posts). To measure sentiment and engagement, a text analysis was performed using an adaptation of Dann’s Twitter (2010) classification. Through a grounded theory approach (Lai & To, 2015) key words, concepts and themes were identified and triangulated using Tableau, NVivo 11, and Leximancer software programs. Concluding Remarks As a multi-year campaign, Dior’s Secret Garden was meticulously crafted to project an understanding of Dior’s brand image and to create an air of anticipation for consumers. Within the context of digital storytelling we delve deeply into how the last installment of this campaign resonated with consumers who watched the film on social media and responded to Dior’s Instagram initiatives. Through our mixed methods research approach, we develop theoretical and methodological contributions that benefit academics and fashion marketers.

The virtual reality market is already creating new added value across the industry and it is expected to change the way we live and work. Currently, virtual reality marketing is actively applied to the game industry and marketing methods are diversifying. Moreover, this marketing it will be widely applied in various fields such as medical care, defense, and entertainment in the future. In this paper, we analyze the marketing strategy of virtual reality industry which is expected to grow in the future combined with existing 4P analysis and 4C analysis.