This research paper examines the role of adaptive capability and absorptive capability in the development of digital marketing capability that, in turn, influences the firm performance. The results reveal that both adaptive and absorptive capabilities have a positive influence on digital marketing capability that positively contributes to customer relationship, new product and financial performance of the firm. The adoption of new digital technologies such as smart products, the Internet of Things (IoT), Artificial Intelligence, and machine learning will change markets, competitive landscapes, business models and consumer behaviors, new thinking about marketing capabilities becoming critical to succeed in today complex environment (Day, 2011; Kannan & Li, 2017). To remain competitive and survive, organizations have to develop new marketing capabilities to harness the potential of these technologies in supporting marketing functions and processes (Trainor, Rapp, Beitelspacher & Schillewaert, 2011). Despite the rapid diffusion of digital technologies in business practice, only few previous researches was focused on theoretical and empirical aspects of marketing capabilities needed in digital-empowered environment. To fill this knowledge gap, we develop the digital marketing capability construct, and explore its antecedents and consequences on performance.

Marketing academics and practitioners have discerned the evolution in the prominence of digital, social media and mobile marketing based on technological innovations. Digital marketing has evolved over time from a specific marketing of products and services using digital channels to activities, institutions and processes facilitated by digital technologies. From an inclusive perspective, digital marketing refers to an adaptive, technology-enabled process by which firms collaborate with customers and partners to jointly create, communicate, deliver and sustain value for all stakeholders. Digital technologies allow the new adaptive process, institution and processes in marketing communication. The adaptive process creates value in new ways in new digital environments. Institutions build foundational capabilities to create such value jointly for their customers and for themselves. Processes create value through new customer experiences and through interactions among customers. The purpose of the assessment is to establish the current status of research evaluating digital marketing communication and to show how digital technology has shaped marketing communication evaluations. This study provides a broad disciplinary review of key cited works in digital marketing communication research and examines the effectiveness of various evaluation approaches, including new directions designed to capture meaningful insights and marketing communication value in digital marketing communication.

Although researchers have explored mobile commerce (e.g. Ngai & Gunasekaran, 2007), literature on diffusion and adoption of digital innovations lacks an investigation of late adoption and possible solutions to avoid late adoption. This study applies fsQCA and proposes that disparate configurations of causal factors (resistance to innovation, skepticism, traditional mindset, perceived risk, and product simplicity) are equifinal to predict the negation of late adoption of mobile taxi app [mytaxi]. The first path suggests that lower perceived risk and lower resistance to innovation result in the negation of late adoption of the mobile application my taxi. The second and third configurations show that low level of perceived risk with low level of skepticism or low level of perceived risk with low level of traditional mindset also result in negation of late adoption. These three paths are aligned with existing literature, which presents resistance to innovation, skepticism and traditional mindset as characteristics of late adopters (Jahanmir and Lages, 2016; Laukkanen, 2016; Moore, 2014). Finally, low level of resistance to innovation with low level of traditional mindset, low level of skepticism, and low level of perceived product simplicity also lead to the negation of late adoption. This finding is also in line with prior research regarding late adopters’ preference for simple product (Jahanmir and Lages, 2016). The study also presents managerial implications. Results show that in order to avoid late adoption, firms should primarily focus on lowering consumers’ perceived risk as well as their resistance toward their digital innovations. Shifting consumers’ focus from risk to utility and performance of the digitized products is one way of lowering their resistance and increasing the rate of adoption.

Internet represents an increasingly relevant marketing channel for reaching foreign countries (Sinkovics, Sinkovics, & Jean, 2013). The aim of this paper is to understand how Western firms can exploit digital platforms to enter and sell their products in the contradictory market of China: more advanced than the Western one but also with many restrictions. Drawing from a literature about Internet as communications (Bilby, Reid, & Brennan, 2016) and sales channel (Bai, McColl, & Moore, 2017; Deng & Wang, 2016; Petersen, Welch, & Liesch, 2002), we develop three propositions to be tested in China. We carry out a qualitative research based on interviews with seven key informants operating in the Chinese market. Findings discuss the peculiarities of the Chinese digital environment. We confirm that dealing with Internet in China is different from other countries, therefore even if companies already have competences related to web marketing, they need to (re)learn how to use it and adapt their marketing strategies. Moreover, despite the growing role of the Internet as retailing channel in the Chinese market, we find that digital platforms do not substitute local distributors because of their primary in guanxi established. Internet has not substituted existing channel intermediaries but it has been rather added to them in a omnichannel strategy

This paper builds on issues that surround the interface between entrepreneurial and digital marketing. In particular, it proposes a conceptual framework that relates digital market knowledge, market representation and decision making in the context of entrepreneurial SMEs. Thus, the paper contributes to the understanding of how entrepreneurs deal with digital market knowledge, and how such knowledge contributes to changes in representing markets and decision making. A growing awareness of the importance of entrepreneurship and innovation to marketing, and of marketing to successful entrepreneurship, has led to attempts to combine the two disciplines as “entrepreneurial marketing”. Scholars debate on the role of marketing in the entrepreneurial process (Schindehutte et al., 2009), and consider the marketing content of the entrepreneurial role (Guercini, 2012). It is argued that entrepreneurial marketing emphasizes the adaptation of marketing to forms that are appropriate to small and medium‐sized enterprises (SMEs), even if entrepreneurial relates more in general to the marketing-entrepreneurship interface and the idea that marketing and entrepreneurship are fundamentally intertwined and necessary to the other. Marketing and the entrepreneurship take place in a context in which information technologies, data communication and data processing technologies are tools to manipulate, organize, transmit, and store information in digital form. More specifically, one of the major changes undergone by traditional marketing is determined by the emergence of digital marketing, which provides several tools and metrics, such as web analytics, for decision makers. However, it is yet not sufficiently clear how entrepreneurs deal with this type of knowledge emerging in a digital context, and how they use it in their decision making. The paper proposes a cross-case analysis based on in-depth interviews with entrepreneurs from SMEs in the fashion industry, a relevant empirical context that has experienced, before others, the implementation of digital marketing strategies. The analysis suggests the existence of different entrepreneurial profiles based on the approach adopted in dealing with digital market knowledge, as well as the existence of different types of relationships between entrepreneurs and digital market knowledge and alternative consequences in terms of decision-making processes.

The young generation that was born in the digital age grew up with digital technologies; they listen to music online on web sites like YouTube, which provides access to music by artists from all over the world. We conducted a functional near-infrared spectroscopy (fNIRS) experiment with fifty-six young adults. The human brain generates electrical waves as long as it lives. Since the dynamic nature of brain rhythm is at work in all kinds of human brain function, neuroscientists have used brain rhythm to understand brain function. Since the work of Gerstein and Mandelbrot (1964), many attempts have been made to use random-walk analyses to account for brain responses like the spiking of neurons, cell migration, and motor variability. Like any other biological system, the brain pursues functional efficiency at all levels of operation—in the brain’s case, from the neuronal cell level to the neural network level. Before one can determine the presence of a periodic rhythm versus a random state in brain activation, one must determine whether external stimuli can shape the brain’s modulation pattern. Brain-wave patterns are affected by whether the neural circuit that governs a particular set of brain functions reaches a significant level of activation. The bottom-up processing of external stimuli can be affected by top-down processing; in other words, the execution of higher-order cognitive attention can affect the degree of randomness in the bottom-up processing of external sensory inputs like that of music. Unlike EEG signals, the rhythms of hemodynamic signals are not commonly calculated, possibly because hemodynamic signals are sluggish. The random-walk test on neural time series has been applied only recently to magnetoencephalography (MEG) data (Kipiński, König, Sielużycki, & Kordecki, 2011), and it has rarely been applied to hemodynamic signals measured with magnetic resonance imaging (MRI) or near-infrared spectroscopy (NIRS). However, since hemodynamic responses are the result of neurovascular coupling—a dynamic event among the brain’s neurons, glias, and vasculatures—it is possible to calculate the degree of randomness of hemodynamic signals as surrogates for neuronal activity. While brain activities are inherently random and noisy in their natural state, when the brain rhythm is modified by music that provides appropriate levels of sensory stimulation, the brain’s signals will begin to reflect the music’s rhythms. This reflection is called “attunement.” The effect of sensori-neural stimulation on hemodynamic responses measured by fNIRS has been reported in neuroscience research that found that auditory stimulation and music elevated the concentrations of oxygenated hemoglobin (HbO2) and total hemoglobin (HbT) in blood flow to certain regions of the brain (Hoshi & Tamura, 1993; Kotilahti et al., 2010; Sakatani, Chen, Lichty, Zuo, & Wang, 1999). However, studies have shown decreases (increases) in children’s (adults’) prefrontal cerebral volume after they play computer games. For example, one study suggested that the level of attention may modulate the directional changes in HbO2 and HbT concentrations (Nagamitsu, Nagano, Yamashita, Takashima, & Matsuishi, 2006). The brains of children who find that a game lacks adequate levels of perceptual stimulation do not require an additional supply of oxygen, but adults who find playing the same game a cognitive challenge require more effort to perform the same task, so they require elevated levels of oxygen in their brains (Ferreri et al., 2014). According to musical theorists, when the brain is entrained, the attention follows the music (London, 2012). When members of the digital generation listen to music, the perceptual stimulation level is likely to related to the degree of randomness in brain responses as well as the quality of the sensory experience. Drawing on the literature review, we predict that TBF is higher for a stimulus that is above OSL than the TBF for a counterpart stimulus that is below OSL. We also predict that the hemodynamic rhythm of related brain regions to music that is above OSL adopts a regular predictable pattern. Hence, we propose the following research hypotheses: H1: Digital music that provides acoustic stimulation near the OSL creates brain responses in the form of higher TBF and lower randomness in HbO2 concentrations than does digital music that provides acoustic stimulation that is below the OSL. Functional Near-infrared Spectroscopy The transparency of biological tissue to light in the near-infrared wavelengths makes NIRS possible. NIRS is non-invasive and portable, and it has a cost advantage. The incident near-infrared light from a transmitting optode (source) is scattered through the tissues, and the reflected light is detected by a receiving optode (detector). The amount of the source light that a tissue absorbs depends on the light’s wave length, and the oxygenation status determines the brain’s absorption of the light. The loss of the intensity that is due to the absorption of the photons can be measured in units of optical density (Zaramella et al., 2001). The changes in [oxy-Hb] and [deoxy-Hb] can be calculated according to the modified Beer-Lambert law (Kocsis, Herman, & Eke, 2006) using two wave lengths of near-infrared light—in our case, 780 and 850nm. We used a 12-channel wireless fNIRS system (Biomedical Optics Lab, Korea University) with sampling rates of 8 ~10 Hz to measure the participants’ hemodynamic response while they watched the videos. The system consists of three light sources and five detectors (a 3×7 grid). The fNIRS probe was attached to each subject’s forehead. The detectors of the lowest line were set along the Fp1 and Fp2 electrode line according to the international 10/20 system. Measurements from channels 1, 2, 11, and 12, which contained noise from movements of the subjects’ heads, hair, and sweat, were excluded from further analysis. Neuroscience research has recorded acoustic stimulation in various regions of the brain, including the temporal brains of newborn babies (Hoshi & Tamura, 1993) and the frontal brains of adults (Sakatani et al., 1999). Since infrared light cannot penetrate hair, brain regions that are not covered by hair, such as the prefrontal cortex, are well-suited to an fNIRS study. When a member of the digital generation listens to music online, the motivation is usually enjoyment, so brain activity changes that are due to popular music should occur in brain areas that are associated with reward-related processing—that is, the medial pre-frontal cortex (mPFC) (Haber & Knutson, 2010). As the mental function of pleasurable experience that is modulated in the medial frontal cortex increases, TBF to this region increases. In particular, the processing of sounds is dominantly modulated by the brain’s right hemisphere (Kaiser, Lutzenberger, Preissl, Ackermann, & Birbaumer, 2000). We analyzed TBF to the right brain area of the mPFC at channel 5 using fNIRS. The research hypothesis predicts that songs that provide strong sensory stimulation above the OSL increase the TBFs of those in the digital generation more than do songs that present a sensory stimulation level that is much under the OSL. TBF can be directly obtained as a product of HbT (Wyatt et al., 1990). After the music began in the experiment, the subjects’ concentrations of HbT increased until HbT reached its peak at around five to eight seconds; then it decreased for the next thirty seconds. There was a divide of hemodynamic responses between the two songs that had more than a million hits per day (A and B) and the remaining three (C, D, and E). We conducted repeated measures of ANOVA on TBF, measured at forty seconds, for the five songs, since TBF at the end of each set of song segments can represent the digital generation’s level of sustained attention. The multivariate test for the model was significant, and the main effect of songs on TBF was significant (Wilk’s Lambda 0.75, F(4,51)=4.249, p=0.005,  ). After the forty seconds of each song were over, the TBF levels remained at the highest level for song A, followed in order by Songs B, C, D, and E. Pairwise comparisons after the Bonferroni correction showed that there was a significant divide in the length of time that the TBF levels remained at the highest level between songs A/B and songs C/D/E (p<0.05). Other differences were not significant, possibly because the neural data contained large individual difference variances (between-subject F test: F(1,54) =38.501, .p<0.001, ). The results support hypothesis 1. Next, we examined the relationships between TBF and daily hits, and BORP and daily hits. The Pearson correlation coefficient between TBF and daily hits was 0.88 (p<0.05), and the correlation coefficient between BORP and daily hits was -0.96 (p<0.05). Pairwise comparisons after the Bonferroni correction showed that, there was a significant divide in the length of time that the TBF levels remained at the highest level between songs A/B and songs D/E (p<0.05). Other differences were not significant, possibly because neural data contains a large portion of individual variance (between-subject F test: F(1,54) =372.675, p<0.001,  ). These results are consistent with our hypothesis 1b that pop music that presents stimulation above OSL can reduce the randomness in hemodynamic signals. The changes in the participants’ hemoglobin concentrations while they listened to popular songs show a mean-reverting tendency with low BORP—a “rhythm” such that a system recovers order and balance in due time. The brain’s response to less popular songs were random-walk processes, which represents a neural drain, a process in which brain fails to recover from oxygen depletion because of boredom. In conclusion, we found that total blood flow to the right medial prefrontal cortex increased less when the young adults were exposed to music that presented acoustic stimulation near the optimal sensory load (OSL) than it did when they were exposed to songs with a level of stimulation much below the OSL. The degrees of hemodynamic randomness decreased significantly while the participants listened to online music that provided near-OSL stimulation. Online popularity, recorded as the number of daily hits, was significantly positively correlated with the total blood flow and negatively correlated with hemodynamic randomness. These findings suggest that a new digital media strategy may be required that provides a sufficient level of sensory stimulation as an essential part of marketing to the digital consumer generation.

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.