This research explored a potential working framework for using social media as a marketing channel. Based on an extensive literature review and a multiple case study, important factors for using social media have been identified. Companies should provide relevant information, show signs of real behavior, and design remarkable campaigns in order to enhance interaction between and engagement amongst customers. This should be the ultimate goal as interaction and engagement allow a company and its communicated message to be accepted and adopted by the crowd more efficiently and effectively. Future research is needed to test and enhance the framework. The research is relevant for practitioners and scientists as it provides new and further elaborated insights on the use of social media as a marketing channel.
This research explored a potential working framework for using social media as a marketing channel. Based on an extensive literature review and a multiple case study, important factors for using social media have been identified. Companies should provide relevant information, show signs of real behavior, and design remarkable campaigns in order to enhance interaction between and engagement amongst customers. This should be the ultimate goal as interaction and engagement allow a company and its communicated message to be accepted and adopted by the crowd more efficiently and effectively. Future research is needed to test and enhance the framework. The research is relevant for practitioners and scientists as it provides new and further elaborated insights on the use of social media as a marketing channel.
Technologies that were initially developed to be applied within the domain of video games are currently being used in experiments to explore their meaning and possibilities for cinema and cinema audiences. In this position paper we examine how narrativity, interactivity and engagement are mutually reshaped within this new domain of media entertainment, addressing both the production and the user experience of new types of interactive cinematography. We work towards research questions that will direct our future studies and in-troduce the term lean in to address the kind of engagement style that applies to users within this new domain.
Fashion has become inextricably linked with digital culture. Digital media have opened up new spaces of fashion consumption that are unprecedented in their levels of ubiquity, immersion, fluidity, and interactivity. The virtual realm continuously needs us to design and communicate our identity online. Unfortunately, the current landscape of digitised fashion practices seems to lack the type of self-governing attitude and urgency that is needed to move beyond commercially mandated platforms and systems that effectively diminish our digital agency. As transformative power seems to be the promise of the virtual, there is an inherent need to critically assess how digital representation of fashion manifests online, especially when these representations become key mediators within our collective and individual public construction of self. A number of collectives and practitioners that actively shape a counter movement, organized bottom up rather than through capital, are questioning this interdependence, applying inverted thinking and experimenting with alternative modes of engagement. Starting from the research question ‘How can critical fashion practitioners introduce and amplify digital agency within fashion’s virtual landscape through new strategies of aesthetic engagement?’, this project investigates the implications of fashion’s increasing shift towards the virtual realm and the ramifications created for digital agency. It centers on how identity is understood in the digital era, whether subjects have full agency while expected to construct multiple selves, and how online environments that enact as playgrounds for our identities might attribute to a distorted sense of self. By using the field of critical fashion as its site, and the rapidly expanding frontier of digital counter practices as a lens, the aim of this project is to contribute to larger changes within an increasingly global and digital society, such as new modes of consumerism, capital and cultural value.
Within TIND, Christian Roth studies the training of interactive narrative designers with the goal of developing teaching methods and learning tools for artists and designers to enable the creation of more effective artefacts. Interactive Narrative Design (IND) is a complex and challenging interdisciplinary field introducing new affordances in technique and user-experience. This requires practice-based research for further development of the educational format, demonstrating its potential while identifying and overcoming common learners’ challenges. This project aims to develop a framework for the design and evaluation of meaningful interactive narrative experiences that effectively stimulate a variety of cognitive and emotional responses such as reflection, insight, understanding, and potential behavior change. It provides tools, methods and activities to enable aspiring or practicing narrative designers through an interdisciplinary approach, including game design, immersive theatre, behavioral and cognitive psychology, and the learning sciences. HKU education means to prepare students for success in the creative industries and IND plays an important role for current and future jobs in education, arts and entertainment. IND has the potential to create an emotional impact and spark transformative change by offering agency, defined as the ability to influence narrative progression and outcomes in a meaningful way. This enables interactors to feel the weight of their own choices and their consequences, to explore different perspectives, and to more thoroughly understand complex multi-stakeholder issues, which could have significant impact on the success of emerging artistic, and learning applications. The research project is directly embedded in the curriculum of the HKU school Games & Interaction with annual educational offerings such as the Minor Interactive Narrative Design (MIND) and HKU wide broad seminars. Course evaluation and literature research will be used to create new and adjusted training for different HKU schools and the industry. Outcomes will be shared via an interactive website and events.
The Hereon team has expressed interest in the use of the PO platform for the virtualization of the (hydro)dynamic behavior of offshore wind farms, in particular regarding turbidity around wind turbines. BUas has developed the Procedural Ocean (PO) platform. The platform uses procedural content generation (AI) for data-driven 3D virtualization of complex marine and maritime environments, with elements such as geo-environment (bathymery, etc.), geo-physics (weather conditions, waves), wind farms, aquaculture, shipping, ecology, and more. The virtual and immersive environment in the game engine Unreal supports advanced (game-like) user interaction for policy-oriented learning (marine spatial planning), ocean management, and decision making. We therefore propose a joint pilot Research and Development (R&D) project to explore, demonstrate and validate how a gridded dataset provided by Hereon can show the dynmics around wind farm monopiles. Furthermore, we can explore interactivity with the engineering and design of the turbine and the multiplication of the turbine design to compose a wind farm. Client: Hereon (The Helmholtz-Zentrum Hereon is a non-profit making research institute )
