DOCSLIB.ORG

Graduation Thesis Philip ... 398734.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Graduation Thesis Philip ... 398734.Pdf MASTER THESIS PHILIP MOSSMAN MAY 2021 DESIGN INTERVENTIONS AT A SYSTEMIC LEVEL A PROVOCATIVE CONCEPT FOR THE MUSIC INDUSTRY Design interventions at a systemic level; a provocative concept for the music industry Master thesis Msc. Strategic Product Design Author Philip Mossman Graduation committee Chair Prof. ir. Jeroen van Erp Professor of Concept Design Mentor Prof. Dirk Snelders Professor of Organising Product and Service Development Company mentor Omar Kbiri Co-founder / Creative Director Maak Faculty of Industrial Design Engineering Delft University of Technology Landbergstraat 15, The Netherlands Company Maak Camperstraat 42, Amsterdam PREFACE PREFACE PREFACE This sheet of paper contains the music for Kyteman’s “Sorry”, as performed in Tivoli, Utrecht 2009. For me, this piece of paper has a symbolic value for my graduation project. I will explain why. I wrote down the notes just after it was released, somewhere in 2010, so that I could play it on my alto saxophone; I played it over and over again and I still have that piece of paper. Subsequently, during my studies, I played the tenor sax in a Big Band and rediscovered the fun of making music. It was Colin Benders, formerly Kyteman, that got me interested in choosing this project in the first place. As soon as his name was mentioned I became enthusiastic for the project and it reminded me of this music of his; “Sorry”. As I was preparing for the project to kick-off I listened to that recording of Colin playing in Tivoli all those years ago. Hearing that again after such a long time, combined with the recent absence of any live music, gave me goosebumps. What you will notice is that the music notes are DESIGN INTERVENTIONSDESIGN A SYSTEMIC LEVEL AT depicted as letters. Looking at this now and with my project in mind, these letters symbolise my graduation project. I came into the project with some knowledge of music and the music industry, however I soon discovered I did not really know that much. Throughout the project I became more and more familiar with the subject and the quality of my conversations improved significantly. Not only did I learn a lot about the music industry but DESIGN INTERVENTIONSDESIGN SYSTEMIC A LEVEL AT I was also inspired to sit and listen to music more often. I bought a proper stereo system to enjoy it more. Enjoy the read! Philip PAGE 5 PAGE 4 EXECUTIVE SUMMARY EXECUTIVE SUMMARY This master thesis was executed in collaboration The design phase consisted of ideation and with marketing agency Maak. Maak expressed an concept development of three concepts. After interest in offering services to independent music which, one concept was chosen to focus on. In artists. The objective of this thesis is to show turn this concept was named “Lister”. stakeholders how value can be reinterpreted and distributed to balance value streams in the music Lister is a music community platform which allows industry. This goal is achieved by developing a users to discover, and exchange ideas about, thought provoking concept. music based on similar taste, in a social way. The process involved two main research phases Lister was validated in various ways and has been and a design phase. In the first research phase through several iterations as a result. It is well- the music industry was mapped out. Subsequently supported by music industry professionals that @PHILLUSTRATORR the decision was made to focus on the streaming were involved in the process. It shows signs of industry, especially on Spotify. To form the basis having potential and there could be justification of the design phase, all the insights from the for further research to better define the concept, previous two research phases were assembled to establish different needs and values amongst and distilled to create the following four design stakeholders and a launch strategy. principles: 1. Artist empowerment; lower barriers to entry for independent artists 2. User involvement; Collectivism, collaboration and co–operation to be reflected in design, critical listeners to become part of the creative process 3. Stimulate independent artists 4. Playlist improvement; Restore the importance of the user-generated playlist; currently playlists are generally either impersonal or biased - or both: • Algorithmic playlists; no human involved • Editorial playlists; More and more people DESIGN INTERVENTIONSDESIGN SYSTEMIC A LEVEL AT dependent on a small group of editors • DSP’s push their own playlists; User- generated playlists are becoming devalued as they are becoming harder to find. Research question: How can we redesign the music industry to balance value streams? Answer: Make music streaming more social. Why: Direct Streaming Platforms constrict the relationship between creators and their audience. Goal: Make streaming more social for independent/ DIY creators. Create direct, intimate interactions and foster those connections. PAGE 7 PAGE 6 GLOSSARY ACKNOWLEDGEMENTS ACKNOWLEDGEMENTS GLOSSARY Even without the corona-related circumstances, API API is the acronym for Application Programming executing this project would have been a Interface, which is a software intermediary that allows challenge for me. Luckily I had a lot of great two applications to talk to each other. people supporting me throughout the project who I would like to thank. DIY DIY stands for Do It Yourself and is the aspect of the punk subculture where everything is constructed by the Omar Kbiri for sharing his passion and knowledge individual. with me and providing me with the chance to do this project under his supervision. Omar never DSP Direct Streaming Platform is an online store or streaming failed to energise me during meetings and service that features digital albums and singles. believed in me from the start of the project. Independent Artist An artist that is not signed to one of the three major Both my university supervisors, Dirk Snelders and record labels (Sony, Warner and Universal) or one of Jeroen van Erp for mixing academic guidance with their subsidiaries. informal chats filled with energy and dedication. And also for taking on my graduation project, Indie (record label) Indie is short for independent. And is used as an which was somewhat out of the ordinary. abbreviation for independent record labels, i.e. not under control of the three major record labels. Indie is There are a number of people that contributed also a music genre. to my project, but some went out of their way to do so. I would like to thank Ton van der Werf and Lister The name of the concept proposal that has been Niels Aalberts for their great advice and the time developed as a part of this graduation project. they freed up to help out wherever they could. Master (rights) Master (rights) A master right gives the license holder DESIGN INTERVENTIONSDESIGN A SYSTEMIC LEVEL AT My Mum and Dad, for supporting me throughout the right to use a recorded piece of music. By owning the project. My Dad especially, for being a your master recordings, you get to stay in control of your sounding board for my ideas and thinking along career and work. whenever he could. Major record label Major record label The so-called ‘big three’ major Marah for putting up with me when I was grumpy record labels are Universal Music Group, Sony Music and stressed and putting a smile on my face. Did Entertainment and Warner Music Group. you know she is also an Indesign wizard? Music industry The music industry consists of three sectors; The live DESIGN INTERVENTIONSDESIGN SYSTEMIC A LEVEL AT Bootsy for the countless study hours we spent music industry, the music publishing industry and the together, either helping each other or going on record industry. adventures in an empty IDE faculty. Mostly the latter. Overlap Overlap In the concept of Lister (see Lister), overlap is defined by the music that a user has in common with Last but not least, I would like to thank the another user, based on their existing playlist(s). following people for their valuable contributions to the project: Patrick van Thijn, Anneke Stulp, Recording company, also: record label Record labels are companies that produce and Erwin Blom, Gerard van Enk, Colin Benders, market recorded music They engage in a wide range Roos Meijer, Lieke Heusinkveld, Pim van Os, of functions in the music industry, including new artist Pitou Nicolaes, Marinus de Goederen, Wilbert recruitment and development, music publishing, and Mutsaers, Jos Feijen, Dago Houben, Selma copyright enforcement. Schellings, Guillaume Warmerdam, Madelon Acket, Willem Bijleveld, Eva Breunesse, Tim Slider The slider is the feature of Lister which enables the user Graeff & Marisa Wouters. to define the desired overlap (see overlap) for music discovery. PAGE 9 PAGE 8 TABLE OF CONTENTS CHAPTER 1 14 CHAPTER 6 48 DESIGN FOCUS PROJECT OVERVIEW 6.1 Design principles 1.1 Project brief 6.2 Design challenge CHAPTER 2 18 CHAPTER 7 52 MUSIC INDUSTRY CONCEPT DEVELOPMENT 2.1 The evolution of recorded music 7.1 Ideation 2.2 The rise of record companies 7.2 Conceptualisation 2.3 Democratisation of the music industry 7.3 Final concept CHAPTER 3 26 CHAPTER 8 60 MAJOR REVENUE STREAMS LISTER 3.1 Independent artists 8.1 Validation methods 3.2 Streaming 8.2 Feedback 3.3 Live 8.3 Iteration 3.4 Live Streaming CHAPTER 4 34 CHAPTER 9 74 CONCLUSION DO IT YOURSELF 9.1 Recommendations 4.1 DIY origins 9.2 Discussion 4.2 Translations to now 9.3 Reflection CHAPTER 5 40 REFERENCES 80 MUSIC STREAMING INDUSTRY 5.1 Direct Streaming Platforms (DSP’s) 5.2 Spotify 5.3 Playlists 5.4 Consequences of streaming APPENDIX 83 INTRODUCTION INTRODUCTION INTRODUCTION In March 2014, a band called Vulfpeck released an CHAPTER OVERVIEW In the final chapter, nine, the results of this album on Spotify containing 10 tracks, all roughly The build up of the report is as follows.
Load more

Recommended publications
  • Why Music Streaming Services Should Switch to a Per-Subscriber Model
    DIMONT (MEDRANO_10) (DO NOT DELETE) 2/10/2018 10:11 AM Royalty Inequity: Why Music Streaming Services Should Switch to a Per-Subscriber Model JOSEPH DIMONT* Digital music streaming services, like Spotify, Apple Music, and Tidal, currently distribute royalties based on a per-stream model, known as service-centric licensing, while at the same time receive income through subscription fees and advertising revenue. This results in a cross-subsidization between low streaming users and high streaming users, streaming fraud, and a fundamental inequity between the number of subscribers an artist may attract to a service compared to how much they are compensated. Instead, streaming services should distribute royalties by taking each user’s subscription fee and dividing it pro rata based on what the specific user is listening toknown as a subscriber-share modelor user-centric licensing. Many scholars have focused on creating a minimum royalty rate; however, this does little to solve the inherent inequity. Either the music industry should self-regulate by switching to a subscriber-centric model, or the Copyright Royalty Board should make the switch for them. Under a subscriber-centric model, royalty distribution would more accurately reward artists for generating fans, not streams. Each month, the streaming service should take each subscription fee and apportion it out based on the percentages of artists that unique listeners choose to listen to during the subscription period. This change could come through the industry itself, litigation, or regulation, but will likely face resistance from the major record labels and the services themselves. * J.D. Candidate 2018, University of California, Hastings College of the Law.
    [Show full text]
  • Musician's Rescue
    MUSICIAN’S RESCUE KIT - Earning Online Income As A Musician In Times Of COVID-19 and Beyond By Scott Bradlee www.patreon.com/tourbusuniversity FOREWORD I wanted to write this guide for all my fellow musicians out there during this crazy, gig- less time. My own act, Postmodern Jukebox, was one of the first acts to pull a national tour off the road when the Coronavirus began circulating in the United States, and since then, the threat that it has posed to the concert industry has become quite apparent. In reality, the music industry is likely to be one of the last industries to return to normalcy; after all, we’re an industry that is primarily built on getting groups of people together in a room. This is really bad news for all of us that make the majority of our income from performing live — whether it’s as a drummer in a jazz trio, an actor in a Broadway show, a DJ playing nightclubs, a headliner on a concert tour, and everything in between. The good news is that it’s entirely possible to make a great living from music online. In this guide, I’m going to share the system that I use, with a few updates for 2020. MINIMUM REQUIREMENTS TO EARN MONEY ONLINE AS A MUSICIAN For the sake of this guide, I’m going to assume some minimum requirements on your part: 1) You’ve already put in the work as a musician, and already have at least a couple fans. Having more fans just means you’re that much closer to your goal of making a living from music.
    [Show full text]
  • Innovative Starts-Ups and the Change of Music Streaming
    Innovative starts-ups and the change of music streaming A thesis exploring the way music is handled in the modern streaming industry. TIM-ERIC REICHERT SUPERVISOR Daniel Nordgård University of Agder, 2019 Faculty of Fine Arts Department of Popular Music Innovative starts-ups and the change of music streaming CONTENTS 1 INTRODUCTION ........................................................................................................ 5 1.1 METHODOLOGY, QUANTITATIVE AND QUALITATIVE RESEARCH ............................... 6 1.1.1 Citation and Reference Style: IEEE ................................................................. 7 2 STATE OF THE ART ................................................................................................. 9 2.1 STREAMING IS NOW THE SINGLE LARGEST SOURCE OF REVENUE .............................. 9 2.2 CLASSICAL MUSIC AND STREAMING ....................................................................... 10 2.2.1 Classical music users are demanding ............................................................ 12 2.3 ROYALTIES AND CLASSICAL STREAMING ............................................................... 14 2.3.1 Pro-rata issues ............................................................................................... 14 2.3.2 User centricity, song length and even more fairness ..................................... 17 2.4 CATALOGUE AND CURATION .................................................................................. 18 2.4.1 Playlists as a need .........................................................................................
    [Show full text]
  • May 2017 Iyar/Sivan5777 Page 9 Israel in Teens Ann Arbor
    Washtenaw Jewish News Presort Standard In this issue… c/o Jewish Federation of Greater Ann Arbor U.S. Postage PAID 2939 Birch Hollow Drive Ann Arbor, MI Ann Arbor, MI 48108 Permit No. 85 Ann Arbor Profiles: Recipes Teens Bob Milstein for the in and Spring Israel Mark Schlissel Holidays page 9 page 14 page 18 May 2017 Iyar /Sivan 5777 Volume XVI Number 8 FREE WASHTENAW Hank Greenspan to perform Remnants at AADL Knight-Wallace director to talk Tim Grimes, special to the WJN on Fact vs Fiction: Journalism he Ann Arbor District Library will versation between Greenspan and a small but also on their lives in the aftermath. Rem- in Fascinating Times host a performance by playwright, group of Holocaust survivors and recreates nants was first produced for radio in 1992 Karen Freedland, special to the WJN T Hank Greenspan of Remnants: A memory as it erupts within sustained and and distributed to NPR stations across the One Man Play of Holocaust Survivors, on deepening acquaintance, at moments of United States. 2017–18 marks the 25th an- he Jewish Community Center of Monday, May 8, 7–8:30 pm. unusual clarity and candor. niversary of the first production. Greater Ann Arbor will host Lynette Greenspan has performed Remnants at T Clemetson, director of the Knight over 300 venues throughout the U.S. and Wallace Fellowship of Journalism at the Uni- Canada, as well as in Britain, Israel, and versity of Michigan, on May 18, at 7 p.m. She the Czech Republic, and the play has won will present “Fact vs Fiction: Journalism in numerous awards.
    [Show full text]
  • Obviously Obviously Obviously
    OHNO Obviously ObviouslyObviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously ObviouslyObviouslyObviouslyObviouslyObviouslyObviously ObviouslyObviouslyObviously Obviously Obviously Obviously Obviously Obviously ObviouslyObviouslyObviously Obviously ObviouslyObviously Obviously ObviouslyObviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously Obviously ObviouslyObviously Obviously Obviously ObviouslyObviously Obviously ObviouslyObviously ObviouslyObviouslyObviously Obviously ObviouslyObviouslyObviouslyObviouslyObviouslyObviously Obviously Obviously ObviouslyObviously Obviously ObviouslyObviously Obviously ObviouslyObviouslyObviously ObviouslyObviouslyObviouslyObviouslyObviously Obviously ObviouslyObviously Obviously Obviously ObviouslyObviously Obviously obviously 96 styles designed by james edmondson in 2019 obviously specimen ohnotype.co ©2019. all rights reserved. OHNO $0123 → $0123 old style figures 1 23/45 → 1 23⁄45 fractions 23 CARS? 56 G? → 23 CARS? 56 G? alternate terminals via ss01 or stylistic alternates samba → samba single storey a Atlas → Atlas alternate jesus t gladys → gladys single story a, italic g and y [X]{Y}(Z) → [X]{Y}(Z) case sensitive punctuation [email protected] → [email protected] case sensitive punctuation obviously specimen ohnotype.co ©2019. all rights reserved. OHNO obviously compressed thin Horse, a horse, my kingdom for a horse YOU CAN’T HAVE YOUR CAKE AND EAT
    [Show full text]
  • A Focus on the Music Industry
    Master’s Degree in Management Final Thesis Influence of platforms in a digitalized world: a focus on the music industry. Supervisor Ch. Prof. Monica Calcagno Assistant supervisor Ch. Prof. Antonio Costantini Graduand Davide Giraldo Matriculation number 872407 Academic Year 2019 / 2020 “Amour Mixtape vol. 1 – Orchestra Indie.” Unknown (2020) From the exhibition “Artecrazia – La Spezia è tornata romantica – 2020” 1 Index of figures 5 Index of tables 7 INTRODUCTION 8 CHAPTER 1 10 1.1 THEORETICAL FRAMEWORKS 10 1.2 WHO ARE THE ACTORS AND HOW THEY MOVE? GRISWOLD READAPTED 13 1.3 CULTURAL OBJECT & RECEIVERS – PERCEPTION 14 1.3.1 Playlist is the new album 19 o 1. 3. 1. 1 User-generated content playlists 19 o 1. 3. 1. 2. Algorithmic playlists 20 o 1. 3. 1. 3. Algotorial playlists 20 1.4 CREATIVES & THE NEEDS OF THE SOCIAL WORLD 21 1. 4. 1. Democratization of reachability 22 1. 4. 2. Revenue flow issues with artists 24 1. 4. 3. Patreon 30 1. 4. 4. Innovation in live events management 31 CHAPTER 2 35 2.1 THE PROCESS OF CO-CREATION, OF SELECTION AND FRUITION OF MUSIC 35 2.2 COMMUNICATION STRATEGIES – CREATIVES TRYING TO BE SEEN BY RECEIVERS 36 2.3 MUSIC AS A PLATFORM COLLATERAL TOOL – RECEIVERS & THE SOCIAL WORLD 47 2 2.4 THE CONTEMPORARY GATEKEEPERS AND CUSTOMERS PROFILING – CULTURAL OBJECT, RECEIVERS AND CREATIVES 50 2.5 COMPLEMENTARITY BETWEEN DIGITAL & ANALOGICAL – SOCIAL WORLD & CULTURAL OBJECT 57 CHAPTER 3 61 3.1 THE THREE SOURCES OF INFORMATION 61 3.2 OBJECTIVE OF THE RESEARCH 63 3.3 SOURCES 65 3.
    [Show full text]
  • Why Music Streaming Services Should Switch to a Per-Subscriber Model Joseph Dimont
    Hastings Law Journal Volume 69 | Issue 2 Article 5 2-2018 Royalty Inequity: Why Music Streaming Services Should Switch to a Per-Subscriber Model Joseph Dimont Follow this and additional works at: https://repository.uchastings.edu/hastings_law_journal Part of the Law Commons Recommended Citation Joseph Dimont, Royalty Inequity: Why Music Streaming Services Should Switch to a Per-Subscriber Model, 69 Hastings L.J. 675 (2018). Available at: https://repository.uchastings.edu/hastings_law_journal/vol69/iss2/5 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Law Journal by an authorized editor of UC Hastings Scholarship Repository. DIMONT (MEDRANO_10) (DO NOT DELETE) 2/10/2018 10:11 AM Royalty Inequity: Why Music Streaming Services Should Switch to a Per-Subscriber Model JOSEPH DIMONT* Digital music streaming services, like Spotify, Apple Music, and Tidal, currently distribute royalties based on a per-stream model, known as service-centric licensing, while at the same time receive income through subscription fees and advertising revenue. This results in a cross-subsidization between low streaming users and high streaming users, streaming fraud, and a fundamental inequity between the number of subscribers an artist may attract to a service compared to how much they are compensated. Instead, streaming services should distribute royalties by taking each user’s subscription fee and dividing it pro rata based on what the specific user is listening toknown as a subscriber-share modelor user-centric licensing. Many scholars have focused on creating a minimum royalty rate; however, this does little to solve the inherent inequity.
    [Show full text]
  • Universita' Degli Studi Di Padova
    UNIVERSITA’ DEGLI STUDI DI PADOVA DIPARTIMENTO DI SCIENZE ECONOMICHE ED AZIENDALI “M.FANNO” DIPARTIMENTO DI SCIENZE STATISTICHE CORSO DI LAUREA IN ECONOMIA PROVA FINALE “IL MERCATO DISCOGRAFICO NEL XXI SECOLO E LA RINASCITA DEL VINILE” RELATRICE: CHIARISSIMA PROF.: ALESSANDRA DALLA VALLE LAUREANDO: VITTORIO COMAND MATRICOLA: 1115779 ANNO ACCADEMICO 2018-2019 1 2 Sommario Introduzione ................................................................................................................................ 5 Capitolo 1 ................................................................................................................................... 6 1.1 L’industria discografica americana: uno sguardo d’insieme ............................................ 6 1.2 La catena di valore dell’industria discografica ................................................................. 9 1.3 I fattori della crisi del mercato discografico ................................................................... 11 1.4 I modelli di distribuzione ................................................................................................ 14 1.5 L’industria musicale dopo la crisi del nuovo millennio ................................................. 18 Capitolo 2: il vinile ................................................................................................................... 19 2.1 Il ritorno del vinile .......................................................................................................... 19 2.2 La causa del ritorno del
    [Show full text]
  • Senior String Bass Recital - Charlie Devillers St
    St. Norbert College Digital Commons @ St. Norbert College Music Performances Music 4-23-2017 Senior String Bass Recital - Charlie DeVillers St. Norbert College Music Department Follow this and additional works at: https://digitalcommons.snc.edu/performances Recommended Citation St. Norbert College Music Department, "Senior String Bass Recital - Charlie DeVillers" (2017). Music Performances. 25. https://digitalcommons.snc.edu/performances/25 This Article is brought to you for free and open access by the Music at Digital Commons @ St. Norbert College. It has been accepted for inclusion in Music Performances by an authorized administrator of Digital Commons @ St. Norbert College. For more information, please contact [email protected]. Senior Recital Charlie DeVillers, string bass with Connor Klavekoske, piano Jack Eckelaert, drums Jason Holz, guitar Nick Carncross, trumpet Sunday, April 23, 2017 4:00 p.m. Birder Hall ~Program~ Have You Met Miss Jones……………………………………..…………………Richard Rodgers Charlie DeVillers, bass, Connor Klavekoske, piano, Jack Eckelaert, drums Don’t Talk (Put Your Head On My Shoulder)……..…...........................Brian Wilson/Tony Asher arr. Charlie DeVillers Charlie DeVillers, electric bass Black Orpheus…………………………………………………………………..………Luiz Bonfa Charlie DeVillers, bass, Connor Klavekoske, piano, Jack Eckelaert, drums Going To California……………………………………………..…..…..Jimmy Page/Robert Plant arr. Stu Hamm Charlie DeVillers, electric bass All Blues…………………………………………………………………..…………...Miles Davis Charlie DeVillers, bass, Nick Carncross,
    [Show full text]
  • Columbia Chronicle (02/15/2016)
    Columbia College Chicago Digital Commons @ Columbia College Chicago Columbia Chronicle College Publications 2-15-2016 Columbia Chronicle (02/15/2016) Follow this and additional works at: http://digitalcommons.colum.edu/cadc_chronicle Part of the Journalism Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Columbia College Chicago, "Columbia Chronicle (2/15/2016)" (February 15, 2016). Columbia Chronicle, College Publications, College Archives & Special Collections, Columbia College Chicago. This Book is brought to you for free and open access by the College Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Columbia Chronicle by an authorized administrator of Digital Commons @ Columbia College Chicago. Tattoos go beyond skin to cover emotional scars Feb. PAGE 20 “Empire” star shares insight about diversity Volume 51, Issue 19 ColumbiaChronicle.com in show business 15 PAGE 13 2016 Fewer students, more money Students pay up forStudent enrollment drop Insert CrushingSuccess $950 Student MediocreMediocre Here! Success DEBT JobsJob Crushing Crushing CrushingDEBT Student CrushingDEBT DEBT Student DEBT Successexperience DEBT » ALEXANDER AGHAYERE/CHRONICLE » LAUREN KOSTIUK though we recognize the big challenge for is directly linked to tuition, but Birch said During the SGA meeting, Kim said it is CAMPUS EDITOR some of our students—gives the college a the college continues to strengthen its more cost-effective to focus on retaining little bit of leeway to invest,” Kim said. endowment and fundraising abilities to students than recruiting students, aligning THE COLLEGE HAS announced a 4 percent tui- The college promises students more eventually reduce the amount of tuition with the college’s push to spend more on tion increase for the 2016–2017 academic investments in the “student experience” but needed to support the college’s budget.
    [Show full text]
  • Snapchat, Spotify, and 9GAG Case Studies
    A study into growth hacking based on: Snapchat, Spotify, and 9GAG case studies. ERASMUS UNIVERSITY ROTTERDAM Faculty of Economics and Business Marketing Supervisor: Stefan Stremersch and Florian Deutzmann Name: Catarina Grin Student number: 370532 E-mail address: [email protected] Study: International Bachelor Economics and Business Economics (IBEB) Thesis: Bachelor 1 Contents 1. Introduction ..................................................................................................................... 3 1.1 Problem Statement ........................................................................................................ 3 1.2 Scientific and Societal Relevance ................................................................................. 4 1.3 Structure of the paper ................................................................................................... 5 2. Theoretical Framework .................................................................................................. 6 2.1 Viral Marketing and Contagion ................................................................................... 6 2.2 Network Effects and Tipping Points ............................................................................ 9 2.3 Diffusion of Innovations .............................................................................................. 11 2.4 Lean Startup ................................................................................................................ 15 2.5 Growth hacking ..........................................................................................................
    [Show full text]
  • Cultural Analysis an Interdisciplinary Forum on Folklore and Popular Culture
    CULTURAL ANALYSIS AN INTERDISCIPLINARY FORUM ON FOLKLORE AND POPULAR CULTURE The Inheritance of the Digital: Ethnographic Approaches To Everyday Realities In, of, and Through Digital Technologies Special Issue Vol. 16.1 Guest Editors: Robert Glenn Goward & Coppélie Cocq The Inheritance of the Digital: Ethnographic Approaches to Everyday Realities In, Of, and Through Digital Technologies Special Issue Vol. 16.1 Guest Editors Robert Glenn Howard & Coppélie Cocq CULTURAL ANALYSIS AN INTERDISCIPLINARY FORUM ON FOLKLORE AND POPULAR CULTURE © 2017 by The University of California Editorial Board Pertti J. Anttonen, University of Eastern Finland, Finland Hande Birkalan, Yeditepe University, Istanbul, Turkey Charles Briggs, University of California, Berkeley, U.S.A. Oscar Chamosa, University of Georgia, U.S.A. Chao Gejin, Chinese Academy of Social Sciences, China Valdimar Tr. Hafstein, University of Iceland, Reykjavik Jawaharlal Handoo, Central Institute of Indian Languages, India Galit Hasan-Rokem, The Hebrew University, Jerusalem James R. Lewis, University of Tromsø, Norway Fabio Mugnaini, University of Siena, Italy Sadhana Naithani, Jawaharlal Nehru University, India Peter Shand, University of Auckland, New Zealand Francisco Vaz da Silva, University of Lisbon, Portugal Maiken Umbach, University of Nottingham, England Ülo Valk, University of Tartu, Estonia Fionnuala Carson Williams, Northern Ireland Environment Agency Ulrika Wolf-Knuts, Åbo Academy, Finland Editorial Collective Senior Editors: Sophie Elpers, Karen Miller Associate Editors: Andrea
    [Show full text]