IAB State of Data 2021
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
20190920 Joealexander V DMA-ADWEEK-COFFEE.Pdf
Case 3:19-cv-00688 Document 1 Filed 09/19/19 Page 1 of 55 PagelD# 1 IN THE UNITED STATES DISTRICT COURT FOR THE EASTERN DISTRICT OF VIRGINIA Richmond Division JOE ALEXANDER ) ) Plaintiff, ) ) 3: 19-cv-688 V. ) Case No. ) ) TRIAL BY JURY DIET MADISON A VENUE ) IS DEMANDED OMA DOE DEFENDANTS 1-17 ) ADWEEK, LLC ) ) -and- ) ) PA TRICK COFFEE ) ) Defendants. ) COMPLAINT Plaintiff, Joe Alexander, by counsel, files the following Complaint against Defendants, Diet Madison Avenue ("OMA"), OMA Doe Defendants 1-17, Adweek, LLC ("Adweek") and Patrick Coffee ("Coffee"), jointly and severally. Plaintiff seeks (a) compensatory damages and punitive damages in the sum of $25,350,000.00, (b) plus prejudgment interest on the principal sum awarded by the Jury from November 21, 2017 to the date of Judgment, and ( c) court costs and expenses - arising out of the Defendants' tortious interference with contract, tortious interference with prospective economic advantage, common law conspiracy, defamation and intentional inflictionof emotional distress. 1 Case 3:19-cv-00688 Document 1 Filed 09/19/19 Page 2 of 55 PagelD# 2 I. INTRODUCTION [https://www.ispot.tv/ad/Ag03/geico-the-wisconsin ("Fifteen minutes could save you 15% or more on car insurance"). The GEICO Gecko has become a force to be reckoned with in the advertising world and was voted America's favorite advertising icon in 2005. GEICO's small green friend has traveled the country spreading the good news about GEICO and has captivated audiences of all ages. The idea for the Gecko grew from a creative session at GEICO's ad agency, The Martin Agency in Richmond, Virginia. -
Branded Content Creation & Distribution Guide
Branded Content Creation & Distribution Guide Steps for Success. Developing and distributing branded content has become more complicated than ever with a wide array of package options and pricing that can vary significantly depending on the content creator, buy types, content types, publisher sites, and more. This guide is designed to help brand marketers and their agencies identify the various branded content creation and distribution options available today and, importantly, understand the key factors that should be considered upfront to make sure that all branded content/native advertising buy meets strategic objectives/KPIs. iab.com/branded-content April 2018 © 2018 Interactive Advertising Bureau Branded Content Creation & Distribution Guide Table of Contents Mission and Contributors ................................................................................................................... 3 Introduction ........................................................................................................................................ 5 Setting the Stage – The IAB Branded Content Creation & Distribution Definitions Framework ......... 6 Where to Start – Key Steps ............................................................................................................... 8 First step: What’s your strategy and KPIs? ..................................................................................... 8 Next Step: Content: Do you have content? Do you need content? ............................................. 9 Next step: -
Digital Content Creation Annual Report for FY12 Submitted by Betsy Kruger, Head DCC
Digital Content Creation Annual Report for FY12 Submitted by Betsy Kruger, Head DCC I. Unit Narrative A. Overview of major activities and accomplishments in FY12 and major challenges faced i) Digital Content Creation’s (DCC) major activities and accomplishments in FY12 focused on the digitization of significant special collections, primarily in the RBML, the University Archives, the IHLL, the Sousa Archives, and the Map Library, which are detailed in various sections below. We also digitized a substantial amount of University of Illinois related publications, including dissertations, for deposit into IDEALS. We worked closely with CAM metadata personnel and the Visual Resources Coordinator at FAA on access issues related to our digitized content. We provided cost recovery digitization services for several campus units, and handled numerous patron requests for digital images. In addition to the digital projects outlined in the chart below, other major activities of the year included: (1) Developing and issuing a successful RFP for Digital Imaging Services, along with HPNL and the Preservation Department; (2) Oversight of and training for the Library’s participation in the IMLS grant funded Copyright Review Management System – World project, a collaborative project with the University of Michigan and 14 other institutions to make reliable copyright status determinations for foreign-published titles, which constitute a significant portion of the scholarly works being digitized by projects such as HathiTrust. (3) Began work on a Library funded initiative to assess the needs of non-Library, non-FAA units on campus for digitization and image management services. Our partners include representatives from FAA, CITES, and LAS/IT. -
Modifying Interactive Computer Service Provider Immunity Under Section 230 of the Communications Decency Act in the Wake of “Me Too”
APPS TOO: MODIFYING INTERACTIVE COMPUTER SERVICE PROVIDER IMMUNITY UNDER SECTION 230 OF THE COMMUNICATIONS DECENCY ACT IN THE WAKE OF “ME TOO” ALEXANDRA LOTTY* TABLE OF CONTENTS INTRODUCTION ..................................................................................... 886 I. BACKGROUND ................................................................................... 889 A. HISTORY OF THE COMMUNICATIONS DECENCY ACT ....................... 889 B. SECTION 230 OF THE COMMUNICATIONS DECENCY ACT ................. 890 C. CURRENT CLIMATE: THE “ME TOO” MOVEMENT AGAINST SEXUAL HARASSMENT AND ASSAULT ............................................................ 892 II. OVERBROAD INTERPRETATIONS OF SECTION 230 HAVE STIFLED OPPORTUNITIES FOR LEGAL RECOURSE ................... 893 A. INTERNET CONTENT PROVIDER ANALYSIS: THE “NEUTRAL” OR “PASSIVE” ASSISTANCE TEST ........................................................... 893 B. COURT INTERPRETATIONS OF THE TERM “PUBLISHER” IN THE CONTEXT OF SECTION 230 ................................................................ 895 1. The Narrow “Disseminator or Propagator” Interpretation ............ 896 2. The “Traditional Editorial Functions” Inquiry .............................. 897 3. The Broad “Overall Design and Operation” Interpretation .......... 898 a. Modern Case Study: Herrick v. Grindr .................................... 899 C. CONCERNS AND CONSIDERATIONS PRESENT IN SECTION 230 ANALYSIS .......................................................................................... 900 1. Free -
Using Facebook to Engage Stakeholders: Developing A
Coastal Carolina University CCU Digital Commons Library Faculty Publications Kimbel Library and Bryan Information Commons 2013 Using Facebook to Engage Stakeholders: Developing a Content Strategy to Meet Dynamic Social Media Challenges Scott aB con Coastal Carolina University, [email protected] Amanda Foster Follow this and additional works at: https://digitalcommons.coastal.edu/lib-fac-pub Part of the Library and Information Science Commons Recommended Citation Bacon, Scott nda Foster, Amanda, "Using Facebook to Engage Stakeholders: Developing a Content Strategy to Meet Dynamic Social Media Challenges" (2013). Library Faculty Publications. 2. https://digitalcommons.coastal.edu/lib-fac-pub/2 This Article is brought to you for free and open access by the Kimbel Library and Bryan Information Commons at CCU Digital Commons. It has been accepted for inclusion in Library Faculty Publications by an authorized administrator of CCU Digital Commons. For more information, please contact [email protected]. 2013 ASCUE Proceedings Using Facebook to Engage Stakeholders: Developing a Content Strategy to Meet Dynamic Social Media Challenges Amanda Foster Information Literacy Librarian [email protected] Scott Bacon Web Services and Emerging Technologies Librarian [email protected] Kimbel Library Coastal Carolina University Conway, SC 29528 843-349-2400 Abstract Facebook is often used by higher education institutions to increase engagement with the campus popu- lation and larger community. Facebook page administrators must successfully navigate Facebook’s News Feed algorithm to have content reach the largest possible audience. This algorithm uses different measures of audience interaction when determining how “engaging” a post is, rewarding the more en- gaging posts by increasing the likelihood that they will show up in a fan's News Feed. -
Welcome to the Scbwi Summer Spectacular!
WELCOME TO THE SCBWI SUMMER SPECTACULAR! We’re happy to have you join us for our first all-digital Summer Spectacular. Detailed information on all aspects of the Summer Spectacular can be found on the event’s website page (https://www.scbwi.org/events/scbwi-summer-spectacular-2020/) We are bringing you 10 craft-centered keynote conversations featuring award-winning and world-renowned authors and illustrators, plus the timely and relevant editors’ panel and agents’ panel, and manuscript, portfolio, social media and career consultations. The program is a truly historic gathering featuring many of the best and strongest voices in our field. All sessions will be recorded and posted on scbwi.org for the entire month of August, for you to enjoy and re-watch at your leisure. It’s our pleasure to welcome this year for the first time, the Vermont College of Fine Arts (VCFA) as our exclusive education sponsor. VCFA has one of the most prestigious writing programs in the US, and they are generously offering to waive the application fee through October 15 for active SCBWI members who apply to the Writing for Children & Young Adults Program. See the one-sheet in your attendee materials for more information. Other parts of your experience at the Summer Spectacular are the faculty/member bookstore which will be live on our website from the first day of the event through August 31. Please visit, browse and buy. You are also invited to enjoy the Portfolio Showcase exhibiting beautiful art from over 400 of our gifted attendees. Take part in the socials and Twitter chats, and a fun meme contest to test your sense of humor and creativity. -
How to Attract Customers with Facebook Contents
HOW TO ATTRACT CUSTOMERS WITH FACEBOOK CONTENTS 3 PRIORITIZE YOUR BUSINESS OBJECTIVES 10 BUILD YOUR FACEBOOK AUDIENCE 21 DEVELOP & FOCUS ON YOUR OVERARCHING CONTENT & LEAD GEN STRATEGIES 30 CHAMPION VALUE CREATION: WHAT CONTENT TO CREATE & SHARE ON FACEBOOK 59 MAXIMIZE CUSTOMER ACQUISITION WITH ADVERTISING 72 WRAP UP & TAKEAWAYS PRIORITIZE YOUR BUSINESS 1OBJECTIVES Every brand on Facebook is on Facebook for one reason – to (eventually) get more business. Getting more business from Facebook means different things to different types of businesses, though, which means different brands… …will have different objectives, such as: • Driving in-store sales; • Increasing online sales; • Launching a new product; • Building awareness; or • Promoting a mobile app. This guide will primarily be helpful for businesses that want to generate leads or online sales. Even with these objectives in mind, there are a few stepping stones that precede turning fans into customers. If you want customers … … you have to first: Attract Visitors 1. Build an audience; Create an audience of engaged Facebook fans to drive to your website. 2. Drive inbound traffic to your website; Convert Leads Use forms on optimized landing pages to collect contact information from visitors. 3. Turn that traffic into qualified leads; and then Close Customers Use email and marketing automation to 4. Nurture those leads into nurture leads into (repeat) customers. customers. This guide will give you a playbook for doing just that. First we’ll talk about how to build an audience, and then we’ll dive into how you get that audience to head on over to your website where they can actually do business with you. -
OTT) Devices Frequently Asked Questions
Identifier for Advertising (IFA) for Over-the-Top (OTT) Devices Frequently Asked Questions Why is there a need for a standardized Identifier for Advertising (IFA) across Over-the- Top (OTT) devices and platforms? The OTT ecosystem is very fragmented—consumers are accessing OTT content via streaming devices (Roku, Google Chromecast, Apple TV, and Amazon Firestick), Smart TVs (Samsung, Sony, Vizio, LG, etc.), video game consoles (Xbox and PlayStation) and Blu-ray devices. Additionally, advertisers cannot rely on cookies like they can in a traditional browser environment since they do not exist in the app-based OTT ecosystem. This leaves marketers reliant on device identifiers and IP addresses for targeting consumers and managing frequency. There has been a need for a standardized, software-based advertising identifier for OTT that can be disabled and/or reset by the consumer and that can be passed through the supply chain in a similar fashion to the mobile Ad IDs that have existed for years for Android and Apple OS devices (and which have helped grow and scale the mobile advertising industry). While there are some devices that provide industry-compliant identifiers for advertising, there are still many others that do not send any IFA, and still others that send a non-standardized form of the IFA (an IFA in ‘a different language’) which then requires manual work on the buy side to translate into a usable form. Additionally, some publishers in the OTT supply chain are withholding this identifier when communicating with the advertiser’s ad server. The industry needs all devices and publishers to be in compliance with one another so that ultimately consumers encounter the best possible ad experience, regardless of how they are navigating across apps and devices. -
Cross-Media Audience Measurement Standards (Phase I Video)
MRC Cross-Media Audience Measurement Standards (Phase I Video) September 2019 Final Sponsoring associations: Media Rating Council (MRC) American Association of Advertising Agencies 4A’s Association of National Advertisers ANA Interactive Advertising Bureau (IAB) Video Advertising Bureau (VAB) Final Table of Contents 1 Executive Summary ......................................................................................................................... 1 1.1 Overview and Scope ............................................................................................................................ 3 1.2 Standards Development Method ...................................................................................................... 5 1.3 Note on Privacy .................................................................................................................................... 5 2 General Top-Line Measurement ................................................................................................... 6 2.1 Cross-Media Components ................................................................................................................... 6 2.1.1 Duration Weighting .......................................................................................................................................... 9 2.1.2 Cross-Media Metrics Definitions .............................................................................................................. 10 2.1.3 Household vs. Individual Metrics ............................................................................................................. -
The Digital Library: a Biography
The Digital Library: A Biography by Daniel Greenstein and Suzanne E. Thorin Digital Library Federation Council on Library and Information Resources Washington, D.C. ii About the Authors Daniel Greenstein is university librarian for systemwide library planning and scholarly information and director of the California Digital Library (CDL). Before joining the CDL in May 2002, he served for two and a half years as director of the Digital Library Federation, during which time he conducted research for this report. Mr. Greenstein was a founding director of the Arts and Humanities Data Service in the United Kingdom, and founding co-director of the Resource Discovery Network, a distributed service whose mission is to enrich learning, research, and cultural engagement by facilitating new levels of access to high-quality Internet resources. Suzanne E. Thorin is the Ruth Lilly University Dean of University Libraries at Indiana University. From 1980 to 1996, she served on the staff of the Library of Congress (LC). From 1992–1996 she was the LC chief of staff and the associate librarian. At LC, Thorin served as the official U.S. representative, appointed by the White House, for the G-7 electronic libraries project, one of eleven G-7 pilot projects for the Global Information Society. She was also responsible for the National Digital Library Program. ISBN 1-887334-95-5 Second edition December 2002 First edition September 2002 Published by: Digital Library Federation Council on Library and Information Resources 1755 Massachusetts Avenue, NW, Suite 500 Washington, DC 20036 Web site at http://www.clir.org Additional copies are available for $20 per copy. -
Thesis User-Generated Content
THESIS USER-GENERATED CONTENT: AN EXAMINATION OF USERS AND THE COMMODIFICATION OF INSTAGRAM POSTS Submitted by June Mia Macon Department of Journalism and Media Communication In partial fulfillment of the requirements For the Degree of Master of Science Colorado State University Fort Collins, Colorado Summer 2017 Master’s Committee: Advisor: Rosa Mikeal Martey Katherine Abrams Antero Garcia Copyright by June Mia Macon 2017 All Rights Reserved ABSTRACT USER-GENERATED CONTENT: AN EXAMINATION OF USERS AND THE COMMODIFICATION OF INSTAGRAM The language around social media contributes to perceptions of who is posting content and why. The concept of user generated content (UGC) places an emphasis on authorship and has been defined as online content that is publically available and created by end-users in a creative effort (Dennhardt, 2013). UGC is a powerful tool for businesses because it taps into one of the most valued marketing tools: verbal consumer-to-consumer communication, which is also known as “word of mouth” (WOM) marketing. However, the tactics used by companies to integrate UGC with their own content and goals has resulted in a blurred line between sponsored content paid by advertisers and UGC independently posted by regular users. Recent attempts to regulate this distinction have struggled to determine how, exactly, audiences can be effectively alerted to paid content on social media platforms, especially Instagram. This study uses the persuasion knowledge model (PKM) as a theoretical framework to examine if and when audiences’ responses to and coping mechanisms are triggered in Instagram. It argues that digital media literacy is especially challenged in UGC platforms, and draws on political economy to suggest that the relationships between producers and consumers has been blurred in favor of the producers. -
The Rise of User-Generated Content
Mashing-up Culture Proceedings from the COUNTER workshop Mashing-up Culture Upp- sala University, May 13-14, 2009 Title: Mashing-up Culture: The Rise of User-generated Content Eds.: Eva Hemmungs Wirtén and Maria Ryman Abstract: These are the proceedings of the first COUNTER workshop “Mashing-up Culture: The Rise of User-generated Content”, Uppsala Uni- versity, May 13-14, 2009. COUNTER is a European research project ex- ploring the consumption of counterfeit and pirated goods. Sampling, remix- ing, mash-ups and appropriation are part of the digital creative milieu of the twenty-first century. Sites such as YouTube and deviantART have offered new outlets for creativity and become hubs for innovative forms of collabo- ration, thus playing their part in challenging modernist notions of what it means to be a creator as well as a consumer. Drawing on this general back- ground, the ten papers presented in these proceedings are examining areas such as: Sampling, mash-ups, and appropriation; Creativity and collabora- tive practices; Creative Industries and intellectual property; Copyright, Cultural Heritage and Cultural Policy; and Formal and informal regulations of intellectual property. The ten authors are all contributing to an interna- tional and interdisciplinary scientific discussion on the mash-up. Mash-ups and user-generated content are social and cultural phenomena which in these papers are put into various contexts, from legal ones, over technology, to the nation as a framework. Keywords: Proceedings (COUNTER Counterfeiting and Piracy Research), Copyright—Adaptions, User-created content COUNTER is funded by the European Commission’s Framework 7 programme. Mashing-up Culture: The Rise of User- generated Content Proceedings from the COUNTER workshop Mashing-up Culture Uppsala University, May 13-14, 2009 Eds.