3 research outputs found
Population genomics of <i>Escherichia coli</i> in livestock-keeping households across a rapidly developing urban landscape
Get PDFQuantitative evidence for the risk of zoonoses and the spread of antimicrobial resistance remains lacking. Here, as part of the UrbanZoo project, we sampled Escherichia coli from humans, livestock and peri-domestic wildlife in 99 households across Nairobi, Kenya, to investigate its distribution among host species in this rapidly developing urban landscape. We performed whole-genome sequencing of 1,338 E. coli isolates and found that the diversity and sharing patterns of E. coli were heavily structured by household and strongly shaped by host type. We also found evidence for inter-household and inter-host sharing and, importantly, between humans and animals, although this occurs much less frequently. Resistome similarity was differently distributed across host and household, consistent with being driven by shared exposure to antimicrobials. Our results indicate that a large, epidemiologically structured sampling framework combined with WGS is needed to uncover strain-sharing events among different host populations in complex environments and the major contributing pathways that could ultimately drive the emergence of zoonoses and the spread of antimicrobial resistance
Cutting through the silent content soup : A qualitative study about video marketing strategies and muted video in the music industry
No full textMusikindustrin stĂ€lls idag mot en utmaning nĂ€r innehĂ„ll pĂ„ sociala medier ses utan ljud, vilket kan ha en negativ inverkan pĂ„ effektiviteten av budskap och annonsering. Denna studie har undersökt hur marknadsförare inom den svenska musikindustrin förhĂ„ller sig till ljudlös uppspelning av rörligt innehĂ„ll pĂ„ sociala medier och vilka strategier de anvĂ€nder för att nĂ„ ut med rörligt innehĂ„ll pĂ„ sociala medie-plattformar. Fem marknadsförare inom svensk musikindustri deltog i kvalitativa intervjuer. Tre av respondenterna representerar arrangörer för liveevent och tvĂ„ respondenter representerar skivbolag. Resultatet visade pĂ„ varierat förhĂ„llningssĂ€tt till fenomenet om ljudlös uppspelning. NĂ„gra marknadsförare sĂ„g pĂ„ ljudlös uppspelning som problematiskt, medan nĂ„gra inte sĂ„g ljudlösa förhĂ„llanden som ett problem. En möjlig förklaring kan vara ökad anvĂ€ndning av ljudbaserade plattformar, sĂ„som TikTok. Resultaten identifierade ett flertal strategier relaterade till ljud i rörligt innehĂ„ll pĂ„ sociala medier. De flesta instĂ€mde med strategier som identifierats i tidigare studier och kĂ€llor, medan ett fĂ„tal kunde betraktas som ett nytt tillĂ€gg till det nuvarande kunskapslĂ€get. Studien bidrar till befintlig forskning om ljudlös reklam och musikmarknadsföringsstrategier i sociala medier. The music industry faces challenges when content on social media is consumed without sound, potentially making messages and advertising less effective. This study examined how marketers within the Swedish music industry relate to soundless video play on social media, and what strategies they use relating to sound on social platforms. Five marketers within the Swedish music industry participated in qualitative interviews â three of the participants work at concert and event organizers and two participants work at record labels. The interviews showed varied approaches to the phenomenon of soundless videos. Some marketers regarded muted conditions as problematic, whereas some did not consider soundless play an issue. A possible explanation might be the increased utilization of sound based platforms such as TikTok. The results identified several strategies relating to sound in video marketing on social media. Most concurred with strategies identified in previous studies and sources, whereas a few could be considered a new addition to the current state of knowledge. This study contributes to research on soundless advertising and music marketing strategies in social media.
Cutting through the silent content soup : A qualitative study about video marketing strategies and muted video in the music industry
No full textMusikindustrin stĂ€lls idag mot en utmaning nĂ€r innehĂ„ll pĂ„ sociala medier ses utan ljud, vilket kan ha en negativ inverkan pĂ„ effektiviteten av budskap och annonsering. Denna studie har undersökt hur marknadsförare inom den svenska musikindustrin förhĂ„ller sig till ljudlös uppspelning av rörligt innehĂ„ll pĂ„ sociala medier och vilka strategier de anvĂ€nder för att nĂ„ ut med rörligt innehĂ„ll pĂ„ sociala medie-plattformar. Fem marknadsförare inom svensk musikindustri deltog i kvalitativa intervjuer. Tre av respondenterna representerar arrangörer för liveevent och tvĂ„ respondenter representerar skivbolag. Resultatet visade pĂ„ varierat förhĂ„llningssĂ€tt till fenomenet om ljudlös uppspelning. NĂ„gra marknadsförare sĂ„g pĂ„ ljudlös uppspelning som problematiskt, medan nĂ„gra inte sĂ„g ljudlösa förhĂ„llanden som ett problem. En möjlig förklaring kan vara ökad anvĂ€ndning av ljudbaserade plattformar, sĂ„som TikTok. Resultaten identifierade ett flertal strategier relaterade till ljud i rörligt innehĂ„ll pĂ„ sociala medier. De flesta instĂ€mde med strategier som identifierats i tidigare studier och kĂ€llor, medan ett fĂ„tal kunde betraktas som ett nytt tillĂ€gg till det nuvarande kunskapslĂ€get. Studien bidrar till befintlig forskning om ljudlös reklam och musikmarknadsföringsstrategier i sociala medier. The music industry faces challenges when content on social media is consumed without sound, potentially making messages and advertising less effective. This study examined how marketers within the Swedish music industry relate to soundless video play on social media, and what strategies they use relating to sound on social platforms. Five marketers within the Swedish music industry participated in qualitative interviews â three of the participants work at concert and event organizers and two participants work at record labels. The interviews showed varied approaches to the phenomenon of soundless videos. Some marketers regarded muted conditions as problematic, whereas some did not consider soundless play an issue. A possible explanation might be the increased utilization of sound based platforms such as TikTok. The results identified several strategies relating to sound in video marketing on social media. Most concurred with strategies identified in previous studies and sources, whereas a few could be considered a new addition to the current state of knowledge. This study contributes to research on soundless advertising and music marketing strategies in social media.
