Advertising and Evaluation of Voice through Digital Media

In this article, the authors propose to apply an innovative methodology (quantitative and qualitative) to evaluate musical performances and telephone sales business techniques, creating commercial artificial speech or voice recognition, tools whose advertising and marketing use can be triggered by chatbots and artificial intelligence, within the Broadband Society and industry 4.0. We use a quantitative methodology, with a statistical sample (non probabilistic convenience sample), to find qualitative results in age and sex targeted people. We propose to apply an innovative methodology to evaluate musical performances, commercials, telephone sales techniques, creating commercial artificial speech or voice recognition. We perform a qualitative final results study based on a questionnaire survey by research staff to causal, through which investigated the impact can be seen through the phone. It tries to explain statistically according to this study see what impact emotionally than others across five variables by calling the questioning. We observe if new technologies and contemporary working practices bringing theatre and performance closer to music in terms of shrinking the separation between the act of performance and the document of performance. We conclude in all the groups after the voice has gone through a mechanical means (telephone), the voice with higher emotional impact is child voice, low male voice, female voice loud, high volumes and serious tones.En este artículo, los autores proponen aplicar una metodología innovadora (cuantitativa y cualitativa) para evaluar los desempeños musicales y las técnicas comerciales de ventas telefónicas, a partir de la voz artificial comercial o reconocimiento de voz, herramientas cuyo uso publicitario y de marketing se puede disparar mediante los chatbots y la inteligencia artificial, dentro de la Sociedad de la Banda Ancha y la industria 4.0. Utilizamos una metodología cuantitativa, mediante una muestra estadística (muestra de conveniencia no probabilística), para encontrar resultados cualitativos en personas de edad y sexo específicos. Proponemos aplicar una metodología innovadora para evaluar interpretaciones o ejecuciones musicales, comerciales, técnicas de venta telefónica, creación de voz artificial comercial o reconocimiento de voz. Realizamos un estudio cualitativo basado en una encuesta realizada previamente, a través de la cual investigamos el impacto que se puede observar a través de llamadas telefónicas. Se intenta explicar estadísticamente el posible impacto emocional en el usuario final a través de cinco variables creadas como indicadores. Observamos si las nuevas tecnologías y medios digitales y los nuevos yacimientos de ocupación contemporáneos surgidos de ello proporcionan a la música rendimiento en términos de reducción de la separación entre la conversación y el anuncio y la obtención de un retorno de la inversión, sea tangible o intangible. Se concluye que en todos los grupos analizados de la muestra, tras recibir el impacto comunicativo de voz a través de un medio mecánico (el teléfono, en este caso), la voz con mayor impacto emocional es la voz infantil, la voz masculina grave, la voz femenina aguda, los volúmenes altos y los tonos graves

Aplicaciones educativas y publicitarias de Whatsapp: el caso de la Universidad

Esta comunicación pretende estudiar el impacto del uso del servicio de mensajería instantánea WhatsApp en el entorno universitario español y plantear opciones de inserción publicitaria. La investigación utiliza técnicas cualitativas y cuantitativas al efecto del uso de los mensajes de texto convencionales, la mensajería instantánea, el posible estrés que genera y el impacto en el entorno académico. El estudio cuantitativo se realizó en la Universidad de Navarra en 2017, siguiendo un modelo de entrevista personal similar al utilizado por Fondevila Gascón et altri (2014), donde se adapta el modelo del test de Kimberly Young de adicción a internet para el uso de mensajería instantánea. Se realizaron un total de 340 entrevistas personales, y, tras depurar la muestra, se descartaron 8 de ellas al encontrar contradicciones en las respuestas para preguntas similares o preguntas sin respuesta. La muestra final está compuesta por 332 entrevistas a jóvenes universitarios, de los cuales 144 son hombres y 188 son mujeres. Se concluye que la comodidad y la gratuidad impulsan el uso educativo de WhatsApp, que la mayoría de los estudiantes utiliza WhatsApp para cuestiones relacionadas con la universidad y pertenece a algún chat grupal relacionado con sus estudios y que es una aplicación utilizada por los universitarios para asuntos académicos, por lo que se podría introducir publicidad nativa del sector. En los primeros estudios se detectó una tendencia a relacionar personalidad con frecuencia de uso y adicción a dichas aplicaciones (Sultan 2013), lo que aparece refrendado en la presente investigación, aunque con un valor añadido aplicado educativo.This paper aims to study the impact of the use of the WhatsApp instant messaging service in the Spanish university environment and to consider options for advertising insertion. The research uses qualitative and quantitative techniques to the effect of the use of conventional text messages, instant messaging, the possible stress it generates and the impact on the academic environment. The quantitative study was carried out at the University of Navarra in 2017, following a personal interview model similar to the one used by Fondevila Gascón et altri (2014), where the Kimberly Young test model of Internet addiction is adapted for the use of messaging snapshot. A total of 340 personal interviews were conducted, and after debugging the sample, 8 of them were discarded when finding contradictions in the answers for similar questions or unanswered questions. The final sample consists of 332 interviews with university students, of which 144 are men and 188 are women. It is concluded that comfort and gratuity drive the educational use of WhatsApp, that most students use WhatsApp for university- related issues and belong to a group chat related to their studies and that it is an application used by university students for matters academics, so you could introduce native advertising in the sector. In the first studies, a tendency to relate personality was detected with frequency of use and addiction to these applications (Sultan 2013), which is confirmed in the present research, although with an added applied educational value

Movilidad e interactividad en el ámbito universitario

La movilidad y la interactividad son dos fenómenos crecientes entre la juventud. Las aplicaciones móviles (apps) están captando la atención de los estudiantes de Universidad, lo que abre un abanico de oportunidades. Utilizando un método de investigación cuantitativo y cualitativo, se estudia la posible utilidad de aplicaciones en el ámbito universitario con un objetivo de entretenimiento. Se concluye que desde la perspectiva estudiantil son bien recibidas las aplicaciones interactivas especializadas en su perfil y que los criterios principales de elección son la calidad y el precio. Se observa una relación significativa entre edad y uso de redes sociales para planificar el entretenimiento. Los estudiantes universitarios españoles, por tanto, necesitan una app especializada que cubra sus necesidades de ocio y entretenimiento de forma digital y eficiente

Influence of Instagram stories in attention and emotion depending on gender

El impacto de los medios y las redes sociales sobre los usuarios es creciente. El hecho de que la actividad comercial esté inundando la mayor parte de redes sociales motiva a indagar sobre los factores de éxito de las publicaciones, y a tratar de determinar si el impacto es mayor o menor en función del género. Llamar la atención y emocionar al usuario o cliente son los principales objetivos de la publicidad, especialmente la interactiva. Esta investigación, de carácter cuantitativo, analiza los datos de las señales psicofisiológicas del nivel atencional y del nivel emocional de las personas teniendo en cuenta el género, a través de Sociograph, cuando visualizan Historias de Instagram de «influencers» reales. Para medir la actividad electrodérmica mediante dos electrodos, se utiliza un instrumento de medición que integra el registro tradicional de la Actividad Electrodérmica (EDA) y procesa la información de los individuos. Se utilizan un cuestionario, la pantalla para la visualización de la Historia de Instagram, las Historias de Instagram de los influencers, un protocolo de registro y una hoja de registro de las secuencias de actividad. Se observa que un mayor número de seguidores implica mayor activación emocional, aunque se traduce en emociones negativas, y una mayor activación emocional en hombres que en mujeres, aunque son ellas las que muestran emociones positivas hacia el vídeo y realizarían acto de compra a través de InstagramThe impact of media and social networks on users is growing. The fact that commercial activity is flooding most social networks motivates us to enquire about the success factors of posts, and to try to determine if the impact is greater or lesser depending on gender. Attracting attention and exciting the user or customer are the main objectives of advertising, especially interactive advertising. This quantitative research measures the psychophysiological signals of the attentional level and the emotional level of people taking into account gender, through Sociograph, when they visualize Instagram stories of real influencers. To measure the electrodermal activity by means of two electrodes, a measurement instrument is used which integrates the traditional register of the Electrodermal Activity (EDA) and processes the information of the individuals. A questionnaire, the screen to display the Instagram story, the Instagram stories of the influencers, a registration protocol and a record sheet of the activity sequences are used. We observed that a greater number of followers implies greater emotional activation, although it translates into negative emotions, and a greater emotional activation in men than in women, although it is they who show positive emotions towards the video and would make an act of purchase through Instagra

Influence of Instagram stories in attention and emotion depending on gender

The impact of media and social networks on users is growing. The fact that commercial activity is flooding most social networks motivates us to enquire about the success factors of posts, and to try to determine if the impact is greater or lesser depending on gender. Attracting attention and exciting the user or customer are the main objectives of advertising, especially interactive advertising. This quantitative research measures the psychophysiological signals of the attentional level and the emotional level of people taking into account gender, through Sociograph, when they visualize Instagram stories of real influencers. To measure the electrodermal activity by means of two electrodes, a measurement instrument is used which integrates the traditional register of the Electrodermal Activity (EDA) and processes the information of the individuals. A questionnaire, the screen to display the Instagram story, the Instagram stories of the influencers, a registration protocol and a record sheet of the activity sequences are used. We observed that a greater number of followers implies greater emotional activation, although it translates into negative emotions, and a greater emotional activation in men than in women, although it is they who show positive emotions towards the video and would make an act of purchase through Instagram

Identification of genetic variants associated with Huntington's disease progression: a genome-wide association study

Background Huntington's disease is caused by a CAG repeat expansion in the huntingtin gene, HTT. Age at onset has been used as a quantitative phenotype in genetic analysis looking for Huntington's disease modifiers, but is hard to define and not always available. Therefore, we aimed to generate a novel measure of disease progression and to identify genetic markers associated with this progression measure. Methods We generated a progression score on the basis of principal component analysis of prospectively acquired longitudinal changes in motor, cognitive, and imaging measures in the 218 indivduals in the TRACK-HD cohort of Huntington's disease gene mutation carriers (data collected 2008–11). We generated a parallel progression score using data from 1773 previously genotyped participants from the European Huntington's Disease Network REGISTRY study of Huntington's disease mutation carriers (data collected 2003–13). We did a genome-wide association analyses in terms of progression for 216 TRACK-HD participants and 1773 REGISTRY participants, then a meta-analysis of these results was undertaken. Findings Longitudinal motor, cognitive, and imaging scores were correlated with each other in TRACK-HD participants, justifying use of a single, cross-domain measure of disease progression in both studies. The TRACK-HD and REGISTRY progression measures were correlated with each other (r=0·674), and with age at onset (TRACK-HD, r=0·315; REGISTRY, r=0·234). The meta-analysis of progression in TRACK-HD and REGISTRY gave a genome-wide significant signal (p=1·12 × 10−10) on chromosome 5 spanning three genes: MSH3, DHFR, and MTRNR2L2. The genes in this locus were associated with progression in TRACK-HD (MSH3 p=2·94 × 10−8 DHFR p=8·37 × 10−7 MTRNR2L2 p=2·15 × 10−9) and to a lesser extent in REGISTRY (MSH3 p=9·36 × 10−4 DHFR p=8·45 × 10−4 MTRNR2L2 p=1·20 × 10−3). The lead single nucleotide polymorphism (SNP) in TRACK-HD (rs557874766) was genome-wide significant in the meta-analysis (p=1·58 × 10−8), and encodes an aminoacid change (Pro67Ala) in MSH3. In TRACK-HD, each copy of the minor allele at this SNP was associated with a 0·4 units per year (95% CI 0·16–0·66) reduction in the rate of change of the Unified Huntington's Disease Rating Scale (UHDRS) Total Motor Score, and a reduction of 0·12 units per year (95% CI 0·06–0·18) in the rate of change of UHDRS Total Functional Capacity score. These associations remained significant after adjusting for age of onset. Interpretation The multidomain progression measure in TRACK-HD was associated with a functional variant that was genome-wide significant in our meta-analysis. The association in only 216 participants implies that the progression measure is a sensitive reflection of disease burden, that the effect size at this locus is large, or both. Knockout of Msh3 reduces somatic expansion in Huntington's disease mouse models, suggesting this mechanism as an area for future therapeutic investigation

Taking the pulse of Earth's tropical forests using networks of highly distributed plots

Tropical forests are the most diverse and productive ecosystems on Earth. While better understanding of these forests is critical for our collective future, until quite recently efforts to measure and monitor them have been largely disconnected. Networking is essential to discover the answers to questions that transcend borders and the horizons of funding agencies. Here we show how a global community is responding to the challenges of tropical ecosystem research with diverse teams measuring forests tree-by-tree in thousands of long-term plots. We review the major scientific discoveries of this work and show how this process is changing tropical forest science. Our core approach involves linking long-term grassroots initiatives with standardized protocols and data management to generate robust scaled-up results. By connecting tropical researchers and elevating their status, our Social Research Network model recognises the key role of the data originator in scientific discovery. Conceived in 1999 with RAINFOR (South America), our permanent plot networks have been adapted to Africa (AfriTRON) and Southeast Asia (T-FORCES) and widely emulated worldwide. Now these multiple initiatives are integrated via ForestPlots.net cyber-infrastructure, linking colleagues from 54 countries across 24 plot networks. Collectively these are transforming understanding of tropical forests and their biospheric role. Together we have discovered how, where and why forest carbon and biodiversity are responding to climate change, and how they feedback on it. This long-term pan-tropical collaboration has revealed a large long-term carbon sink and its trends, as well as making clear which drivers are most important, which forest processes are affected, where they are changing, what the lags are, and the likely future responses of tropical forests as the climate continues to change. By leveraging a remarkably old technology, plot networks are sparking a very modern revolution in tropical forest science. In the future, humanity can benefit greatly by nurturing the grassroots communities now collectively capable of generating unique, long-term understanding of Earth's most precious forests.Additional co-authors: Susan Laurance, William Laurance, Francoise Yoko Ishida, Andrew Marshall, Catherine Waite, Hannsjoerg Woell, Jean-Francois Bastin, Marijn Bauters, Hans Beeckman, Pfascal Boeckx, Jan Bogaert, Charles De Canniere, Thales de Haulleville, Jean-Louis Doucet, Olivier Hardy, Wannes Hubau, Elizabeth Kearsley, Hans Verbeeck, Jason Vleminckx, Steven W. Brewer, Alfredo Alarcón, Alejandro Araujo-Murakami, Eric Arets, Luzmila Arroyo, Ezequiel Chavez, Todd Fredericksen, René Guillén Villaroel, Gloria Gutierrez Sibauty, Timothy Killeen, Juan Carlos Licona, John Lleigue, Casimiro Mendoza, Samaria Murakami, Alexander Parada Gutierrez, Guido Pardo, Marielos Peña-Claros, Lourens Poorter, Marisol Toledo, Jeanneth Villalobos Cayo, Laura Jessica Viscarra, Vincent Vos, Jorge Ahumada, Everton Almeida, Jarcilene Almeida, Edmar Almeida de Oliveira, Wesley Alves da Cruz, Atila Alves de Oliveira, Fabrício Alvim Carvalho, Flávio Amorim Obermuller, Ana Andrade, Fernanda Antunes Carvalho, Simone Aparecida Vieira, Ana Carla Aquino, Luiz Aragão, Ana Claudia Araújo, Marco Antonio Assis, Jose Ataliba Mantelli Aboin Gomes, Fabrício Baccaro, Plínio Barbosa de Camargo, Paulo Barni, Jorcely Barroso, Luis Carlos Bernacci, Kauane Bordin, Marcelo Brilhante de Medeiros, Igor Broggio, José Luís Camargo, Domingos Cardoso, Maria Antonia Carniello, Andre Luis Casarin Rochelle, Carolina Castilho, Antonio Alberto Jorge Farias Castro, Wendeson Castro, Sabina Cerruto Ribeiro, Flávia Costa, Rodrigo Costa de Oliveira, Italo Coutinho, John Cunha, Lola da Costa, Lucia da Costa Ferreira, Richarlly da Costa Silva, Marta da Graça Zacarias Simbine, Vitor de Andrade Kamimura, Haroldo Cavalcante de Lima, Lia de Oliveira Melo, Luciano de Queiroz, José Romualdo de Sousa Lima, Mário do Espírito Santo, Tomas Domingues, Nayane Cristina dos Santos Prestes, Steffan Eduardo Silva Carneiro, Fernando Elias, Gabriel Eliseu, Thaise Emilio, Camila Laís Farrapo, Letícia Fernandes, Gustavo Ferreira, Joice Ferreira, Leandro Ferreira, Socorro Ferreira, Marcelo Fragomeni Simon, Maria Aparecida Freitas, Queila S. García, Angelo Gilberto Manzatto, Paulo Graça, Frederico Guilherme, Eduardo Hase, Niro Higuchi, Mariana Iguatemy, Reinaldo Imbrozio Barbosa, Margarita Jaramillo, Carlos Joly, Joice Klipel, Iêda Leão do Amaral, Carolina Levis, Antonio S. Lima, Maurício Lima Dan, Aline Lopes, Herison Madeiros, William E. Magnusson, Rubens Manoel dos Santos, Beatriz Marimon, Ben Hur Marimon Junior, Roberta Marotti Martelletti Grillo, Luiz Martinelli, Simone Matias Reis, Salomão Medeiros, Milton Meira-Junior, Thiago Metzker, Paulo Morandi, Natanael Moreira do Nascimento, Magna Moura, Sandra Cristina Müller, Laszlo Nagy, Henrique Nascimento, Marcelo Nascimento, Adriano Nogueira Lima, Raimunda Oliveira de Araújo, Jhonathan Oliveira Silva, Marcelo Pansonato, Gabriel Pavan Sabino, Karla Maria Pedra de Abreu, Pablo José Francisco Pena Rodrigues, Maria Piedade, Domingos Rodrigues, José Roberto Rodrigues Pinto, Carlos Quesada, Eliana Ramos, Rafael Ramos, Priscyla Rodrigues, Thaiane Rodrigues de Sousa, Rafael Salomão, Flávia Santana, Marcos Scaranello, Rodrigo Scarton Bergamin, Juliana Schietti, Jochen Schöngart, Gustavo Schwartz, Natalino Silva, Marcos Silveira, Cristiana Simão Seixas, Marta Simbine, Ana Claudia Souza, Priscila Souza, Rodolfo Souza, Tereza Sposito, Edson Stefani Junior, Julio Daniel do Vale, Ima Célia Guimarães Vieira, Dora Villela, Marcos Vital, Haron Xaud, Katia Zanini, Charles Eugene Zartman, Nur Khalish Hafizhah Ideris, Faizah binti Hj Metali, Kamariah Abu Salim, Muhd Shahruney Saparudin, Rafizah Mat Serudin, Rahayu Sukmaria Sukri, Serge Begne, George Chuyong, Marie Noel Djuikouo, Christelle Gonmadje, Murielle Simo-Droissart, Bonaventure Sonké, Hermann Taedoumg, Lise Zemagho, Sean Thomas, Fidèle Baya, Gustavo Saiz, Javier Silva Espejo, Dexiang Chen, Alan Hamilton, Yide Li, Tushou Luo, Shukui Niu, Han Xu, Zhang Zhou, Esteban Álvarez-Dávila, Juan Carlos Andrés Escobar, Henry Arellano-Peña, Jaime Cabezas Duarte, Jhon Calderón, Lina Maria Corrales Bravo, Borish Cuadrado, Hermes Cuadros, Alvaro Duque, Luisa Fernanda Duque, Sandra Milena Espinosa, Rebeca Franke-Ante, Hernando García, Alejandro Gómez, Roy González-M., Álvaro Idárraga-Piedrahíta, Eliana Jimenez, Rubén Jurado, Wilmar López Oviedo, René López-Camacho, Omar Aurelio Melo Cruz, Irina Mendoza Polo, Edwin Paky, Karen Pérez, Angel Pijachi, Camila Pizano, Adriana Prieto, Laura Ramos, Zorayda Restrepo Correa, James Richardson, Elkin Rodríguez, Gina M. Rodriguez M., Agustín Rudas, Pablo Stevenson, Markéta Chudomelová, Martin Dancak, Radim Hédl, Stanislav Lhota, Martin Svatek, Jacques Mukinzi, Corneille Ewango, Terese Hart, Emmanuel Kasongo Yakusu, Janvier Lisingo, Jean-Remy Makana, Faustin Mbayu, Benjamin Toirambe, John Tshibamba Mukendi, Lars Kvist, Gustav Nebel, Selene Báez, Carlos Céron, Daniel M. Griffith, Juan Ernesto Guevara Andino, David Neill, Walter Palacios, Maria Cristina Peñuela-Mora, Gonzalo Rivas-Torres, Gorky Villa, Sheleme Demissie, Tadesse Gole, Techane Gonfa, Kalle Ruokolainen, Michel Baisie, Fabrice Bénédet, Wemo Betian, Vincent Bezard, Damien Bonal, Jerôme Chave, Vincent Droissart, Sylvie Gourlet-Fleury, Annette Hladik, Nicolas Labrière, Pétrus Naisso, Maxime Réjou-Méchain, Plinio Sist, Lilian Blanc, Benoit Burban, Géraldine Derroire, Aurélie Dourdain, Clement Stahl, Natacha Nssi Bengone, Eric Chezeaux, Fidèle Evouna Ondo, Vincent Medjibe, Vianet Mihindou, Lee White, Heike Culmsee, Cristabel Durán Rangel, Viviana Horna, Florian Wittmann, Stephen Adu-Bredu, Kofi Affum-Baffoe, Ernest Foli, Michael Balinga, Anand Roopsind, James Singh, Raquel Thomas, Roderick Zagt, Indu K. Murthy, Kuswata Kartawinata, Edi Mirmanto, Hari Priyadi, Ismayadi Samsoedin, Terry Sunderland, Ishak Yassir, Francesco Rovero, Barbara Vinceti, Bruno Hérault, Shin-Ichiro Aiba, Kanehiro Kitayama, Armandu Daniels, Darlington Tuagben, John T. Woods, Muhammad Fitriadi, Alexander Karolus, Kho Lip Khoon, Noreen Majalap, Colin Maycock, Reuben Nilus, Sylvester Tan, Almeida Sitoe, Indiana Coronado G., Lucas Ojo, Rafael de Assis, Axel Dalberg Poulsen, Douglas Sheil, Karen Arévalo Pezo, Hans Buttgenbach Verde, Victor Chama Moscoso, Jimmy Cesar Cordova Oroche, Fernando Cornejo Valverde, Massiel Corrales Medina, Nallaret Davila Cardozo, Jano de Rutte Corzo, Jhon del Aguila Pasquel, Gerardo Flores Llampazo, Luis Freitas, Darcy Galiano Cabrera, Roosevelt García Villacorta, Karina Garcia Cabrera, Diego García Soria, Leticia Gatica Saboya, Julio Miguel Grandez Rios, Gabriel Hidalgo Pizango, Eurídice Honorio Coronado, Isau Huamantupa-Chuquimaco, Walter Huaraca Huasco, Yuri Tomas Huillca Aedo, Jose Luis Marcelo Peña, Abel Monteagudo Mendoza, Vanesa Moreano Rodriguez, Percy Núñez Vargas, Sonia Cesarina Palacios Ramos, Nadir Pallqui Camacho, Antonio Peña Cruz, Freddy Ramirez Arevalo, José Reyna Huaymacari, Carlos Reynel Rodriguez, Marcos Antonio Ríos Paredes, Lily Rodriguez Bayona, Rocio del Pilar Rojas Gonzales, Maria Elena Rojas Peña, Norma Salinas Revilla, Yahn Carlos Soto Shareva, Raul Tupayachi Trujillo, Luis Valenzuela Gamarra, Rodolfo Vasquez Martinez, Jim Vega Arenas, Christian Amani, Suspense Averti Ifo, Yannick Bocko, Patrick Boundja, Romeo Ekoungoulou, Mireille Hockemba, Donatien Nzala, Alusine Fofanah, David Taylor, Guillermo Bañares-de Dios, Luis Cayuela, Íñigo Granzow-de la Cerda, Manuel Macía, Juliana Stropp, Maureen Playfair, Verginia Wortel, Toby Gardner, Robert Muscarella, Hari Priyadi, Ervan Rutishauser, Kuo-Jung Chao, Pantaleo Munishi, Olaf Bánki, Frans Bongers, Rene Boot, Gabriella Fredriksson, Jan Reitsma, Hans ter Steege, Tinde van Andel, Peter van de Meer, Peter van der Hout, Mark van Nieuwstadt, Bert van Ulft, Elmar Veenendaal, Ronald Vernimmen, Pieter Zuidema, Joeri Zwerts, Perpetra Akite, Robert Bitariho, Colin Chapman, Eilu Gerald, Miguel Leal, Patrick Mucunguzi, Miguel Alexiades, Timothy R. Baker, Karina Banda, Lindsay Banin, Jos Barlow, Amy Bennett, Erika Berenguer, Nicholas Berry, Neil M. Bird, George A. Blackburn, Francis Brearley, Roel Brienen, David Burslem, Lidiany Carvalho, Percival Cho, Fernanda Coelho, Murray Collins, David Coomes, Aida Cuni-Sanchez, Greta Dargie, Kyle Dexter, Mat Disney, Freddie Draper, Muying Duan, Adriane Esquivel-Muelbert, Robert Ewers, Belen Fadrique, Sophie Fauset, Ted R. Feldpausch, Filipe França, David Galbraith, Martin Gilpin, Emanuel Gloor, John Grace, Keith Hamer, David Harris, Tommaso Jucker, Michelle Kalamandeen, Bente Klitgaard, Aurora Levesley, Simon L. Lewis, Jeremy Lindsell, Gabriela Lopez-Gonzalez, Jon Lovett, Yadvinder Malhi, Toby Marthews, Emma McIntosh, Karina Melgaço, William Milliken, Edward Mitchard, Peter Moonlight, Sam Moore, Alexandra Morel, Julie Peacock, Kelvin Peh, Colin Pendry, R. Toby Pennington, Luciana de Oliveira Pereira, Carlos Peres, Oliver L. Phillips, Georgia Pickavance, Thomas Pugh, Lan Qie, Terhi Riutta, Katherine Roucoux, Casey Ryan, Tiina Sarkinen, Camila Silva Valeria, Dominick Spracklen, Suzanne Stas, Martin Sullivan, Michael Swaine, Joey Talbot, James Taplin, Geertje van der Heijden, Laura Vedovato, Simon Willcock, Mathew Williams, Luciana Alves, Patricia Alvarez Loayza, Gabriel Arellano, Cheryl Asa, Peter Ashton, Gregory Asner, Terry Brncic, Foster Brown, Robyn Burnham, Connie Clark, James Comiskey, Gabriel Damasco, Stuart Davies, Tony Di Fiore, Terry Erwin, William Farfan-Rios, Jefferson Hall, David Kenfack, Thomas Lovejoy, Roberta Martin, Olga Martha Montiel, John Pipoly, Nigel Pitman, John Poulsen, Richard Primack, Miles Silman, Marc Steininger, Varun Swamy, John Terborgh, Duncan Thomas, Peter Umunay, Maria Uriarte, Emilio Vilanova Torre, Ophelia Wang, Kenneth Young, Gerardo A. Aymard C., Lionel Hernández, Rafael Herrera Fernández, Hirma Ramírez-Angulo, Pedro Salcedo, Elio Sanoja, Julio Serrano, Armando Torres-Lezama, Tinh Cong Le, Trai Trong Le, Hieu Dang Tra

Gender equality and UN sustainable development goals: priorities and correlations in the top business schools’ communication and legitimation strategies

Gender equality is still an issue in business schools, since women in MBAs classrooms, in faculty and in management teams have low representation. Challenges caused by lack of financial aids, salaries gap and a very masculine model avoid a better gender balance in the business graduate schools, which, globally, should lead women personal and professional development. The main objective of this research is to analyse business schools communication priorities related to gender equality projects and policies in their sustainability reports, considering these as a fundamental tool for corporate legitimacy. Through a content analysis of the sustainable reports of the top 50 business schools of the world, we elaborate a “Codes Frequency Report” focusing on “Goal 4: quality of education” (in relation with scholarships and grants allocation) and “Goal 5: gender equality” and we explore the correlations with the schools’ ranking positions, the price of the MBA programmes, the percentage of female MBA students, of female faculty members and women in board of directors in the different geographical areas as Europe, US and Asia. Results show that gender equality related topics are a source of positive impact and legitimacy for top business schools

Nuevas narrativas publicitarias televisivas: la interactividad y la métrica en el HbbTV

La progressiva penetració de l’estàndard HbbTV (Hybrid broadcast broadband Television) trenca els esquemes tradicionals de mesura d’audiència televisiva, ja que, en continguts interactius, el teleespectador pot derivar cap a continguts en línia. Això suscita situacions alegals, com el control de la durada de visita a un anunci, i nous debats sobre el control d’audiències, ja que es pot considerar visita única, o segmentar les mètriques audiovisuals de les d’Internet. En aquesta investigació quantitativa, s’analitzen les dades d’una enquesta sobre HbbTV a Espanya, a professionals del sector, sobre com mesurar de manera integrada les dades aconseguides per visita del teleespectador i els minuts de seguiment. Es conclou que cal mesurar de manera integrada les dades aconseguides per visita, però que cal delimitar els minuts de seguiment a través d’Internet dels televisius.PARAULES CLAU: televisió, HbbTV, publicitat, audiència, Internet, interactivitat.The progressive penetration of the HbbTV (Hybrid Broadcast Broadband Television) standard is breaking the traditional patterns of television audience measurement since, in interactive content, the viewer may gravitate towards online content. This raises a number of legal questions, such as the control of the duration of the visit to an advertisement, and new debates on the control of audiences, since a visit may be considered a single unit or the audiovisual metrics of the Internet may be segmented. In this quantitative research, an analysis is made of the data from a survey conducted on HbbTV in Spain among professionals of the sector, which was focused on how to measure, in an integrated way, the data obtained for the visit of a viewer and the minutes of watch time. We conclude that it is necessary to measure in an integrated way the data obtained per visit, but that the minutes of follow-up through the Internet should be separated from the TV watch time.KEYWORDS: television, HbbTV, advertising, audience, Internet, interactivity.La progressiva penetració de l’estàndard HbbTV (Hybrid broadcast broadband Television) trenca els esquemes tradicionals de mesura d’audiència televisiva, ja que, en continguts interactius, el teleespectador pot derivar cap a continguts en línia. Això suscita situacions alegals, com el control de la durada de visita a un anunci, i nous debats sobre el control d’audiències, ja que es pot considerar visita única, o segmentar les mètriques audiovisuals de les d’Internet. En aquesta investigació quantitativa, s’analitzen les dades d’una enquesta sobre HbbTV a Espanya, a professionals del sector, sobre com mesurar de manera integrada les dades aconseguides per visita del teleespectador i els minuts de seguiment. Es conclou que cal mesurar de manera integrada les dades aconseguides per visita, però que cal delimitar els minuts de seguiment a través d’Internet dels televisius.PARAULES CLAU: televisió, HbbTV, publicitat, audiència, Internet, interactivitat