Marketing Graffiti

The everyman\u27s guide to successful marketing, using the real world to clearly illustrate basic marketing concepts. Radical and illuminating, Marketing Graffiti turns the traditional focus of most marketing texts on its head to present a fluid, functional and far-reaching text for students and all types of readers. Most marketing text books discuss the subject as a business function- how to \u27do\u27 marketing in companies and other organizations. Marketing Graffiti takes a different approach; it is not just about being a marketing manager. Marketing is all encompassing nowadays. Rejecting the managerially-driven structures normally imposed on the subject, Saren explains marketing from the perspective of the pivotal figure in the process: the consumer. He addresses readers as active consumers and producers of marketing, and therefore already well-equipped to appreciate the rationale and practice behind the process. Critically examining the wide range of products, businesses, technologies, information, services, ads, packaging and branding, Saren utilizes everyday images and phenomena to draw out the conceptual foundations of marketing in its social and cultural context that we all experience. By taking this alternative approach - linking the abstract concepts to the everyday world the reader already knows -Marketing Graffiti explains marketing as consumers experience it, as active participants in it reflecting the variety in the bricollage subject that is marketing

Consuming music?

Abstract Inspired by Askegaard's thought-provoking commentary in Marketing Theory, this response argues that music is not 'consumed'. Furthermore, there are many other market contexts where the consumption metaphor is unsuitable. The contemporary meaning of the term derives from its use by early economists like Adam Smith who labelled 'consumption' as the opposite of 'production'. Some of the theoretical and ontological issues underlying the dominance of the concept of consumption in marketing are discussed. Finally, some possible alternatives to consumption as the master narrative are identified, such as those based on experience, service, value, utility, use, satisfaction, pleasure, welfare or well-being

A conceptual approach to the tourist value co-creation:Dimensions, antecedents and consequences

In the last decades, several studies related to the Service-Dominant Logic approach were carried out, where the tourism industry is not an exception. As such, multiple works associated with this research stream have been developed, with a special focus on the tourist value co-creation. This article presents a conceptual model that aims to aggregate the various dimensions of customer value co-creation with its antecedent and consequent factors in the tourism industry. On the other hand, it proposes practical implications for the tourist organizations building on conceptual contributions. Thus, this article reveals the importance of other constructs of tourist value cocreation which surpass the behavioral dimension of the customer, namely, attitude, significance and recognition. Furthermore, this study systematizes the multiplicity of antecedent and consequent factors, recognizing that they may be grouped into factors associated to the company as well as to the customer.8316-FD77-85EB | Pedro Miguel Fonseca Moreira de Carvalhoinfo:eu-repo/semantics/publishedVersio

Reorganizing public value for city life in the Anthropocene

Public value and city governance are fundamental notions in contemporary settings, but, currently conceived, they are not fit for the challenges presented by the proposed new epoch of geological time – the Anthropocene. Walking through the locked-down streets or calle of Venice, we face the sudden emptiness that starkly reveals the impact of human activity on the city and its waterways. Reflecting on the walk, our starting point is to problematize how a city organizes and manages public value and what actually constitutes public value. In this, we develop a new definition, ‘New Public Value for the Anthropocene Epoch’ (NPVA), which expands the notion of public value through the questions: ‘who’ is it valuable to do things for, beyond humans and economic actors, building on a relational epistemology to incorporate the planet and its biosphere; and ‘what’ is valuable to do, in order to ensure the inclusion of social, environmental, and cultural values alongside economic values. We conclude by arguing that NPVA is organized across scales in a manner that embeds global attentiveness towards local ecosystems solutions to drive the global response to the environmental crisis we all face

Reorganizing public value for city life in the Anthropocene

Public value and city governance are fundamental notions in contemporary settings, but, currently conceived, they are not fit for the challenges presented by the proposed new epoch of geological time – the Anthropocene. Walking through the locked-down streets or calle of Venice, we face the sudden emptiness that starkly reveals the impact of human activity on the city and its waterways. Reflecting on the walk, our starting point is to problematize how a city organizes and manages public value and what actually constitutes public value. In this, we develop a new definition, ‘New Public Value for the Anthropocene Epoch’ (NPVA), which expands the notion of public value through the questions: ‘who’ is it valuable to do things for, beyond humans and economic actors, building on a relational epistemology to incorporate the planet and its biosphere; and ‘what’ is valuable to do, in order to ensure the inclusion of social, environmental, and cultural values alongside economic values. We conclude by arguing that NPVA is organized across scales in a manner that embeds global attentiveness towards local ecosystems solutions to drive the global response to the environmental crisis we all face

Stories of value:Business model innovation adding value propositions articulated by Slow Storytelling

This article proposes an empirically derived method, Slow Storytelling, to construct and articulate value propositions, as a contribution to Business Model Innovation. Organizational actors and customers must be clear on what value an enterprise, product or service offers. This is increasingly important for products and services that leverage social, cultural, and environmental values. However, few existing models provide the framework and method to facilitate business articulation of value proposition for stakeholders. Our participatory ethnographic study conducted before and during COVID-19 in craft micro-enterprises in Uzbekistan addresses this gap. We co-created a novel method, ‘Slow Storytelling’, to innovate, enhance and articulate value propositions, by mobilizing and communicating the social, cultural, and environmental values; for example, by explaining the lived and sustainable history of the product. The method consists of eight steps to elicit consumers’ emotional connection with craft producers and trigger attention towards their social and environmental impact. Slow Storytelling can be adopted beyond our craft setting, to support the construction and articulation of value propositions

Marketing Graffiti

Rejecting the managerially-driven structures normally imposed on the subject, Saren explains marketing from the perspective of the pivotal figure in the process: the consumer. He addresses readers as active consumers and producers of marketing, and therefore already well-equipped to appreciate the rationale and practice behind the process.Critically examining the wide range of products, businesses, technologies, information, services, ads, packaging and branding, Saren utilizes everyday images and phenomena to draw out the conceptual foundations of marketing in its social and cultural context that we all experience.By taking this alternative approach - linking the abstract concepts to the everyday world the reader already knows -Marketing Graffiti explains marketing as consumers experience it, as active participants in it reflecting the variety in the bricollage subject that is marketing.</p