Made available in DSpace on 2016-07-27T13:45:11Z (GMT). No. of bitstreams: 1 MARLUCE ZACARIOTTI.pdf: 2083024 bytes, checksum: 56ab12a3c01ab835ddfb8f860d180688 (MD5) Previous issue date: 2015-08-28 / This text addresses the (in) visibility of youths (tribes) in postmodernity, with the assumption that in the virtual spaces of confluence between technology and art they can gain visibility. The approach is anchored in theory, especially in the French thinker Michel Maffesoli, whose method the comprehensive sociology. The theoretical framework articulated the maffesoliano thought to youths as a category or metaphor way of being youthful and technological implications in the process of interaction, mediation and empowerment of youth aesthetic expressions. We use Maffesoli notions as categories to understand the new forms of tribes sociality through their various art forms in cyberspace. Flash Mobs descriptions and analyzes demonstrations posted on YouTube videos and groups that maintain website - Facebook pages for dissemination of artistic and cultural meetings mediated by cyberspace allowed realize that not all tribes operate through the same dynamic, which it led us to develop the idea of intensity of youth practices both in terms of the forms of ownership, such as how to relate to what was appropriate. The aestheticemotional bias leads to identify the mode of being youthful with a Dionysian spirit. As Aphrodite s metaphor (sensuality referred not only to sexuality, but freedom is sought in living without rules, a return to nature) that, for us, also round the being-together of the tribes. Therefore we find in the artistic frames a visibility of youths plenty the dialogue on physical and virtual interface and occupy public spaces in the city. / Este trabalho aborda a (in) visibilidade das juventudes (tribos) na pós-modernidade, tendo como pressuposto que nos espaços virtuais de confluência entre a tecnologia e a arte elas podem ganhar visibilidade. A abordagem ancora-se teoricamente, principalmente, no pensador francês Michel Maffesoli, tendo como método a sociologia compreensiva. A sustentação teórica articulou o pensamento maffesoliano às juventudes como categoria ou metáfora de um modo de ser juvenil e às implicações tecnológicas no processo de interação, mediação e potencialização das expressões estéticas juvenis. Utilizamos as noções de Maffesoli como categorias para compreender as novas formas de socialidade das tribos por meio de suas diversas manifestações artísticas na cibercultura. As descrições e análises das manifestações de Flash Mobs postadas em vídeos do Youtube e grupos que mantêm Site-páginas de Facebook destinados à divulgação de encontros artísticoculturais mediados pelo ciberespaço permitiram perceber que nem todas as tribos funcionam por meio da mesma dinâmica, o que nos levou a elaborar a ideia de intensidade das práticas juvenis tanto em termos das formas de apropriar-se, como do modo de relacionar-se com o que foi apropriado. O viés estético-emocional conduz a identificação do modo de ser juvenil com um espírito dionisíaco. Assim como a metáfora de Afrodite (sensualidade que se refere não apenas à sexualidade, mas à liberdade que se busca na vivência sem regras, a um retorno à natureza) que, para nós, também ronda o estar-junto das tribos. Deparamos, portanto, com muitas possibilidades de visibilidade das juventudes nas tramas artísticas que dialogam na interface físico-virtual e ocupam os espaços públicos da cidade.

Este trabalho aborda a (in) visibilidade das juventudes (tribos) na pós-modernidade, tendo como pressuposto que nos espaços virtuais de confluência entre a tecnologia e a arte elas podem ganhar visibilidade. A abordagem ancora-se teoricamente, principalmente, no pensador francês Michel Maffesoli, tendo como método a sociologia compreensiva. A sustentação teórica articulou o pensamento maffesoliano às juventudes como categoria ou metáfora de um modo de ser juvenil e às implicações tecnológicas no processo de interação, mediação e potencialização das expressões estéticas juvenis. Utilizamos as noções de Maffesoli como categorias para compreender as novas formas de socialidade das tribos por meio de suas diversas manifestações artísticas na cibercultura. As descrições e análises das manifestações de Flash Mobs postadas em vídeos do Youtube e grupos que mantêm Site/páginas de Facebook destinados à divulgação de encontros artístico-culturais mediados pelo ciberespaço permitiram perceber que nem todas as tribos funcionam por meio da mesma dinâmica, o que nos levou a elaborar a ideia de intensidade das práticas juvenis tanto em termos das formas de apropriar-se, como do modo de relacionar-se com o que foi apropriado. O viés estético-emocional conduz a identificação do modo de ser juvenil com um espírito dionisíaco. Assim como a metáfora de Afrodite (sensualidade que se refere não apenas à sexualidade, mas à liberdade que se busca na vivência sem regras, a um retorno à natureza) que, para nós, também ronda o estar-junto das tribos. Deparamos, portanto, com muitas possibilidades de visibilidade das juventudes nas tramas artísticas que dialogam na interface físico-virtual e ocupam os espaços públicos da cidade. / This text addresses the (in) visibility of youths (tribes) in postmodernity, with the assumption that in the virtual spaces of confluence between technology and art they can gain visibility. The approach is anchored in theory, especially in the French thinker Michel Maffesoli, whose method the comprehensive sociology. The theoretical framework articulated the maffesoliano thought to youths as a category or metaphor way of being youthful and technological implications in the process of interaction, mediation and empowerment of youth aesthetic expressions. We use Maffesoli notions as categories to understand the new forms of tribes sociality through their various art forms in cyberspace. Flash Mobs descriptions and analyzes demonstrations posted on YouTube videos and groups that maintain website / Facebook pages for dissemination of artistic and cultural meetings mediated by cyberspace allowed realize that not all tribes operate through the same dynamic, which it led us to develop the idea of intensity of youth practices both in terms of the forms of ownership, such as how to relate to what was appropriate. The aesthetic-emotional bias leads to identify the mode of being youthful with a Dionysian spirit. As Aphrodite's metaphor (sensuality referred not only to sexuality, but freedom is sought in living without rules, a return to nature) that, for us, also round the being-together of the tribes. Therefore we find in the artistic frames a visibility of youths plenty the dialogue on physical and virtual interface and occupy public spaces in the city.

The desire of every marketer is to develop and maintain strong customer relationships. One way this can be accomplished is through effective advertising. Marketers have recently begun to brand flash mobs as a way to effectuate strong brand relationships. Even so, it is unclear whether or not the branding of flash mobs supports or frustrates this pursuit. Therefore, the goal of this thesis is to help marketers understand the potential impact that branded flash mobs may have on consumer behaviour and brand relationships. Since these interactions are complex we need to observe the convoluted whole from untangled vantage points. Marketing scholars and researchers must then attempt to understand the latent opportunities and unsuspecting dangers when branding a flash mob. Toward answering this end, four distinct research studies were used to examine the phenomenon from four different perspectives. The aim of the first paper is twofold. First, it deductively seeks to understand how to categorize branded flash mobs within the marketing literature through an historical and cultural analysis of the phenomenon. Exploratory in nature, this study then employs a mixed methods approach to understand how marketers are currently using flash mobs, and more importantly, if branded flash mobs are an effective tool of communication and persuasion. In the second paper, a field experiment was conducted to assess the impact of a branded flash mob on consumers’ emotions, consumer experience and connectedness in a public market. Qualitative interviews were used to capture the data. Shifting perspectives, the third paper seeks to understand why some branded flash mobs fail to ‘go viral’. Using of a number of focus groups, participants were asked to watch several branded flash mob videos and discuss their willingness to share them online (e.g., email, Facebook, or Twitter). Toward a better understanding of the impact of branded flash mobs on brand equity, the final paper evaluates viewers’ attitude toward the ad. Using netnographic techniques (Kozinets, 2002) 2,882 YouTube comments from three virally successful branded flash mobs ads were examined to understand how branded flash mobs affect brand equity. Responses grouped into one of four archetypical attitudes, each of which has a distinct impact on brand equity. Motivated by the potential for widespread exposure at a relatively low cost, marketers continue to produce branded flash mobs. Sometimes they are fresh and creative, while at others they are out of tune with the spirit of the phenomenon. This thesis uncovers the impact of these efforts on consumer behaviour and brand equity, and concludes with a guide for managers to consider when planning their next branded flash mob. An acknowledgement of the limitations and an outline for directions of future research are also presented. / <p>QC 20140521</p>

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2018-02-02T20:27:32Z No. of bitstreams: 1 DISS_2013_Fernando Gil Paiva Martins.pdf: 2644326 bytes, checksum: 6fa0cf335a368d6524042db8e044c368 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2018-02-03T13:15:09Z (GMT) No. of bitstreams: 1 DISS_2013_Fernando Gil Paiva Martins.pdf: 2644326 bytes, checksum: 6fa0cf335a368d6524042db8e044c368 (MD5) / Made available in DSpace on 2018-02-03T13:15:09Z (GMT). No. of bitstreams: 1 DISS_2013_Fernando Gil Paiva Martins.pdf: 2644326 bytes, checksum: 6fa0cf335a368d6524042db8e044c368 (MD5) Previous issue date: 2013-04-05 / CAPES / Por meio da perspectiva da comunicação como ciência da cultura (LIMA, 2011), esta pesquisa evidencia, no início do século XXI, a dimensão midiática de flash mobs no uso do ciberespaço e na atualização de multidões organizadas para um acontecimento que faz diferença no cotidiano da experiência urbana globalizada. Flash mobs são entendidos como agrupamentos e dispersões instantâneos em praças, parques, estações, etc. com mobilização prévia em redes sociais. Para localizar flash mobs como intervenções contemporâneas, sete casos relevantes de vídeos (registros) do YouTube foram selecionados para compor um panorama descritivo de flash mobs, bem como a comparação a outros exemplos, como os happenings, nos anos 1960, cuja mobilização era anterior à internet. Os casos selecionados, no Brasil e em metrópoles do mundo, contribuem para formar um conceito de flash mob, situado desde sua criação, em 2003, Nova York, pelo jornalista Bill Wasik. Com isso, esta pesquisa interdisciplinar se constrói aportada pela comunicação, a partir de conceitos como: a cidade (Sennett); a performance (Schechner); a cibercultura (Lemos; Lévy); o não-lugar, o lugar e o entre-lugar (Augé; Serpa; Castrogiovanni; e Tuan); as trocas e a dádiva (Mauss; Simmel; e Lévi-Strauss); o espaço, o tempo e a pausa (Tuan); a globalização (Ianni), e outros. / Based on the perspective of communication as Science of Culture (LIMA, 2011), this research clarifies, in the beginning of the 21st century, the media dimension of flash mobs in the use of cyberspace and in the actualization of organized multitudes for something that makes difference in the daily urban globalized experience. Flash mobs can be understood as instantaneous gatherings and spreads in squares, parks, stations, etc. with a previous mobilization through social networks. To localize flash mobs as contemporary interventions, seven relevant cases of videos (registers) have been selected from YouTube to compose a descriptive panorama of flash mobs, as well as the comparison to other examples, as the happenings in the 1960‟s, which mobilization was pre-internet. The selected cases, in Brazil and some metropolises in the world, contribute to conceptualize flash mobs, situated since its creation, in New York, 2003, by journalist Bill Wasik. Furthermore, this interdisciplinary research, supported by communication, reunites some concepts like: the city (Sennett); the performance (Schechner); Cyberculture (Lemos; and Lévy); non-place, place and in-between (Augé; Serpa; Castrogiovanni; and Tuan); changes and gifts (Mauss; Simmel; and Lévi-Strauss); space, time and pause (Tuan); globalization (Octavio Ianni); etc.

The call for business practices that create benefits for companies, customers, and society is getting louder. This article analyzes a new implementation of such a win–win–win approach: the carrotmob. Activists and managers jointly organize a shopping flashmob in which consumers collectively purchase the products of a target company to reward its intent to act more socially responsible. Given that carrotmobs are only efficient if they are supported by a critical mass of consumers, a survey study of 337 young consumers explores the critical drivers of carrotmob participation. Accordingly, object-oriented, personal, and social motives jointly determine carrotmob participation with social motives having the strongest impact.

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