Comparing Impression management strategies through social networking platforms

Without a doubt, the daily social life of thousands of people around the world are related to each other, and maybe a little “”depends on the technology of modern communication. These communication technologies take different forms and can include something as simple as a cell phone or something as complex as the virtual world. Regardless of the communication channel mediates the fact that the technology for new connections, or computer-mediated communication (CMC) has become so pervasive and popular in use around the world shows that we are witnessing a change in how you interact with others. Of course, we still FTF (FTF) communication and remains the basis of human communication; However, the interactions can facilitated and enhanced CMC remains an important area of ​​research.


In this sense, this article examines the concept of IP or theoretical presentation of each other, and how people engage in online print management. In addition, this chapter discusses the differences in the use of impression management strategies in three different social platforms. To understand how to handle the print differs depending on the platform of social media, we are able to achieve a better understanding of how people continue to engage in self-presentation through social media.

One way to understand the interactions that take place on the Internet looking for online print management and how print management strategies used by users of the Internet are different between those systems. Originally introduced by Erving Goffman, the IP survey or self-presentation (the terms are used interchangeably in this chapter) were taken from a number of scholars in many fields.1 We know that the presentation of a paper car game important in our daily lives, FTF interactions.2 also know that this representation or execution contexts occurs in CMC and instant messaging can take advantage of the benefits available for them, means to selectively present themselves. Earlier, scientists have studied how people are created online identity and engage in self-presentation on the Internet; However, many of these studies is based on the technology available at the beginning of 1990.4 today communication technologies, such as Facebook, YouTube, video, multiplayer online games, virtual environments and still retains many opportunities to communicate with text precursors; However, these contemporary contexts CMC also present new challenges for themselves and presenting these challenges have not yet been thoroughly investigated.


In his work, Erving Goffman uses the metaphor of an actor plays a role in the game to explain how people communicate or express mail audience.5 Goffman notes “”the structure of the car can be seen in terms of the arrangements for these services.”” 6 in other words, people are actively engaged in carrying out the role, I and this performance is put in the outside world, public opinion, which interprets the meaning of related activities. Rightly or wrongly, the public is the interpreter to interpret the messages generated by productivity and achieve understanding of what is the contractor.

In the context of the CMC, people give thanks to the performance of their interactions with others. For example, Facebook site is generally present themselves. This website functions to communicate messages to other users and to present a picture of a person. The same performance can give to friends or perhaps anyone who has access to the Internet. In addition to Facebook, each context of CMC, in which a person interacts with other people it is an opportunity to present themselves and for the people to participate in the management of printing.

According to Goffman, the interpreter has a certain level of control over their performance. For example, the interpreter may intentionally represent an idealized version of themselves, react positively to society. Actor or artist can achieve this goal, highlighting some aspects of its performance in order to support this. Generally speaking, “”when the individual presents, its performance will tend to embody the values ​​and example officially accredited society, and even more, in fact, which makes their behavior as a whole.”” 8 by careful management of verbal and nonverbal communication, the plaintiff may exercise some control over what and transmit messages, in turn, represents an idealized version of himself.

The concept of the actor who represents the idealized version of himself Goffman himself is certainly present in the CMC contexts.9 on social networking sites (SNS), the user may disclose only the information that supports the positive image of the user. For example, you can only enter your network information representing a person or give the impression of being a professional. For the same reason, users are likely to hide content that could have a negative impact on the show.

This action metaphorically takes place in the area called the front. This area can be considered as a definition of Goffman 10 This face consists of two main parts, “”expression kind used a standard device, either intentionally or by the patient during an operation.”” Setting and front. The set consists of all the elements of the background to help the public understand the context of performance, while the front is the artist’s personal characteristics. For example, age, gender and appearance are all personal qualities, and many of these features are unchanging.11 society is based on the portion of the front setting and staff productivity meaning the actor.

Although many of the performance of activities is presented in front, Goffman says that another area, racks, stands exists.12 This is an area that is not usually seen by the public, this is the area “”The Interpreter”” can relax, you can go down the front , stop saying that his poems, and get out of line. “”13 This area is outside the normal limits to the public as it exists as an area in which”” the contractor can be themselves without public notice.

In the context of the CMC, we can certainly see the before and behind the scenes to be present aspects. For example, messages from Facebook would be self-presentation that occur in the front. These are messages that can be seen by a wider audience and knowingly provided by the artist. However, the private messages sent by the user and receives from friends, or choose to mark content as private, it can be behind the scenes. The communication between the shelves are all messages that you want to stay hidden, invisible to the public.

This is an excerpt from: The digital media strategy blog


What are usually definition of luxury?

However , there is not any single answer to this problem but a large number of alternatives. You possibly can first answer that a extravagance brand is a very exclusive model that is almost the only one inside product category and that can seem as a very selective image of scarcity, sophistication, and also good taste. It might in addition have a slightly understated and noble dimension. In that case, there would be only 1 luxury car: Rolls Royce. A car like Ferrari, having its flashy red color, might be considered as the epitome of bad taste. Once we singled out a brand for each merchandise category to make it a luxury image, we would have Krug or perhaps Dom Perignon for sparkling wine, Guerlain for fragrance along with cosmetics, Herme`s for natural leather goods, and maybe, in ladies’ ready-to-wear, Armani or Valentino. For men’s suits, Brioni could be the ultimate luxury, in addition to Van Cleef & Arpels could be considered a special as well as distinctive brand of jewelry.

This specific restrictive definition of luxury is practical. It does not represent the situation as you may know it today. Even models like Hugo Boss or maybe Lacoste will be considered high end in this book, because we feel that there is a need for an detailed definition that takes into account the positioning of the brands in the stores as well as the perception of them by the client. A luxury brand is a brand name that is selective and distinctive, and that brings an additional imaginative and emotional value for the consumer. In this case, the definition is significantly larger and includes a huge part of fashion products.

There’s also a debate as to distinguishing in between fashion and luxury. In accordance with this point of view, a label would start, in the fabric and accessory field, as being a fashion brand and could be given the status involving luxury only when it had attained some stability and timelessness. In getting started, a brand must be creative and, every single season, come up with new concepts, new concepts, and new items to attract the interest of the purchaser. As its status moved coming from fashion to luxury, it could develop classic models that will sell, year in and also year out, and can impose a style, and create long lasting bestsellers. This distinction will be, of course , interesting intellectually, nonetheless it is at the same time misleading along with dangerous. It is misleading due to the fact, even if it belongs to the luxurious field, a fashion brand, for instance , Chanel or Dior, need to come up with new dresses as well as new accessories every period, presented in new ways to make certain that customers remain interested. It might be dangerous because it implies that extra brand does not have to innovate normally as nonluxury ones, which can be obviously not the case.

At this stage, it could be necessary to describe the different industries of activities that we use in our analysis of high-class. The selective and exceptional ready-to-wear, for ladies and guys, is the first category comes up. It includes all selective vogue brands, such as Chanel, Valentino, Burberry, or Versace, plus more traditional brands like Jaeger, Daks, or Celine. In addition, it includes brands like Hugo Boss or Lacoste, seeing that indicated, because they are still pretty selective in their distribution including their product approach. Actually even if they have an obtainable price, they still be fashion brands, sold by means of selective distribution. One could concern Lacoste men, saying it isn’t that creative and what is offered is a basic product, yet Lacoste women is certainly far more creative and more sophisticated. Just where do we draw the line, and then? Obviously, we eliminate companies that do not have a not bothered distribution. What about Nike or even Zara? Here the brand reputation and the level of sophistication, because perceived by the consumer, are usually far from the luxury world. Yet there are still many things that extravagance brands can learn from Zara or H&M business types.

The luxury jewelry and watch portion is clearly part of our planet. They have their own stores or perhaps use a very limited number of picky jewelers. When we speak of wrist watches, this includes combination watches, but in addition all watches that are pricey pieces and are sold since very special objects by way of a selective distribution system.

Scents and cosmetics, when marketed through selective distribution programmes, are clearly luxury goods, even if they may correspond to lowprice items. They are different solution categories under the same company. Fashion accessories are also generally work as sister brands of manner brands. This category includes bags and leather goods, and also shoes, belts, and some other element of the total look, similar to glasses, writing instruments, lighters, etc. For men, it includes ties, sneakers, shirts, and any component of men’s wardrobe, including saturday and sunday wear if sophisticated adequate.

Wines and spirits will always be the question mark of the high end field. Some people insist that will as they are sold in supermarkets in addition to food stores this will take them away from that classification. They would then be part of an ingredient or beverage category that features beer and Coca-Cola. Actually , in the product concept as well as positioning of wines and also spirits, there is a level of class that is very different from that connected with beer. Such products are faraway from fast-moving, repeat-purchase products including beer. They are expensive, usually gift items, and clearly a part of brand identity constructions. The particular blending and the sophistication inside their production, as well as their frugal consumption, are also reasons to contain them in the luxury type.

This is an excerpt from:

New tricks for Music Cast

Yamaha refreshes multiroom lineup, revamps AVRs with AI processing.

Yamaha’s BAR 400 (p8) is just one part of a new season of MusicCast hardware from the audio specialist. Design and feature tweaks are taking place across the range, from standalone wireless speakers to home cinema AVRs. Perhaps most noteworthy is the introduction of MusicCast Surround on Yamaha receivers. This function allows the company’s MusicCast 20 and MusicCast 50 speakers to be employed as wireless surrounds in a multichannel AV setup. MusicCast Surround features on Yamaha’s new RX-V85 and RX-A80 ranges, from which there are ten models due to arrive this Summer.


AI all the rage

Top of the new AVRs is the RX-A3080, which should ship with a £2,200 price tag around August. This features 7-in, 3-out HDMI switching (with Dolby Vision and HLG support); ESS Sabre DACs; a balanced stereo XLR input; Atmos/DTS:X decoding; and a claimed 150W per channel of power. However, as with the preceding RX-A3070, it’s a nine-channel design with 11.2-channel processing – an additional stereo amplifier is needed to run a 7.x.4 setup.

As well as the aforementioned wireless surround capability, the RX-A3080 debuts a new Yamaha processing technology called Surround:AI. ‘This AI instantaneously analyses scenes by focusing on distinct sound elements such as dialogue, background music, ambient sounds and sound effects, and automatically optimises the surround effect in real time, just as if a Yamaha sound engineer tunes the best sound specifically for you,’ we’re told. Also featuring Surround:AI are the RX-A2080 (9.2-channel, £1,700) and RX-A1080 (7.2-channel, £1,300). The feature is omitted from the RX-A880 (7.2-channel, £1,000) and RX-A680 (7.2-channel, £750).

The step-down RX-V85 series is led by the seven-channel RX-V685, which will sell for £650 and is in shops this month. Power output here is rated at 90W per channel; again, Dolby Atmos and DTS:X support, MusicCast multiroom and 4K HDR passthrough is on the spec sheet. The more
affordable RX-V585 (£550) is less potent and features a single HDMI output rather than two; the £450 RX-V485 is a five channel receiver.

Something that will cheer seasoned Yamaha watchers is a redesigned remote control and graphic user interface, available on all new AVR models bar the RX-V485 and RX-V585. The company says it ‘simplifies operations’ and creates ‘better interaction’. The handsets for the RX-A1080, RX-A2080 and RX-A3080 will be backlit.

I need a hero

Back in multiroom territory, the MusicCast 20 and MusicCast 50 speakers see Yamaha streamlining its naming system a tad (they’ll join the likes of the existing WX-030 and ISX-80), and adopting a new, curved-edge design.

The £230 MusicCast 20 packs a 3.5in woofer, 1in tweeter and dual passive radiators into its cylindrical chassis, with top-mounted soft-touch buttons granting access to presets and alarm functions. Two speakers can be wirelessly tethered to work in stereo. Meanwhile, the MusicCast 50 (£500) is a two-channel model that should fill the ‘hero product’ gap previously missing from the range. Yamaha promises a ‘room-filling, dynamic sound’, and has added an optical digital audio input to let the speaker hook up to a TV.

This post is from upscale existence blog

Branding Beastie boys

Let’s kick this off with three guys for whom I have massive amounts of love and respect: three artists from New York who started out as a punk band and ended up as one of the biggest alternative – yet influential hip-hop acts on the planet. The Beastie Boys are now one of the coolest Unbrandable brands out there, not only because they have succeeded in attracting fans of all ages (thanks to the way in which they constantly reinvent themselves), but also because of the political and spiritual beliefs of the late Adam Yauch, aka MCA. Word of his death from cancer in 2012 at the age of forty-seven was international news, but even bigger was the splash made when it was revealed that his last will and testament includes a clause that forbids anyone from using his music, likeness or any art he’s created in connection with hawking products. This certainly took the Beastie Boys into the realm of the Unbrandables. I’m probably going to get some stick for referring to them as a brand, but that is what they have become, albeit a glorious example of one that embodies the undiluted spirit of rebellion.

For more on Outside in Marketing, look here: what is outside in marketing


image courtesy:

‘The idea was “let’s start a hardcore band”, kind of as a joke.’ This was MCA in 1998, speaking to Spin magazine. We called it the Beastie Boys. We were trying to think of the stupidest name, something that maybe sounded like the Angry Samoans.’ Ironically, the Beastie Boys got their first break when British Airways sampled a portion of their song ‘Beastie Revolution’ (1983) in a commercial without seeking permission, an act that resulted in the Beasties winning $40,000 in damages. ‘That money enabled us to make the move for independence’, recalled the band’s Mike D (Michael Diamond) in the same interview. ‘We got a floor in this Chinese sweatshop building on Chrystie Street.’ It was in this apartment that they lived, rehearsed and recorded their early work, swiftly moving from punk rock to hip hop, buying cheap Chinese knock-off Adidas tracksuits from a shop downstairs at a time when Grandmaster Flash and the Sugar Hill Gang were becoming more and more popular, off the back of the growing hip-hop movement (graffiti, breakdancing, MC-ing, DJ-ing). Through their friendship with the producer Rick Rubin, the Beastie Boys were introduced to Russell Simmons, with whom Rick had just started the legendary record label Def Jam Recordings. Russell spotted something unique in the three Jewish boys in a very black world, and introduced them to Run DMC and Public Enemy. ‘The Beastie Boys are one of the key ingredients for spreading rap to suburbia’, explained Public Enemy’s Chuck D in 1998. ‘They did it with their own flavour; they didn’t, like, compromise who they were.’

The Beasties broke through to the mainstream when they toured the world with their debut album, Licensed to Ill (1986), the first rap album to reach number one in the Billboard chart. The band soon caught the eye of the tabloid press, which railed against them in the name of decency (a bit of a joke, really, when you think of the phone-jacking scandal and general sneakiness of the gutter press; ‘Pop Idols Sneer at Dying Kids’ was the lie of one headline in theDaily Mirror) and told the middle classes to lock up their daughters.Licensed to Ill was made as a joke, a pastiche of American frat culture – beers and strippers and partying – but this didn’t stop the millions of people who bought the record and saw the band tour from believing that this was what the Beasties were really about. Both musically and culturally, it was the band’s second album, Paul’s Boutique (1989), that cemented their place in history. Miles Davis said that he never tired of listening to the album, which says it all if you ask me. The album bombed commercially, as the fans of their first record just didn’t get it, but soon the rest of the world began to listen. Today, it is recognized as one of the greatest hip-hop records of all time. What a journey.

The Beastie Boys brand worked because:

  1. musically, they never stood still, mutating from punk to hip hop to thrash to jazz to hip hop again;
  2. they rapped about what they knew – being white boys, chasing girls and smoking weed;
  3. they oozed authentic ‘fight the power’ attitude;
  4. they didn’t care about working with brands (although they unconsciously aligned themselves to Adidas in almost every photo shoot) before creating their own: Grand Royal and Oscilloscope Laboratories.