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Contributors

Writers

Priscilla Thomas

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A content writer who has worked for Infosys Technologies and other technology startups in India and abroad.

Avanish Tiwary

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Avanish is a Bangalore-based journalist who writes on business with a specific focus on technology companies.

Priyanka Bhatacharya

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Priyanka has covered every aspect of the IT industry as a tech journalist since its early days. She is now an independent writer, working on subjects like digital marketing, enterprise technology and high-performance computing, among others. 

S.Sahu

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A freelance content writer, S. Sahu was the former editor of TCS's house magazine at Tata Consultancy Services. He developed tech marketing collateral for the company and helped compile and edit books and journal articles on TCS's technology innovations. He also ghostwrites print and online publications. 

Prajwala Hegde

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Prajwala is a Bangalore-based freelance journalist who writes on social issues, stories of human interest, and art and culture, among others. 

Rajesh Nanarpuzha

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Rajesh Nanarpuzha is an Assistant Professor of Marketing at IIM Udaipur. Previously, he has worked as a brand manager in Dabur, and as a business consultant in the retail and consumer goods domains at Cognizant and Tata Consultancy Services. Rajesh has an MBA from IIM Indore and a doctorate in marketing from IIM Ahmedabad.

Designer

Priyokumar Singh Naorem

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He is a passionate UI & UX designer who thrives on creating engaging creative solutions.

Artists

Dyuti Mittal

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A freelance illustrator, artist, graphic novelist and designer. She has designed and illustrated several book covers. Her personal illustrations so far have attempted to seize the fleeting absurdity and mood of places, things and people she encounters in a childlike, intuitive and expressive manner with closure, beauty and innocence – the things that she desires.

Sumakshi Singh

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She is an artist and an educator who has taught and lectured at The School of the Art Institute of Chicago, Oxford University, the Victoria and Albert Museum among other institutions. Her installations, paintings, thread work and sculptures have been exhibited in Saatchi Gallery - London, C24 Gallery - New York, and Museum of Contemporary Art – Lyon, among other notable galleries and museums from around the world.

Parul Gupta

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A commerce graduate from Delhi University, Parul pursued a masters in fine arts from Nottingham Trent University in the UK. As an artist, she is interested in line as a subject which has led her to follow architectural lines in built environments. She says she is also interested in how we perceive the environment that we inhabit and what happens when a subtle shift is made in things which we have been used to seeing in a certain way. We present six of her artworks here.

Shweta Malhotra

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Shweta Malhotra is a graphic artist and designer from Mumbai, based in New Delhi.
After working with ad agencies and design studios for close to 8 years, she branched out on her own and currently works independently.s Her overall design aesthetic is minimal, bold and graphic, a response to the maximalist visual language prevalent in India.

Rithika Merchant

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Rithika Merchant (b.1986) received her Bachelor’s Degree in Fine Arts from Parsons the New School for Design, New York in 2008. She has exhibited extensively since her graduation. Recent exhibitions include a duo show “Reliquaries: The Remembered Self” at TARQ, Mumbai; “Language of the Birds: Occult and Art” at 80WSE Gallery, New York; and group shows at Summerhall, Edinburgh and Artry Gallery, Kochi. Her work has been included in multiple group shows at Stephen Romano Gallery and The Morbid Anatomy Museum, New York. Born in Mumbai, she now divides her time between Mumbai and Barcelona.

Aniruddh Mehta

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Aniruddh Mehta is an artist based out of Mumbai, India. Trained in graphic design from the London College of Communications, Aniruddh is a self-taught illustrator and currently works as an independent freelance designer. He believes in finding the right balance between art and graphic design. He has worked closely in collaboration with Bhavishyavani Future Soundz, Qilla Records, Taxi Fabric, Adidas, Dell and United Colours of Benetton. He also goes by the moniker, ‘thebigfatminimalist’ and his style ranges from bold minimal forms to more intricate pieces exploring patterns and geometry.

Paramesh Jolad

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Paramesh is an artist who enjoys working in both the realistic and abstract style of painting. He loves working with water color. Featured in this issue are a set of water color works that he has created exclusively for us on the subject of digital transformation.

Concept and Direction

Nimish Vohra

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Head of marketing at Regalix, Nimish drives research in emerging technologies and customer experience, and takes a keen interest in creative arts.

Enquiry

+91 9560509289

aishani.majumdar@regalix-inc.com

Know when a new article is published


The author is currently a doctoral scholar in marketing at IIM Ahmedabad. Previously, he has worked as a brand manager in Dabur, and as a business consultant in the retail and consumer goods domains at Cognizant and Tata Consultancy Services. Rajesh is an MBA from IIM Indore.

At a time when click bait stuff has become prevalent, finding the right video is important and there is no innovation around that.

The ubiquity of social media and its power to engage customers has made the harnessing of social media a marketing imperative. However, in less astute hands, social media could become a chimera for marketers, difficult to understand and to grasp. This is primarily due to the power that social media grants consumers in shaping dialogue. Gone are the days when marketers talked and consumers listened. As Edelman and Singer (2015) note, ‘empowered’ customers chart their own journeys in engaging with a brand. In this context, Edelman and Singer (2015) suggest that companies need to aid the customers in shaping their journey by customizing it and making it more compelling. In this endeavor, engagement with customers on their chosen social media spaces is a powerful marketing tool. However, attempting to do so brings along associated challenges. We discuss some of them and examine potential avenues to overcome them.

Solving the Facebook conundrum

Archer-Brown, Piercy, and Joinson (2013) study social customer relationship management (SCRM) within the context of message content in virtual communities. In line with advertising research in general, Archer-Brown, Piercy, and Joinson (2013) find evidence to show that customer skepticism of advertising messages extends to virtual communities, when brands attempt to engage directly with customers. However, the authors point out that informational content rather than opinion-based content was found to reassure skeptical customers. This provides a potential direction for marketers to tailor their SCRM strategies.

The rapid and continuing growth of Facebook has placed it squarely in the center of the marketer’s digital media strategy. However, an understanding of Facebook users, and the means to target diverse segments of Facebook users, is largely absent. Hodis, Sriramachandramurthy, and Sashittal (2015) provide direction in this regard. Using the two axes of content creation and content consumption, the authors classify Facebook users into four segments – connection seekers, entertainment chasers, attention seekers, and devotees. Further, the authors suggest that entertainment chasers and connection seekers, who are low on content creation but vary on content consumption, should be nurtured and grown. On the other hand, attention seekers and devotees, who are high on content creation but vary on content consumption, and who are therefore more influential, should be recruited and empowered by marketers as their brand endorsers. These suggestions provide a potential framework for marketers to plan their Facebook user engagement strategies. In addition to the creation of meaningful customer segments, marketers also find it difficult to specify marketing objectives for their social media advertising. Particularly with respect to Facebook, an understanding of what works and what doesn’t is still in its infancy. In this regard, Brettel et al. (2015) provide some potentially actionable insights. The authors find that Facebook ‘likes’ and contributions to the brand’s Facebook page are long-term sales drivers. Customer engagement through these means has important carry-over effects over the long term, and is indicative of strong and positive customer sentiment. Page views, on the other hand, should be considered as an indicator of potential short term sales. Facebook page content, enabling impulse purchase, could help in driving short term sales. Finally, Brettel et al. (2015) note that ‘stream impressions’, manifested as company-sponsored, paid content on users’ news feeds has a significant, negative impact on sales, especially when used extensively.

Going viral and what it takes

In social media, achieving advertisement virality remains the marketer’s holy grail. In this regard Teixeira (2012) offers five specific suggestions. First, Texeira (2012) argues that prominent branding in advertisement content is off-putting for viewers. ‘Brand pulsing’, which involves unobtrusive weaving of the brand image in the advertisement is recommended. Second, users in social media tend to get bored quickly. The solution suggested is to create feelings of joy or surprise early in the advertisement. Third, Texeira (2012) recommends creation of an emotional roller coaster in the advertisement, as users tend to stop watching advertisements which maintain a stable emotional state, even if it is one of joy or surprise. Fourth, to improve sharing rates for the advertisement, Texeira (2012) recommends that advertisements should surprise but should not shock. Finally, the author suggests that it is important to target users of your brand that show the greatest potential for sharing. This in turn is a function of the users’ personalities, and can be ascertained through effective segmentation. Akpinar and Berger (2016) ask the question whether virality and favorable brand outcomes (e.g. increased purchase probability, higher brand evaluation) are antithetical objectives. Thankfully, they find evidence that they are not. Akpinar and Berger (2016) find evidence in line with extant literature that emotional advertisements improve virality. At the same time, the authors find that informative advertisements lead to better brand outcomes in terms of brand evaluation and purchase likelihood. Akpinar and Berger (2016) suggest that ‘emotional integral’ advertisements (where the brand is integral to the narrative) provide the best outcomes both in terms of potential virality and in terms of better brand outcomes.

References

  1. Akpinar, E., & Berger, J. (2016). Valuable virality. Journal of Marketing Research (in press).
  2. Archer-Brown, C., Piercy, N., & Joinson, A. (2013). Examining the information value of virtual communities: Factual versus opinionbased message content. Journal of Marketing Management, 29 (3-4), 421-438.
  3. Brettel, M., Reich, J. C., Gavilanes, J. M., & Flatten, T. C. (2015). What drives advertising success on Facebook? An advertisingeffectiveness model. Journal of Advertising Research, 55 (2), 162- 175.
  4. Edelman, D. C., & Singer, M. (2015). Competing on customer journeys. Harvard Business Review (November), 88-100.
  5. Hodis, M. A., Sriramachandramurthy, R., & Sashittal, H. C. (2015). Interact with me on my terms: A four segment Facebook engagement framework for marketers. Journal of Marketing Management, 31 (11-12), 1255-1284.