Business Commons^™

Cutting The Cord: An Examination Of Changing Tv Viewership, John Crawford

Atlantic Marketing Association Proceedings

On October 2, 1925, John Baird successfully transmitted the first television image. Since the early days of the new medium, television technology has constantly changed. Similarly, as the decades have passed the means for receiving television programming has also changed. Today, programs are delivered to millions of customers via cable connections and by satellite transmissions as those technologies were chosen by consumers to replace antennas as a means for receiving signals. The newer delivery mechanisms also provided many more channels to consumers compared to the handful of channels they could access in the antenna-only days.

The television programming delivery industry …

Authenticity In Music Performance: Evidence From The Singer-Songwriter Community, Jon Littlefield

Atlantic Marketing Association Proceedings

Experiencing music provides a unique lens to study identity. The alienation resulting from increased technological mediation in both music production and consumption might drive consumption (Potter 2010), hence authenticity may be an appealing positioning strategy for marketers. Singer-songwriters, for example, write and perform their own music with minimal technological interference. This represents a direct connection with the musician that we characterize as more historically authentic (Thornton 1996), however this characterization is not universal. In this paper, I seek to gather insight into the myriad expressions of authenticity within the music consumption environment by detailing a study of performance musicians.

Narrative Engagement And The Role Of Presence, Stef Nicovich

Atlantic Marketing Association Proceedings

Presence as a phenomenon has been studied for over 20 years with an identifiable progression as to how the field has matured. Initial research explored the physical nature of what conditions were necessary to produce presence focusing on the physical representations of the experience such as vividness and interactivity. This soon segued into more of an exploration into the psychological understanding of what is to experience presence focusing more on the actual “being there” phenomenon experienced by people as they engaged in a CM event. However as our understanding of presence has matured the focus has turned to exploring the …

Music As A Positional Good: Why Market Success Might Actually Drive Away Some Fans?, Timothy J. Schibik

Atlantic Marketing Association Proceedings

The Oxford Dictionary of Economics defines “goods” as things that people (e.g., consumers) prefer to consume more of rather than less. Further, these “goods” overwhelmingly adhere to a relationship between price and quantity known as the Law of Demand wherein consumers will purchase more of a good at lower prices than at higher prices. How the demand for these “goods” reacts to non-price stimuli is also well known and yields a place in the market system for marketing. Traditionally, the adoption of marketing techniques to alter the consumer satisfaction process and thus consumer demand has predictable impacts on the market …

The Sensoryscape Of Theaters: A Case Of Two University Associated Theaters, Peggy O. Shields

Atlantic Marketing Association Proceedings

Live theater productions, must compete with other forms of entertainment offered in the experience economy (Barlow and Maul 2000). An impressive sensory experience that entertains and excites consumers is a key element that can differentiate and distinguish one experience from another (Gobe 2001). To be competitive theater productions should use their delivery facilities to provide an immersion experience in a theater’s sensoryscape.

Theater venues offer a sensory experience that contributes to the service offering and also provide an opportunity to contribute to the achievement of numerous marketing goals. By consciously developing the sensoryscape, not only will consumer enjoyment and satisfaction …

Motivations In The Fine-Art Market: A Self-Determination Theory Approach, J. Paul Leavell

Atlantic Marketing Association Proceedings

Fine-art marketing research experiences friction that other arenas for marketing research do not. The product moved within this arena has subjective value with many drivers that can be difficult to quantify: The motivations of sellers and buyers may be different from what other marketing arenas experience (Marshall and Forrest 2011). The end price of fine art may have no relationship to the cost of inputs relying more on the demand driven by the artist’s reputation (Throsby 1994). Due to such challenges, the Academy has struggled in its contemplation of the marketing concept within this arena.

This paper will investigate the …

Rembrandt Versus Van Gogh: A Qualitative Contrast Study Applying A Visual Arts Valutation Model, Rene Desborde, Kimball P. Marshall

Atlantic Marketing Association Proceedings

Few marketing scholars have explored the field of fine arts marketing despite its significance as an area of economic activity and human creativity. Billions of dollars change hands annually in the worldwide visual fine arts industry (Velthuis, 2007; Clark and Flaherty, 2002), defined here to include various paintings, sculptures, and ceramics. This lack of academic attention might be because marketing scholars perceive that issues related to fine arts have little to do with marketing. It could also be that the unique characteristics of fine arts marketing are thought not to lend themselves to a traditional analytical approach to explain a …

Pricing In Opaque Markets: Paintings Old And New, Sharon V. Thach

Atlantic Marketing Association Proceedings

Pricing is one of the more difficult aspects of marketing management and poses interesting problems for economists trying to account for what are really a collection of microsales that are not well reflected in aggregate macroterms. The developed models and processes work best for mass produced products but grow increasingly problematic when products are intangible services or unique goods. This paper looks at paintings as a product within a specific “industry” , but many of the issues are similar to those in the professional services (law, medicine, education) and auxiliary services (consulting, IT outsourcing, insurance). There are also aspects of …